Previous model · 02
The earlier reed-and-waveguide take.
Instrument workshop · Alto sax · 03
A reed moves air.
A new horn model built with the same care for coupled physical motion as the Charlie Haden bass. Breath, a moving reed, the mouthpiece, and the air column produce these tones together.
Hear the new horn
Nine separate long tones, from concert B♭3 to D5, with light early room reflections. About 30 seconds.
Same note, matched level
Concert C4, written A4. Both dry recordings have the same sustain RMS. The previous recording remains in its original archive.
New model · 03
Coupled acoustic cells, compensated mouthpiece, and reed contact.
Dry long tones
Concert pitch is the large label. All these takes share one playback gain; the octave uses a firmer embouchure.
B♭3
Written G4 · lower register
C4
Written A4 · middle register
D4
Written B4 · middle register
E4
Written C♯5 · upper first register
F4
Written D5 · lower octave fingering
G4
Written E5 · octave register
B♭4
Written G5 · octave register
C5
Written A5 · octave register
D5
Written B5 · octave register
Breath and touch
One concert C4 fingering, with changes to the player's controls. These recordings also share the long-tone playback gain.
Lighter breath
A steady tone at 4.8 kPa.
More breath, relaxed lip
5.6 kPa, with a wider reed opening to hold the register.
Fast tongue
Eight articulations per second, acting on the reed opening.
Gentle jaw motion
Small periodic changes to the effective reed opening.
The instrument first
The bass model coupled a vibrating string to its bridge and body. Here, the reed exchanges pressure and airflow with the mouthpiece and a conical air column. Closed pads trap air; open holes and the bell radiate it. The source keeps sounding while breath supplies energy and decays when breath stops.
These are physical-model tests with no recorded samples. Nine long tones pass the tuning checks; whether the tone sounds convincing needs your ears.
Model notes, checks, and remaining work
The dimensions are a designed generic alto, not measurements of a particular horn. The acoustic hole layout simplifies the mechanical keys. The lowest written B♭3 (concert D♭3) still overblows, and the top written C♯6 is sharp with the current controls. Continuous changes between fingerings, vocal-tract loading, and more detailed radiation remain future work.
Render and pitch report · Model documentation · Source
Physical references: UNSW saxophone acoustics and McGill saxophone impedance modelling.