I am reserving judgment, at the moment, but I am leaning your way.Acoustically speaking. This is firmly in the snake oil camp... to the egress...
https://www.lefreque.com/what-is-a-lefrequeTheir claim is that it serves as a bridge between the head an the body of the flute. I can see how this might be a factor with a sax, where cork acts like a damper, but the metal of the head joint is already flush contact with the body and there is no buffer.Acoustically speaking. This is firmly in the snake oil camp... to the egress...
About the sax...He concluded that all connections between the different parts of a wind instrument had a negative influence on the sound quality and tuning of the tone.
the properties of cork are such that it does not transmit the required sound to the instrument, it actually mutes sound. lefreQue solves this problems.
Joints create a "sound breach"???? And exactly how does putting this on the outside (not in the sound) correct the breach because, let's face it... the "breach" is still there in the air column. Putting something on the outside can't do anything. If you've got turbulence there, then you need to make an adjustment on the inside, not on the outside.On the flute there are no cork connctions but the lefreQue does the job in the same way essentially. On a flute you slide the pieces into each other, thereby effecting a sound breach, which again will be corrected by using the lefreQue
Sorry, wind instruments air columns do not work that way. Any transfer of external vibration is detrimental to the response curve of a wind instrument. Sound production is simply about the standing wave. It is impeded by extraneous vibrations and or other numerous factors. These are sometimes refered to as acoustic losses. Sharp edges creating turbulence and interefering with the standing wave is one example. The body vibrating at nodel points is another.that because the joints are metal instead of cork they transfer vibrations/sound much better than a saxophone.
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