14 hole starting on C3

[MikeZ]

Just a thought.....

I've always wanted a Hohner Meisterklasse.  One day, I'll break the piggy bank and get one.
I only wish that it would start on Low C.  I like the lower tones (maybe because I don't play the upper register well...yikes!)

If I had my way, that's the way I'd want it set-up.  Alas, as far as I know, Hohner doesn't offer custom reed plates like the great folks at Seydel.....if only.

[smojoe]

What are we talking here? A tenor tuned except with 14 holes instead of 12? Why not just go with a 64? Did I misinterpret here?

s.j.

[MikeZ]

Nope!  Not at all smojoe.
I was just day-dreaming and thought that when they make a 14 hole chrom they start at the top and work down -- why not start at the bottom and chop off the top two holes?  Me? I don't like the highest pitched holes 

The only reason I dropped this on the forum is because of a spirited discussion here a while back discussing everyone's favorite chromatic size.

I'm going to call this configuration the "tenor one-four ....when sixteen's too much and twelve's not enough."

I could be my only customer

[Keith]

I don't much like or use the top end of a standard (CX12) chrom either, so I got myself a (CX12) tenor.

(But, I also like orchestra tuned, & steel reeds, so have just ordered a Seydel Deluxe Steel.)

I don't have many tunes that need to go that low, C3, but I do have at least one that wants E3.
(I could just transpose it - but I like the deep tones. )

[smojoe]

You wouldn't be the only customer MikeZ. I talked about such an animal about 16 years ago. So...we may be orphans?

smoj

[MikeZ]

Guys, you know what they say?  "Great minds think alike."

Until such a time as Hohner accedes to my wishes, I will soldier on with my trusty brace of sixteens obstinately ignoring the upper two holes!

[The Lone Harper]

I was also thinking recently about having a 14 hole instrument with the same layout as a 16 holer but minus the top 2 holes. I'm not a fan of holding a microphone right against the instrument and, like Adler and Reilly did, I like to try and shape the sound with my hands. I can just about wrap my hands around the back of a 14 holer and find that I only ever use the top 2 holes of 16 holer when I'm playing pieces composed for the chromatic that use those higher notes.

[SlideMeister]

Hey! Different Strokes 

[The Lone Harper]

Hey! Different Strokes 

In my opinion it's not a case of better or worse and there are very practical reasons for holding the mic right against the instrument. I'm just in the minority of those players who likes to shape the sound using the hands.