![]() Pilczuk decided that he had to return to the basics. Not knowing what weapons to use in fighting these intonation barriers and other related problems, Mr. But they did the best they could and built them the best way they knew how. Horns that were acoustically incorrect and had to be lipped or triggered into playing in tune. Ultimately they conceded and started making instruments that were compromises. Perfect pitch was out of the question and even a satisfactorily consistent pitch eluded them. Every designer that existed knew of the serious shortcomings of the musical instrument but, try as they might, they could not understand why these deficiencies persisted, nor could they design a horn that eliminated them. But why? Why does it have to be that way? Why, if a musical instrument is properly designed, must it be out of tune and difficult to control in most registers?Ĭommon sense dictates that if something is designed perfectly, it should be perfect, or close to it. It certainly is true because we all constantly experience those imperfections and it has been that way for generations. ![]() Pros, directors, designers, accousticians, students, and manufacturers all agree. ![]()
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