Editorial

A musician's instrument is a precious object. The quality of its manufacture depends on a combination of elements often strangely and randomly linked.

A man, a team, sensitivity, good materials, intelligence, astuteness, intimate knowledge of the subject, inventiveness, sustained willpower, commercial success, keeping in touch with the rumours of the brass world — all this, in the right amounts, is necessary if good instruments are going to be made.

On a recent visit to Yamaha, the giant Japanese instrument makers, I realised that the war between American, European and Japanese firms is merciless and that in it each side uses different, not to say ill-matched weapons. The overall aim of this war, let us not forget, is to make us play such and such an instrument, of such and such a make, because it is better, because it is in keeping with current tastes, because it meets our artistic demands. An instrument without obvious qualities will not find success among musicians, even if the publicity is perfect.

Since then Brass Bulletin has wanted to offer its readers a series of articles, in the form of reports, which will present these people who work for us, manufacturers or craftsmen, large or small, each in turn.