All language subtitles for How.Its.Made.S31E02.Laptops.and.Saxophones.1080p.AMZN.WEB-DL.DDP2.0.H.264-SLAG_track4_[eng]

--Captions by VITAC--
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Narrator: THE FIRST COMPUTERS

USED TO BE THE SIZE
OF AN ENTIRE ROOM.

THEN THEY WERE BUILT
TO FIT ON YOUR DESK.

THE NEWEST DESIGN IS A PORTABLE
DEVICE THAT SITS ON YOUR LAP,

AND TODAY'S LAPTOPS ARE MADE

EVEN SMALLER
AND MORE POWERFUL THAN EVER.

WITH ITS LIGHTNING-FAST
PROCESSOR

AND IMPRESSIVE GRAPHICS,

THIS LAPTOP IS DESIGNED
FOR HIGH-PERFORMANCE GAMING.

THE COMPUTER'S BRAIN,
CALLED THE MOTHERBOARD,

BEGINS AS
A PRINTED CIRCUIT BOARD.

ITS PATTERN OF LINES AND PADS
AND COPPER

IS THE WIRING
FOR THE ELECTRONIC COMPONENTS

THAT WILL BE SOLDERED
TO THE BOARD.

THIS MACHINE PLACES A STENCIL
OF THE COMPONENT LAYOUT

ONTO THE BOARD

AND APPLIES SOLDER PASTE
THROUGH THE OPENINGS.

A QUALITY-INSPECTION CAMERA
PHOTOGRAPHS THE SOLDER PASTE

AND SENDS THE IMAGES
TO A COMPUTER.

THE COMPUTER ANALYZES THEM,
LOOKING FOR ANY MISSING PASTE,

MISALIGNMENT, OR OTHER MISTAKES.

IF THE BOARD PASSES INSPECTION,

IT PASSES THROUGH
15 ROBOTIC MACHINES,

EACH OF WHICH PLACES UP
TO 150 COMPONENTS

ON THE CORRECT LOCATIONS
ON THE BOARD IN JUST 30 SECONDS.

THEN THE BOARD RUNS
THROUGH AN OVEN

THAT MELTS THE SOLDER PASTE,

CONNECTING THE COMPONENTS
TO THE BOARD.

ANOTHER CAMERA INSPECTION
ENSURES

THAT THE INTERNAL PROCESSOR
IS CORRECTLY SOLDERED,

AND THAT NO COMPONENT IS MISSING
OR SHIFTED OUT OF POSITION.

AFTER FUNCTION TESTING
AND A VISUAL INSPECTION,

THE MOTHERBOARD
MOVES TO THE ASSEMBLY LINE

AND IS SET ASIDE
FOR THE TIME BEING.

NEXT, TECHNICIANS MANUALLY
ASSEMBLE THE TOP HALF

OF THE LAPTOP
CALLED THE PANEL KIT.

THEY PLACE PROTECTION FILM
ON THE 15-INCH LCD SCREEN.

THEN THEY PLUG IN THE CABLE

THAT WILL CONNECT THE LCD
TO THE MOTHERBOARD.

THEY INSERT THE LCD SCREEN
INTO A FRAME WITH A WEB CAMERA

AND MICROPHONE ALREADY EMBEDDED.

THEN THEY ATTACH THIS ANTENNA
BOTTOM COVER TO THE SCREEN COVER

AND POSITION
THE MOTHERBOARD CABLE INSIDE IT.

NEXT, THEY INSTALL THE MODULE
FOR THE WEBCAM AND MICROPHONE.

THEY ATTACH TWO HINGES,

WHICH CONNECT THIS PANEL KIT
TO THE REST OF THE LAPTOP.

THEN THEY INSTALL
THE WI-FI ANTENNA

IN THE ANTENNA BOTTOM COVER.

ALL COMPONENTS ARE CONCEALED
IN THE ANTENNA BOTTOM COVER

BEHIND THIS ANTENNA TOP COVER.

THEY COMPLETE THE PANEL KIT

BY PRESSING IN A THIN METAL
FRAME AROUND THE SCREEN.

NEXT, THEY ASSEMBLE THE BOTTOM
HALF OF THE LAPTOP.

FIRST, TECHNICIANS ATTACH
THE TOP COVER

TO THE PANEL-KIT HINGES
AND THE TOUCHPAD.

THEN THEY INSTALL THE RIGHT AND
LEFT SPEAKERS IN THE TOP COVER.

NOW THE MOTHERBOARD
COMES BACK INTO PLAY.

AFTER INSPECTION,
A COMPUTER-GUIDED ROUTER

CUTS OUT OPENINGS TO ACCOMMODATE
THE COMPUTER'S FANS,

WHICH PREVENT THE ELECTRONICS
FROM OVERHEATING.

A GAMING LAPTOP GENERATES A LOT
MORE HEAT THAN A REGULAR LAPTOP

AND THEREFORE REQUIRES TWO
POWERFUL FANS RATHER THAN ONE.

AFTER CHECKING
THAT THE FAN SCREWS

ARE SUFFICIENTLY TIGHTENED,

THEY PLACE THE MOTHERBOARD
INTO THE TOP COVER.

CONTAMINANTS SUCH AS DUST OR OIL
CAN IMPEDE PROPER CONTACT,

SO AS A PRECAUTION,
THEY CLEAN THE CONNECTORS

FOR THE MEMORY MODULES
WITH SOLVENT,

THEN DRY THEM
WITH COMPRESSED AIR.

THEN THEY INSTALL
THE MEMORY MODULE,

THE WI-FI AND BLUETOOTH MODULE,

AND THE SOLID-STATE DISC,
WHICH STORES DATA.

THEY CONNECT A HIGH-CAPACITY
BATTERY TO THE MOTHERBOARD.

BATTERIES FOR GAMING LAPTOPS
ARE TYPICALLY LARGER

BECAUSE THE FASTER PROCESSOR AND
DUAL FANS CONSUME MORE POWER.

THE LAST COMPONENT IS
THE KEYBOARD,

WHICH FITS INTO
A RECTANGULAR OPENING

IN THE TOP COVER
OF THE BOTTOM HALF.

A LASER-ETCHING MACHINE

MARKS THE REQUIRED
INFORMATION UNDERNEATH.

AN AUTOMATED MACHINE TESTS
NUMEROUS FUNCTIONS,

AND A QUALITY-CONTROL TEAM TESTS
SEVERAL OTHERS,

INCLUDING THE VIRTUAL-REALITY
FEATURE...

...THE LCD AND KEYBOARD COLOR
DISPLAYS...

AND THE KEYS.

NOT ONLY MUST THE KEYS FUNCTION
PROPERLY,

THEY NEED TO BE DURABLE,

SO ENTHUSIASTIC GAMERS
WON'T BREAK THEM WHILE PLAYING.

Narrator: PANETTONE IS A
TRADITIONAL ITALIAN SWEETBREAD

MOST COMMONLY PREPARED
FOR DESSERT ON CHRISTMAS

AND NEW YEARS.

BAKING AUTHENTIC PANETTONE

CAN TAKE UP TO TWO DAYS
OR MORE TO MAKE.

A CERTAIN EXPERTISE IS NEEDED
TO TURN THESE INGREDIENTS

INTO ITS DOMED-LIKE SHAPE WHILE
MAINTAINING ITS FLUFFY CENTER.

THE BAKER POURS HIGH-PROTEIN
FLOUR TO A MIXING BOWL.

THEN HE ADDS THE FLOUR

INTO AN INDUSTRIAL-SIZED
DOUGH MIXER

THAT HAS HOOKED MIXING ARMS.

HE ADDS FRESH YEAST,
MILK POWDER,

AND ENOUGH WATER TO BIND
THE INGREDIENTS TOGETHER.

HE PLACES THE SAFETY CAGE
OVER THE DOUGH MIXER.

AS THE HOOK AGITATORS BLEND
THE INGREDIENTS, GLUTEN FORMS.

GLUTENS WILL GIVE
THE PANETTONE STRUCTURE.

SUGAR WILL FEED THE GROWTH
OF THE YEAST.

THE AGITATORS EVENLY
DISTRIBUTE IT IN THE DOUGH.

MEANWHILE THE BAKER CRACKS EGGS

AND SEPARATES THE YOLKS
FROM THE WHITES.

HE WEIGHS THE YOLKS
AND ADDS THEM TO THE MIX.

THIS PANETTONE RECIPE
CALLS FOR EGG YOLKS ONLY.

YOLKS PROVIDE FAT TO HELP
EMULSIFY THE DOUGH

AND GIVE IT FLAVOR.

TO FURTHER ENRICH THE FLAVOR
OF THE PANETTONE,

HE ADDS A GENEROUS
AMOUNT OF BUTTER.

THE MIXER FOLDS IT
INTO THE DOUGH.

HE TRANSFERS THE DOUGH
TO A CONTAINER

AND LEAVES IT
TO RISE FOR 11 HOURS.

THIS PROCESS IS CALLED
PROOFING THE DOUGH.

THE DOUGH UNDERGOES
MULTIPLE PROOFINGS.

IN BETWEEN EACH PROOFING PERIOD,
THE BAKER DEFLATES THE DOUGH

AND RETURNS IT TO THE MIXER.

DURING THIS PROCESS,
THE YEAST CONSUMES SUGAR,

SO HE ADDS MORE
TO FEED THE PROCESS.

NEXT, HE ADDS MORE
OF THE OTHER INGREDIENTS,

AND THE MIXER KNEADS THEM
INTO THE DOUGH FOR ONE HOUR.

THE MIXER WORKS THE DOUGH,
CREATING BANDS OF ELASTICITY,

SO THAT THE DOUGH
WILL STRETCH DURING RISING.

IN THE FINAL MIXING STAGE,

THE BAKER ADDS VANILLA EXTRACT
FOR ANOTHER FLAVOR DIMENSION.

WHILE
THE DOUGH MIXER DISTRIBUTES IT,

HE MEASURES FRUIT BY WEIGHT.

THE PANETTONE RECIPE CALLS
FOR TWO PARTS RAISINS,

ONE PART CANDIED ORANGE PIECES,

AND ONE PART CANDIED
LEMON PIECES.

THE MIXER FOLDS THEM
INTO THE DOUGH.

AFTER ANOTHER PROOFING,

THE BAKER SLICES THE FRUITED
DOUGH INTO CHUNKS.

SOME OF THE WATER IN THE DOUGH
WILL EVAPORATE DURING BAKING

AND THE PANETTONE
SHOULD END UP ABOUT TWO POUNDS.

HE SHAPES EACH CHUNK
INTO A UNIFORM MOLD

AND LEAVES THE DOUGH CHUNKS

TO RISE FOR AN HOUR
IN A WARM CHAMBER.

INSTEAD OF METAL PANS, PANETTONE
IS BAKED IN THESE PAPER MOLDS.

THE MOLDS WILL ALSO BE USED
AS RETAIL PACKAGING.

AFTER ABOUT AN HOUR
IN THE WARMING CHAMBER,

THE DOUGH CHUNKS
HAVE DOUBLED IN SIZE.

THE BAKER WORKS THEM
INTO A ROUNDER FORM

AND TRANSFERS THEM
TO PAPER MOLDS.

THEN IT'S BACK INTO THE WARMING
CHAMBER FOR ANOTHER PROOFING.

AS THE DOUGH RISES,

THE ROUND SHAPE IS CONTAINED
BY THE PAPER MOLDS.

AFTER SIX HOURS, HE TAKES OUT
THE MOLDS AND CARVES

CROSSES INTO THE RISEN DOUGH.

HE ADDS SMALL PIECES OF BUTTER
TO THE MIDDLE OF EACH CROSS.

AFTER 24 HOURS OF PREPARATION,

THE PANETTONES ARE READY
TO BE COOKED.

THEY BAKE FOR 45 MINUTES
AT 320 DEGREES FAHRENHEIT.

ONCE COMPLETE, HE QUICKLY
SPEARS EACH PANETTONE

WITH A METAL ROD NEAR THE BASE
AND HANGS IT UPSIDE DOWN.

THE PANETTONES COOL FOR UP
TO 24 HOURS

IN THIS UPSIDE-DOWN
SUSPENDED STATE.

THIS STRETCHES THE WARM BREADS
TO GIVE THEM THEIR DOME SHAPE

AND STOPS THEM
FROM CAVING INWARD.

ONCE COOLED, THE PANETTONES ARE
READY TO BE WRAPPED FOR RETAIL.

ALL THAT PROOFING HAS ALLOWED
THE FLAVORS TO MATURE

AND THE FLUFFY TEXTURE
TO DEVELOP.

THE YEAST WILL ACT
AS THE PRESERVATIVE,

KEEPING THIS ITALIAN CHRISTMAS
BREAD FRESH FOR UP TO 30 DAYS.

Narrator: THE SAXOPHONE WAS
INVENTED IN THE MID-1800s

BY ADOLPHE SAX,

THE SON OF BELGIUM'S CHIEF
INSTRUMENT MAKER.

WITH THE SAXOPHONE, SAX BLENDED
THE POWER OF A BRASS HORN

WITH THE NUANCES
OF A WOODWIND INSTRUMENT.

THIS INSTRUMENT HAS THE ABILITY
TO SOUND

BRIGHT AND EDGY
OR DARK AND MOODY.

EVEN THOUGH IT'S MADE OF BRASS
OR HIGH-COPPER ALLOYS,

THE SAXOPHONE IS TECHNICALLY
A WOODWIND INSTRUMENT.

THAT'S BECAUSE IT PRODUCES SOUND

BY VIBRATING A REED
ATTACHED TO THE MOUTHPIECE.

THE PROCESS OF MAKING
A SAXOPHONE

STARTS WITH A LONG BRASS
OR COPPER SHEATH.

A HYDRAULIC PUNCH CUTS THE METAL
INTO RECTANGLES.

AFTER TRACING A FLARED PATTERN
ONTO ONE PIECE OF METAL,

A CRAFTSMAN ALIGNS THE PATTERN
WITH THE PUNCH

TO CUT OUT THE PART.

THIS PART WILL NOW BE FORMED
INTO THE SAXOPHONE'S BELL.

THE WORKER FOLDS IT AROUND
THE METAL ROD

AND POUNDS IT
WITH A WOODEN STICK

TO DO SOME INITIAL SHAPING.

THIS TAKES THE PART FROM FLAT
TO THREE DIMENSIONAL.

AFTER THE SEAM HAS BEEN WELDED,

MORE HAMMERING ROUNDS THE SHAPE
SUBSTANTIALLY

AND IMPROVES
ON THE FLARE AT THE END.

NEXT, THE CRAFTSMAN REPEATEDLY
POUNDS THE FLARE

TO FORM IT INTO A BELL.

HAND-HAMMERING SHAPES THE METAL

AND ALSO ALTERS
THE PHYSICAL PROPERTIES

TO MAKE THE SOUND
MORE RESONANT.

THROUGHOUT
THE FORMING OF THE INSTRUMENT,

IT IS HEATED WITH A TORCH.

THIS MAKES THE METAL FLEXIBLE
ENOUGH TO BE SHAPED.

NEXT, HE SLIDES THE BELL
ONTO A FORM.

HE BRUSHES LUBRICANT ONTO
THE METAL...

AND LOWERS A ROLLER.

THE FORM SPINS THE CURVED
BELL AGAINST THE ROLLER,

WHICH SMOOTHES OUT DENTS
AND FORCES THE BELL

TO CONFORM
TO THE DIMENSIONS OF THE ROLLER.

THE ROLLED SAXOPHONE BELL
IS THE ONE ON THE RIGHT.

IT'S DRAMATICALLY DIFFERENT.

NOW WE CAN SEE THE
SAXOPHONE'S BODY TAKE SHAPE.

IT STARTS WITH THIS PIECE OF
METAL THAT'S WIDER AT ONE END.

THE OPERATOR PLACES IT
UNDER A CONE-SHAPED FORM.

USING HYDRAULICS, IT DESCENDS
TO FOLD THE PART

AND IMPRINT THE CONE SHAPE
ON THE METAL.

AFTER MORE FORMING,

ANOTHER WORKER WELDS THE SEAMS
TO COMPLETE THE CONE.

THIS PART OF THE INSTRUMENT
IS ALSO CALLED THE TUBE.

MEANWHILE, THE FORMING WORK
ON THE SAXOPHONE BELL

HAS BEEN COMPLETED.

A WORKER LOCKS THE UPPER PART
OF THE BELL INTO A MACHINE

AND TURNS THE PUNCH DEVICE
TO CUT THE TONE HOLES.

SOUND WAVES WILL BE EMITTED
THROUGH BOTH THE OPEN TONE HOLES

AND THE BELL'S FLARE.

LATER, ANOTHER WORKER
AIMS A TORCH

AT THE SAXOPHONE BODY
TO SOFTEN THE METAL,

SO THAT THE RIMS OF THE TONE
HOLES CAN NOW BE FORMED.

HE SLIDES THE BODY ONTO A STEEL
MANDREL WITH ROUND INSERTS.

HE ALIGNS THE TONE HOLES
WITH HOLES ON THE MANDREL.

HE SETS A GUIDE RACK ON TOP,
ALIGNING THE HOLES IN THE RACK

WITH THE HOLES
IN THE INSTRUMENT.

HE INSERTS TOOLS
THROUGH THE HOLES

AND THREADS THEM INTO THE ROUND
INSERTS IN THE MANDREL.

A SUPPORT BRACKET PROPS
UP THE TOOLS.

USING THE TOOLS, HE PULLS
THE INSERTS THROUGH THE HOLES.

THIS FORMS A RIM
AROUND EACH HOLE.

THE RAISED EDGING
WILL ALLOW KEY CUPS

TO CLOSE THE TONE
HOLES EFFECTIVELY.

THE CRAFTSMAN DRILLS THE RIMS
TO SMOOTH AND LEVEL THEM.

THIS WILL PREVENT GAPS
THAT COULD AFFECT THE SOUND

OF THE INSTRUMENT
WHEN THE KEY CUPS CLOSE.

THE NEXT PART IS THE BOW,

WHICH WILL LINK
THE SAXOPHONE BELL AND BODY.

THE CRAFTSMAN BRUSHES
A CLEANING AGENT

KNOWN AS FLUX ONTO ONE END.

HE CONNECTS THE TWO PARTS

AND APPLIES MORE FLUX TO
THE BELL WHERE IT MEETS THE BOW.

HE THEN MELTS SOLDER WHERE
THE TWO PARTS COME TOGETHER,

COMPLETING THIS
CRITICAL CONNECTION.

THE SOLDER MAKES THE JOINT
AIRTIGHT.

HE TURNS OVER THE BELL AND BOW
ASSEMBLY TO COMPLETE THE JOB,

ENSURING THAT THE SOLDER
ENCOMPASSES THE ENTIRE JOINT.

HE DABS WATER ONTO THE SOLDERED
JOINT TO COOL IT DOWN.

BUT BEFORE THIS SAXOPHONE
IS READY TO MAKE MUSIC,

A FEW MORE STEPS
MUST BE TAKEN FOR GOOD MEASURE.

Narrator: THE SAXOPHONE
HAS TONAL QUALITIES

SIMILAR TO THOSE
OF THE HUMAN VOICE.

ITS SOUND CAN RANGE FROM SULTRY,
DARK TONES

TO HIGH-PITCHED EXUBERANCE.

IT'S NO WONDER THE SAXOPHONE
HAS FOUND A PLACE

IN MANY MUSIC STYLES FROM JAZZ
TO POP TO THE CLASSICS.

THE STANDARD SAXOPHONE HAS
23 DIFFERENT TONE HOLES

AND AN EQUAL NUMBER
OF KEY CUPS TO CLOSE THEM.

AT THIS FACTORY, EACH KEY CUP
IS ASSEMBLED BY HAND.

A CRAFTSMAN ARRANGES THE PARTS
OF A KEY CUP IN A FIXTURE

TO POSITION THEM FOR SOLDERING.

HE INSERTS A ROD THAT WILL ACT
AS AN ALIGNMENT

AND POSITIONING TOOL.

HE APPLIES FLUX TO CLEAN
THE PART

AND MELTS SILVER SOLDER
INTO THE CONNECTING POINTS.

TO PREVENT THE PARTS
FROM SLIDING,

THE CRAFTSMAN USES PINCERS
TO ADJUST THEIR POSITION.

OTHER KEYS ARE GROUPED TOGETHER
ON A BRASS PLATE KNOWN AS A RIB.

HE SPACES THE KEY POSTS
EVENLY ON A ROD

THAT SERVES
AS AN ALIGNMENT TOOL.

SEVERAL OVERHEAD CLAMPS HOLD
THE POSTS IN PLACE ON THE RIB.

HE APPLIES THE CHEMICAL CLEANER
TO THE BASE OF THE POST

AND THE PLATE AROUND THEM.

SILVER SOLDER IS MELTED
AROUND THE POST,

AND AS IT SOLIDIFIES,
IT FUSES THEM TO THE PLATE.

NEXT, THE CRAFTSMAN REMOVES
THE OVERHEAD CLAMP SYSTEM.

AFTER SLIDING KEYS ONTO THE ENDS
OF THE ALIGNMENT ROD,

HE POSITIONS THE ASSEMBLY
ON THE SAXOPHONE BODY.

HE CLOSES THE KEYS ONTO
THE CORRESPONDING TONE HOLES

AND SOLDERS THE BASE PLATE

TO THE LOWER PART
OF THE SAXOPHONE BODY.

HE BRUSHES WATER ONTO THE SOLDER

TO ACCELERATE THE COOLING
AND SOLIDIFICATION.

HE THEN REMOVES
THE ALIGNMENT ROD

AND UNCAPS THE TONE HOLES
FOR NOW.

A CLEANING AGENT IS BRUSHED ONTO
THE BACK OF A RIB

THAT SUPPORTS
A SECOND GROUPING OF KEY POSTS.

HE SOLDERS THE RIB TO THE UPPER
PART OF THE SAXOPHONE BODY

AND TAKES THE ALIGNMENT ROD OFF.

THE POSTS HAVE BEEN INSTALLED
IN A SPECIFIC SEQUENCE

TO SUPPORT EXTENDING KEYS
ON A HINGE ROD.

LATER, ANOTHER WORKER POLISHES
THE BOW AND BELL ASSEMBLY

AGAINST A BUFFING WHEEL,
WHICH POLISHES THE INSTRUMENT

TO REMOVE SMUDGES
OR FINGERPRINTS

AND GIVE THE BRASS PARTS
A MIRROR FINISH.

THEY DIP THE BRASS
SAXOPHONE PARTS IN A BATH

WHERE SOUND WAVES HELP
REMOVE RESIDUAL DIRT AND GREASE.

THERE'S ALSO A CHEMICAL PRIMER
IN THE BATH

THAT WILL HELP A LACQUER BOND
TO THE BRASS.

A TECHNICIAN SPRAYS THE LACQUER
ONTO THE BRASS

TO PROTECT IT
FROM CORROSION AND TARNISH.

FLORAL ARTWORK WILL ADD
VISUAL FLAIR

TO THIS COPPER SAXOPHONE BELL.

THE COPPER HAS BEEN PAINTED
BLACK TO MAKE THE ART STAND OUT.

THE ARTIST FOLLOWS THE STENCIL
WITH AN ETCHING TOOL,

ROTATING IT USING
A TWIRLING MOTION TECHNIQUE,

ETCHING IN FLUID MOVEMENTS.

HE DOESN'T STOP UNTIL
HE'S COMPLETED A LINE

TO PREVENT ANY INCONSISTENCIES
IN THE ENGRAVING.

AFTER HE COMPLETES THE PATTERN,
HE DOES DETAIL WORK.

THIS EXPOSES THE COPPER METAL
AND MAKES THE ART POP.

RETURNING TO THE BRASS
SAXOPHONE NOW,

A TECHNICIAN SCREWS LONG
HINGE RODS TO THE POSTS.

HE ATTACHES THE KEYS,

WHICH HAVE BEEN EQUIPPED
WITH PADS IN THE CUPS.

A TINY SCREW SECURES
THIS GROUPING OF KEYS.

HE TURNS THE SAXOPHONE OVER,
INSERTS A LIGHT,

AND LOOKS FOR ESCAPING RAYS,
MAKING ADJUSTMENTS IF NEEDED.

HE INSTALLS NEEDLE SPRINGS UNDER
THE KEY RODS AND MAIN HINGE ROD.

THEY'LL ENABLE THE KEYS
TO SPRING BACK

AFTER THEY'RE PRESSED.

HE TESTS THE SPRING ACTION AND,
AGAIN, CHECKS FOR LIGHT LEAKS.

HE NOW FITS THE BELL BOW
TO THE MAIN BODY.

THERE'S A CONNECTING RING
THAT HOLDS THEM TOGETHER,

BUT HE'LL ALSO LOCK THEM
IN PLACE WITH A SCREW.

FROM START TO FINISH,

IT TAKES ABOUT A MONTH
TO CRAFT THIS SAXOPHONE.

WHETHER IT'S MADE OUT
OF BASIC BRASS

OR SOMETHING A LITTLE SHOWIER,
THE LOOK OF THE INSTRUMENT

CAN REFLECT
THE SAXOPHONIST'S PLAYING STYLE,

BUT THE TONE OF THE INSTRUMENT
DEFINES IT.