Kr. 6.950,00

Bauhaus Walstein verða roknaðar sum eitt tað besta tú kanst fáa. Her sigur tann uttanveltaði

og respektaraði umvælari av blási-instrumentum, Stephen Howard:

um Tenor saxofonina M2.

“I had high expectations of this horn given the results of the Bauhaus alto, which I reviewed in 2008 – and I’m delighted to say that I wasn’t at all disappointed.
Tonewise this horn has much the same character as the alto; it’s free-blowing, punchy and precise without being overly bright. It’s a big sound too – when compared side-by-side with a Yamaha YTS62 it had more presence and a beefier mid-range, as well as a richer bottom end. The YTS62 is quite a hard act to beat, both in terms of sound and feel, but as much a fan of Yamaha horns as I am I’d choose the Bauhaus over it because it would give me the vibrancy that I want as well as throwing in a bigger sound for free. I’d even go so far as to say that a more fair comparison would be with the Z series Yamaha, but that’s a £2800+ horn – which perhaps shows how much potential this tenor has.”

og hettar sigur hann um M2 Alto :

In terms of the build quality this alto has a lot to live up to when it comes to blowing it – and I’m very pleased to say that it does, and more.
“I had the opportunity to compare it to the Yamaha YAS62 alto I was working on and it struck me that if, tonewise, the Yamaha was akin to a brilliant white paint job, the Bauhaus would be rich cream. It has a warmth about it that isn’t half-hearted (say a kind of pastel shade, or a ‘hint of lavender’) and yet isn’t overstated (light brown) – it’s just a very nice balance between a contemporary bright horn, such as the Yamaha, and a vintage boomer.
And balance it has, in spades. The transition between the lower and upper octaves is exceptional – and you’ll even be hard put to find a difference in tone between the low B and Bb…something that often plagues horns that tend towards the warm.
Is that such a big deal? I think so – in struggling to please two entirely distinct markets you can often end up with a product that pleases no-one. Where the Bauhaus wins through is that it couples the ease of blowing of the Yamaha with a big tone, and the result is a powerful combination that doesn’t break up when you push it hard.
You can hear this most clearly when you play it with a rock ‘n roll growl – the Yamaha, with its naturally bright tone, does pretty well, but the Bauhaus steps up a gear. It almost like you can hear the horn saying “Ooh yeeaaahhhh brother” and it feels as though it’ll take whatever you’re able to push into it. Back it off and the horn ticks over beautifully without becoming muddy and imprecise.
In my books that’s the mark of a good horn – the tone isn’t one-dimensional – and more importantly there’s a seamless transition between the many tone colors a decent horn is capable of.”