Mouthpiece Work / decreasing my bore
FROM: baribri (baribri)
SUBJECT: decreasing my bore
Hi guys, thanks so very much for the fast suggestions.. unfortunately they all take more talent than I have... so far the machine shop sounds the best if I can find one that is reasonable. thanks again, Brian
FROM: danny_tb (danny_tb)
SUBJECT: Re: decreasing my bore
Brian, Being an engineer that understands what is going on when you deform metal, I would also say that getting a machine shop to decrease the diameter of your mouthpiece is the most likely option to wreck your mouthpiece. This is because there may be stress paths and residual stresses that you don't know about (from the process of making the mouthpiece in the forst place), and when you go squashing the shank down, you're risking one of those unseen stress paths and residual stresses becoming over stressed, and deforming (perhaps even cracking) in places that you don't want deformation, such as the table (if the shank end of the table pushes up, you may not get a proper seal between it and the reed, and it's likely to decrease your tip gap at the same time). However, the main thing to keep in mind is that your precision made mouthpiece (or at least relatively precision made) isn't likely to be altered to any real degree of precision by some workshop - not even a good one. Asside from this, you've spent money on the mouthpiece, so you want it to retain its value. If you go altering it like that, it's value will be likely to plummet, because it's then nowhere near being in original condition. Aside from all of this, there is the physiological (actually, in this case, neurological) aspect of it. Having just changed mouthpieces myself, I'm in a very good position to give you the benefit of my experience on this: If you continually swap from one mouthpiece to another (particularly on the same instrument - not quite as relevant when comparing a soprano sax mouthpiece with a baritone mouthpiece, or even alto and tenor - but still relevant to a certain extent), you'll find that your embouchure won't be "just the right shape" for either of them. This is because your brain will (even if you don't know it's happening) start to adjust the neurons and neuron connections to get used to the new mouthpiece, and then it's making you use the wrong embouchure for the old mouthpiece when you swap back to that. I hope that you can see that swapping mouthpieces all the time will leave you in "no man's land" as far as your brain's adjusting your embouchure is concerned. And no matter how similar the two "perfect" embouchures are, there will be differences, and in fact, the more similar they are, the more troubles you'll have with the finer points of your embouchure. Of course, I'm coming from the perspective of a "tone perfectionist", where an ever so slightly imperfect tone is not good enough. Perhaps you're not quite so concerned about your tone as I am, but if you weren't concerned with your tone, you wouldn't be likely to be on this list trying to find out how you can use this other mouthpiece that will give you a certain tone you want... Needless to say, my advice is to figure out which mouthpiece you like the tone of better, and stick to it, never to play the other one again. However, if you don't want to take that advice, I would get a machine shop to make up a sleeve to adapt the larger bore mouthpiece onto your neck. But be careful not to lose it up the bore of your mouthpiece. Anyway, that's my 2 cents worth... Danny Barrett --- In MouthpieceWork@y..., "baribri" <Baribri@o...> wrote: > Hi guys, > thanks so very much for the fast suggestions.. unfortunately they all > take more talent than I have... so far the machine shop sounds the > best if I can find one that is reasonable. > thanks again, > Brian
FROM: kwbradbury (Keith Bradbury)
SUBJECT: One or several mouthpieces?
Danny brings up a good tangent topic on using several mouthpieces. I use to stick with one, somewhat versatile, mouthpiece and I would try to vary my embouchure and reed to play styles from classical to hard rock. But I now find that having several mouthpieces for all the styles allows me to keep my embouchure more constant and I tire out less. I still need to pick the most appropriate one for the situation and use embouchure for style changes. If someone calls a sweet ballad, you dont say "excuse me while I change my mouthpiece". (Only the Strathon allows a quick baffle change.) Yes, it is great to really "know" a mouthpiece and sax by sticking with one. But if you are a doubler, you need to be able to adapt quickly to a new instrument and mouthpiece size anyway. Plus, it's a lot of fun! __________________________________________________ Do You Yahoo!? Yahoo! Finance - Get real-time stock quotes http://finance.yahoo.com
FROM: (Dave Spiegelthal)
SUBJECT: Re: decreasing my bore
Danny and Brian,
I'm also an engineer (mechanical) with some understanding of
metallurgy and fabrication methods, and I can assure you that a proper job
of swaging down the shank of a metal mouthpiece is highly unlikely to crack
the metal, as it as brass and quite ductile. If it's nickel-plated the
plating will probably crack and/or peel, however if silver- or gold-plated
the plating should remain intact. From the small amount of deformation
we're talking about here, the residual stresses will be low and nothing to
worry about.
David Spiegelthal
Calverton, VA
---------------------------------------------------------------------------------------------------------------------------
Brian,
Being an engineer that understands what is going on when you deform
metal, I would also say that getting a machine shop to decrease the
diameter of your mouthpiece is the most likely option to wreck your
mouthpiece. This is because there may be stress paths and residual
stresses that you don't know about (from the process of making the
mouthpiece in the forst place), and when you go squashing the shank
down, you're risking one of those unseen stress paths and residual
stresses becoming over stressed, and deforming (perhaps even
cracking) in places that you don't want deformation, such as the
table (if the shank end of the table pushes up, you may not get a
proper seal between it and the reed, and it's likely to decrease your
tip gap at the same time).
However, the main thing to keep in mind is that your precision made
mouthpiece (or at least relatively precision made) isn't likely to be
altered to any real degree of precision by some workshop - not even a
good one. Asside from this, you've spent money on the mouthpiece, so
you want it to retain its value. If you go altering it like that,
it's value will be likely to plummet, because it's then nowhere near
being in original condition.
Aside from all of this, there is the physiological (actually, in this
case, neurological) aspect of it. Having just changed mouthpieces
myself, I'm in a very good position to give you the benefit of my
experience on this:
If you continually swap from one mouthpiece to another (particularly
on the same instrument - not quite as relevant when comparing a
soprano sax mouthpiece with a baritone mouthpiece, or even alto and
tenor - but still relevant to a certain extent), you'll find that
your embouchure won't be "just the right shape" for either of them.
This is because your brain will (even if you don't know it's
happening) start to adjust the neurons and neuron connections to get
used to the new mouthpiece, and then it's making you use the wrong
embouchure for the old mouthpiece when you swap back to that. I hope
that you can see that swapping mouthpieces all the time will leave
you in "no man's land" as far as your brain's adjusting your
embouchure is concerned. And no matter how similar the two "perfect"
embouchures are, there will be differences, and in fact, the more
similar they are, the more troubles you'll have with the finer points
of your embouchure.
Of course, I'm coming from the perspective of a "tone perfectionist",
where an ever so slightly imperfect tone is not good enough. Perhaps
you're not quite so concerned about your tone as I am, but if you
weren't concerned with your tone, you wouldn't be likely to be on
this list trying to find out how you can use this other mouthpiece
that will give you a certain tone you want...
Needless to say, my advice is to figure out which mouthpiece you like
the tone of better, and stick to it, never to play the other one
again. However, if you don't want to take that advice, I would get a
machine shop to make up a sleeve to adapt the larger bore mouthpiece
onto your neck. But be careful not to lose it up the bore of your
mouthpiece.
Anyway, that's my 2 cents worth...
Danny Barrett
--- In MouthpieceWork@y..., "baribri" <Baribri@o...> wrote:
> Hi guys,
> thanks so very much for the fast suggestions.. unfortunately they
all
> take more talent than I have... so far the machine shop sounds the
> best if I can find one that is reasonable.
> thanks again,
> Brian
Got a Mouthpiece Work question? Send it to MouthpieceWork@yahoogroups.com
Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see the
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FROM: kwbradbury (Keith Bradbury)
SUBJECT: Re: decreasing my bore
Perhaps we have too many mouthpieces... and too many engineers? :-) Nah... We live in great mouthpiece times where we have lots of choices. Keith Bradbury BSME Rutgers '79 MSME Drexel '84 ==See my Musical Instrument Lamps at http://photos.yahoo.com/bc/kwbradbury/slideshow?&.dir=/Instrument+Lamps Hear me at http://www.geocities.com/kwbradbury/MojoCD.html __________________________________________________ Do You Yahoo!? Yahoo! Finance - Get real-time stock quotes http://finance.yahoo.com
FROM: (Dave Spiegelthal)
SUBJECT: Re: decreasing my bore
Keith,
Too many engineers? Yes (considering the job market).
Too many mouthpieces? Inconceivable! He who dies with the most
mouthpieces wins!
David Spiegelthal
BSME Univ. of Maryland '79
MSME Catholic Univ. '93
__________________________________________________________________________________________
Perhaps we have too many mouthpieces... and too many engineers? :-)
Nah... We live in great mouthpiece times where we have lots of choices.
Keith Bradbury
BSME Rutgers '79
MSME Drexel '84
==See my Musical Instrument Lamps at
http://photos.yahoo.com/bc/kwbradbury/slideshow?&.dir=/Instrument+Lamps
Hear me at http://www.geocities.com/kwbradbury/MojoCD.html
__________________________________________________
Do You Yahoo!?
Yahoo! Finance - Get real-time stock quotes
http://finance.yahoo.com
Got a Mouthpiece Work question? Send it to MouthpieceWork@yahoogroups.com
Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see the
Files, Photos and Bookmarks relating to Mouthpiece Work.
To see and modify your groups, go to http://groups.yahoo.com/mygroups
Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
FROM: tenorman1952 (Paul Coats)
SUBJECT: Re: decreasing my bore
I see no way to do this without damaging the table/facing. Sleeving is
the only practical choice.
Paul
Dave Spiegelthal wrote:
>
> Danny and Brian,
> I'm also an engineer (mechanical) with some understanding of
> metallurgy and fabrication methods, and I can assure you that a proper
> job
> of swaging down the shank of a metal mouthpiece is highly unlikely to
> crack
> the metal, as it as brass and quite ductile. If it's nickel-plated the
>
> plating will probably crack and/or peel, however if silver- or
> gold-plated
> the plating should remain intact. From the small amount of
> deformation
> we're talking about here, the residual stresses will be low and
> nothing to
> worry about.
> David Spiegelthal
> Calverton, VA
>
> --------------------------------------------------------------------------------------------------------------------------
>
>
>
> Brian,
>
> Being an engineer that understands what is going on when you deform
> metal, I would also say that getting a machine shop to decrease the
> diameter of your mouthpiece is the most likely option to wreck your
> mouthpiece. This is because there may be stress paths and residual
> stresses that you don't know about (from the process of making the
> mouthpiece in the forst place), and when you go squashing the shank
> down, you're risking one of those unseen stress paths and residual
> stresses becoming over stressed, and deforming (perhaps even
> cracking) in places that you don't want deformation, such as the
> table (if the shank end of the table pushes up, you may not get a
> proper seal between it and the reed, and it's likely to decrease your
> tip gap at the same time).
>
> However, the main thing to keep in mind is that your precision made
> mouthpiece (or at least relatively precision made) isn't likely to be
> altered to any real degree of precision by some workshop - not even a
> good one. Asside from this, you've spent money on the mouthpiece, so
> you want it to retain its value. If you go altering it like that,
> it's value will be likely to plummet, because it's then nowhere near
> being in original condition.
>
> Aside from all of this, there is the physiological (actually, in this
> case, neurological) aspect of it. Having just changed mouthpieces
> myself, I'm in a very good position to give you the benefit of my
> experience on this:
>
> If you continually swap from one mouthpiece to another (particularly
> on the same instrument - not quite as relevant when comparing a
> soprano sax mouthpiece with a baritone mouthpiece, or even alto and
> tenor - but still relevant to a certain extent), you'll find that
> your embouchure won't be "just the right shape" for either of them.
> This is because your brain will (even if you don't know it's
> happening) start to adjust the neurons and neuron connections to get
> used to the new mouthpiece, and then it's making you use the wrong
> embouchure for the old mouthpiece when you swap back to that. I hope
> that you can see that swapping mouthpieces all the time will leave
> you in "no man's land" as far as your brain's adjusting your
> embouchure is concerned. And no matter how similar the two "perfect"
> embouchures are, there will be differences, and in fact, the more
> similar they are, the more troubles you'll have with the finer points
> of your embouchure.
>
> Of course, I'm coming from the perspective of a "tone perfectionist",
> where an ever so slightly imperfect tone is not good enough. Perhaps
> you're not quite so concerned about your tone as I am, but if you
> weren't concerned with your tone, you wouldn't be likely to be on
> this list trying to find out how you can use this other mouthpiece
> that will give you a certain tone you want...
>
> Needless to say, my advice is to figure out which mouthpiece you like
> the tone of better, and stick to it, never to play the other one
> again. However, if you don't want to take that advice, I would get a
> machine shop to make up a sleeve to adapt the larger bore mouthpiece
> onto your neck. But be careful not to lose it up the bore of your
> mouthpiece.
>
> Anyway, that's my 2 cents worth...
>
> Danny Barrett
>
>
> --- In MouthpieceWork@y..., "baribri" <Baribri@o...> wrote:
> > Hi guys,
> > thanks so very much for the fast suggestions.. unfortunately they
> all
> > take more talent than I have... so far the machine shop sounds the
> > best if I can find one that is reasonable.
> > thanks again,
> > Brian
>
>
>
> Got a Mouthpiece Work question? Send it to
> MouthpieceWork@yahoogroups.com
>
> Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see
> the
> Files, Photos and Bookmarks relating to Mouthpiece Work.
>
> To see and modify your groups, go to http://groups.yahoo.com/mygroups
>
> Your use of Yahoo! Groups is subject to
> http://docs.yahoo.com/info/terms/
>
>
>
>
>
>
>
> Yahoo! Groups Sponsor
ADVERTISEMENT
>
> Got a Mouthpiece Work question? Send it to
> MouthpieceWork@yahoogroups.com
>
> Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see
> the Files, Photos and Bookmarks relating to Mouthpiece Work.
>
> To see and modify your groups, go to http://groups.yahoo.com/mygroups
>
> Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service.
--
Link to Paul's articles from Home page of "Sax on the Web":
http://www.saxontheweb.net
or directly to Paul's articles at:
http://www.saxontheweb.net/Coats/
Listen to Paul's MP3's at:
http://briefcase.yahoo.com/tenorman1952
and view photos.
FROM: tenorman1952 (Paul Coats)
SUBJECT: Re: One or several mouthpieces?
I agree, Keith. The teacher who tells his high school jazz band lead
alto to use his Selmer C*, and a good player can do anything with just
that one mouthpiece, is misleading that young player. The Selmer C* is
no more appropriate for jazz band or rock and roll than is a Dukoff for
sax quartet.
I find I need three setups... a classical for that kind of playing, a
middle of the road setup for 90% of my playing, and a full throttle
rock/R&B mouthpiece. No big deal switching, it is no different than
switching from alto to tenor, or any other double.
No, you can't switch in the middle of a gig for one tune, or insert or
remove a baffle or spoiler... embouchure can take care of any minor
changes. But you know going in generally what you need for a particular
gig.
Paul
Keith Bradbury wrote:
> Danny brings up a good tangent topic on using several mouthpieces.
>
> I use to stick with one, somewhat versatile, mouthpiece and I would
> try to
> vary my embouchure and reed to play styles from classical to hard
> rock.
> But I now find that having several mouthpieces for all the styles
> allows me
> to keep my embouchure more constant and I tire out less. I still need
> to
> pick the most appropriate one for the situation and use embouchure for
>
> style changes. If someone calls a sweet ballad, you dont say "excuse
> me
> while I change my mouthpiece". (Only the Strathon allows a quick
> baffle
> change.)
>
> Yes, it is great to really "know" a mouthpiece and sax by sticking
> with
> one. But if you are a doubler, you need to be able to adapt quickly
> to a
> new instrument and mouthpiece size anyway. Plus, it's a lot of fun!
>
> __________________________________________________
> Do You Yahoo!?
> Yahoo! Finance - Get real-time stock quotes
> http://finance.yahoo.com
>
> Yahoo! Groups Sponsor
ADVERTISEMENT
>
> Got a Mouthpiece Work question? Send it to
> MouthpieceWork@yahoogroups.com
>
> Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see
> the Files, Photos and Bookmarks relating to Mouthpiece Work.
>
> To see and modify your groups, go to http://groups.yahoo.com/mygroups
>
> Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service.
--
Link to Paul's articles from Home page of "Sax on the Web":
http://www.saxontheweb.net
or directly to Paul's articles at:
http://www.saxontheweb.net/Coats/
Listen to Paul's MP3's at:
http://briefcase.yahoo.com/tenorman1952
and view photos.
FROM: kwbradbury (kwbradbury)
SUBJECT: Re: decreasing my bore
Here is a follow up to my suggested method: The 5-Min stuff worked for me. I would use whatever epoxy you have laying around. But if you need to go buy something, JB Weld would be creamier and would set slower. After is starts to set up (like 1-2 hours?), you could wet your finger and smooth it out some more. You may not have to sand it at all unless it is too tight.
FROM: danny_tb (danny_tb)
SUBJECT: Re: One or several mouthpieces?
I can certainly see your point there about widely different styles, etc. Personally, I come from the standpoint that I play mostly west- coast "cool" jazz, so the one mouthpiece will serve me very well. But occasionally I also play a bit of rock with a few friends. However, I tend to take the view that Stan Getz seemed to take: make the music fit the sound, but whatever you do, don't change your sound, because that's a big part of you. For instance, with my new mouthpiece, I have a very big, warm, fat (actually, more like obese) sound. It's perfect for the music I play mainly, but when I play rock, I don't change back to the metal mouthpiece - I just find a way to make my tone fit the situation so that I don't have to change my embouchure: *blow* through the horn instead of breathing through it! Doing that, I get more volume but it's still really fat and warm, and the guys that I play with love it - they think that the sound I'm getting now is much better to play with than the sound I was getting with the metal mouthpiece. Besides... You're not likely to "stand out from the croud" if you sound like they do. It's the ones that sound different to all of the preconceived ideas that a person's ears will pick up the most. That's why Stan Getz was called "The Sound"... Nobody else had the same tone, and he was noticed for it. If he hadn't had such a distinctive tone, he would have ended up like Zoot Sims: Yes, well respected, etc, but nowhere near the success story: In 1962 Getz went "top 40" with "Desafinado" and again in 1964 with "The Girl From Ipanema". Who else has stayed true to their ideals and done (in the "saxophone world") this without something special (be it tone, like Getz and Desmond, or total technical mastery, like Parker) that "stands out from the crowd"? Certainly, I respect your desire for a different tone depending on what you're playing, but you do have to admit that it's less likely to make you stand out as something different if you end up sounding just like people expect you to for the type of music being played. You wouldn't expect a Getz-like tone to go down well with people that play rock, but it seems to work for me. And I don't have to compromise my tone to do it... Anyway, it's just food for thought. DB --- In MouthpieceWork@y..., Keith Bradbury <kwbradbury@y...> wrote: > Danny brings up a good tangent topic on using several mouthpieces. > > I use to stick with one, somewhat versatile, mouthpiece and I would try to > vary my embouchure and reed to play styles from classical to hard rock. > But I now find that having several mouthpieces for all the styles allows me > to keep my embouchure more constant and I tire out less. I still need to > pick the most appropriate one for the situation and use embouchure for > style changes. If someone calls a sweet ballad, you dont say "excuse me > while I change my mouthpiece". (Only the Strathon allows a quick baffle > change.) > > Yes, it is great to really "know" a mouthpiece and sax by sticking with > one. But if you are a doubler, you need to be able to adapt quickly to a > new instrument and mouthpiece size anyway. Plus, it's a lot of fun! > > __________________________________________________ > Do You Yahoo!? > Yahoo! Finance - Get real-time stock quotes > http://finance.yahoo.com
FROM: danny_tb (danny_tb)
SUBJECT: Re: decreasing my bore
Dave, Very good point. But do you really think it's wise to leave a precision made device in the hands of "just any old tradesman"??? They're likely to clamp it in all of the wrong places (etc, etc, etc) as far as a mouthpiece is concerned... You would be running a serious risk of ruining the facing of a perfectly good mouthpiece. Sure, you could (by chance or good management) get someone that will take the required amount of care, but they are usually not the normal fitter and turner that is commonly found. Personally, I still think that the best bet is to make up a spacer to go between the cork and the mouthpiece. If there isn't enough space to do this, the epoxy in the bore would be my second preference, because it's more reversable than permanently deforming the mouthpiece. Another 2 cents worth. :-) DB --- In MouthpieceWork@y..., "Dave Spiegelthal" <spiegelthal.dave@o...> wrote: > > Danny and Brian, > I'm also an engineer (mechanical) with some understanding of > metallurgy and fabrication methods, and I can assure you that a proper job > of swaging down the shank of a metal mouthpiece is highly unlikely to crack > the metal, as it as brass and quite ductile. If it's nickel-plated the > plating will probably crack and/or peel, however if silver- or gold- plated > the plating should remain intact. From the small amount of deformation > we're talking about here, the residual stresses will be low and nothing to > worry about. > David Spiegelthal > Calverton, VA > -------------------------------------------------------------------- ------------------------------------------------------- > > > Brian, > > Being an engineer that understands what is going on when you deform > metal, I would also say that getting a machine shop to decrease the > diameter of your mouthpiece is the most likely option to wreck your > mouthpiece. This is because there may be stress paths and residual > stresses that you don't know about (from the process of making the > mouthpiece in the forst place), and when you go squashing the shank > down, you're risking one of those unseen stress paths and residual > stresses becoming over stressed, and deforming (perhaps even > cracking) in places that you don't want deformation, such as the > table (if the shank end of the table pushes up, you may not get a > proper seal between it and the reed, and it's likely to decrease your > tip gap at the same time). > > However, the main thing to keep in mind is that your precision made > mouthpiece (or at least relatively precision made) isn't likely to be > altered to any real degree of precision by some workshop - not even a > good one. Asside from this, you've spent money on the mouthpiece, so > you want it to retain its value. If you go altering it like that, > it's value will be likely to plummet, because it's then nowhere near > being in original condition. > > Aside from all of this, there is the physiological (actually, in this > case, neurological) aspect of it. Having just changed mouthpieces > myself, I'm in a very good position to give you the benefit of my > experience on this: > > If you continually swap from one mouthpiece to another (particularly > on the same instrument - not quite as relevant when comparing a > soprano sax mouthpiece with a baritone mouthpiece, or even alto and > tenor - but still relevant to a certain extent), you'll find that > your embouchure won't be "just the right shape" for either of them. > This is because your brain will (even if you don't know it's > happening) start to adjust the neurons and neuron connections to get > used to the new mouthpiece, and then it's making you use the wrong > embouchure for the old mouthpiece when you swap back to that. I hope > that you can see that swapping mouthpieces all the time will leave > you in "no man's land" as far as your brain's adjusting your > embouchure is concerned. And no matter how similar the two "perfect" > embouchures are, there will be differences, and in fact, the more > similar they are, the more troubles you'll have with the finer points > of your embouchure. > > Of course, I'm coming from the perspective of a "tone perfectionist", > where an ever so slightly imperfect tone is not good enough. Perhaps > you're not quite so concerned about your tone as I am, but if you > weren't concerned with your tone, you wouldn't be likely to be on > this list trying to find out how you can use this other mouthpiece > that will give you a certain tone you want... > > Needless to say, my advice is to figure out which mouthpiece you like > the tone of better, and stick to it, never to play the other one > again. However, if you don't want to take that advice, I would get a > machine shop to make up a sleeve to adapt the larger bore mouthpiece > onto your neck. But be careful not to lose it up the bore of your > mouthpiece. > > Anyway, that's my 2 cents worth... > > Danny Barrett > > > --- In MouthpieceWork@y..., "baribri" <Baribri@o...> wrote: > > Hi guys, > > thanks so very much for the fast suggestions.. unfortunately they > all > > take more talent than I have... so far the machine shop sounds the > > best if I can find one that is reasonable. > > thanks again, > > Brian > > > > Got a Mouthpiece Work question? Send it to MouthpieceWork@y... > > Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see the > Files, Photos and Bookmarks relating to Mouthpiece Work. > > To see and modify your groups, go to http://groups.yahoo.com/mygroups > > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
FROM: danny_tb (danny_tb)
SUBJECT: Re: decreasing my bore
Perhaps... :-) DB --- In MouthpieceWork@y..., Keith Bradbury <kwbradbury@y...> wrote: > Perhaps we have too many mouthpieces... and too many engineers? :-) > > Nah... We live in great mouthpiece times where we have lots of choices. > > Keith Bradbury > BSME Rutgers '79 > MSME Drexel '84 > > ==> See my Musical Instrument Lamps at http://photos.yahoo.com/bc/kwbradbury/slideshow? &.dir=/Instrument+Lamps > > Hear me at http://www.geocities.com/kwbradbury/MojoCD.html > > __________________________________________________ > Do You Yahoo!? > Yahoo! Finance - Get real-time stock quotes > http://finance.yahoo.com
FROM: danny_tb (danny_tb)
SUBJECT: Re: decreasing my bore
Dave, If you go for quantity, then perhaps that's so. However, there is also a qualitative aspect: Do you "win" if you have 10,000 mouthpieces, none of which produce the sound that you want? Or do you "win" if you have 1 mouthpiece that produces the exact sound you want? After all, none of us would be on this list if we didn't want to get the exact sound that we want... Yet more food for thought, me thinks... :-) But I do take your comment with the humour that I assume it was sent with. :-) DB --- In MouthpieceWork@y..., "Dave Spiegelthal" <spiegelthal.dave@o...> wrote: > > Keith, > Too many engineers? Yes (considering the job market). > Too many mouthpieces? Inconceivable! He who dies with the most > mouthpieces wins! > David Spiegelthal > BSME Univ. of Maryland '79 > MSME Catholic Univ. '93 > ______________________________________________________________________ ____________________ > > > Perhaps we have too many mouthpieces... and too many engineers? :-) > > Nah... We live in great mouthpiece times where we have lots of choices. > > Keith Bradbury > BSME Rutgers '79 > MSME Drexel '84 > > ==> See my Musical Instrument Lamps at > http://photos.yahoo.com/bc/kwbradbury/slideshow? &.dir=/Instrument+Lamps > > Hear me at http://www.geocities.com/kwbradbury/MojoCD.html > > __________________________________________________ > Do You Yahoo!? > Yahoo! Finance - Get real-time stock quotes > http://finance.yahoo.com > > > Got a Mouthpiece Work question? Send it to MouthpieceWork@y... > > Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see the > Files, Photos and Bookmarks relating to Mouthpiece Work. > > To see and modify your groups, go to http://groups.yahoo.com/mygroups > > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
FROM: danny_tb (danny_tb)
SUBJECT: Re: One or several mouthpieces?
Paul, Just for interest's sake, I'll refer you back to what I replied to Keith's post... Does a "Stan Getz" type of tone work in rock (the "Jazz-Samba" type of sound)? No? But it does for me! And it stands out from the crowd to have a big, fat, warm sound, instead of a more thin, raspy, brittle sound that seems to me to be the sound that most rock players go for. Contrary to the "normal conventions"? Yes. Wrong tone for the job? If you look at the majority you would think so, but if listened to with an open mind to the blending of the tones of the various instruments, it actually makes a refreshing change from the normal "status quo"... Something different. Originality. Uncompromising individuality. Isn't that basically what music is all about? Yet more food for thought... :-) DB --- In MouthpieceWork@y..., Paul Coats <tenorman@t...> wrote: > I agree, Keith. The teacher who tells his high school jazz band lead > alto to use his Selmer C*, and a good player can do anything with just > that one mouthpiece, is misleading that young player. The Selmer C* is > no more appropriate for jazz band or rock and roll than is a Dukoff for > sax quartet. > > I find I need three setups... a classical for that kind of playing, a > middle of the road setup for 90% of my playing, and a full throttle > rock/R&B mouthpiece. No big deal switching, it is no different than > switching from alto to tenor, or any other double. > > No, you can't switch in the middle of a gig for one tune, or insert or > remove a baffle or spoiler... embouchure can take care of any minor > changes. But you know going in generally what you need for a particular > gig. > > Paul > > Keith Bradbury wrote: > > > Danny brings up a good tangent topic on using several mouthpieces. > > > > I use to stick with one, somewhat versatile, mouthpiece and I would > > try to > > vary my embouchure and reed to play styles from classical to hard > > rock. > > But I now find that having several mouthpieces for all the styles > > allows me > > to keep my embouchure more constant and I tire out less. I still need > > to > > pick the most appropriate one for the situation and use embouchure for > > > > style changes. If someone calls a sweet ballad, you dont say "excuse > > me > > while I change my mouthpiece". (Only the Strathon allows a quick > > baffle > > change.) > > > > Yes, it is great to really "know" a mouthpiece and sax by sticking > > with > > one. But if you are a doubler, you need to be able to adapt quickly > > to a > > new instrument and mouthpiece size anyway. Plus, it's a lot of fun! > > > > __________________________________________________ > > Do You Yahoo!? > > Yahoo! Finance - Get real-time stock quotes > > http://finance.yahoo.com > > > > Yahoo! Groups Sponsor > ADVERTISEMENT > > > > > Got a Mouthpiece Work question? Send it to > > MouthpieceWork@y... > > > > Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see > > the Files, Photos and Bookmarks relating to Mouthpiece Work. > > > > To see and modify your groups, go to http://groups.yahoo.com/mygroups > > > > Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service. > > -- > Link to Paul's articles from Home page of "Sax on the Web": > > http://www.saxontheweb.net > > or directly to Paul's articles at: > > http://www.saxontheweb.net/Coats/ > > Listen to Paul's MP3's at: > > http://briefcase.yahoo.com/tenorman1952 > > and view photos.