I have never measured one.  What are the facings like?

No disrespect to those involved with those two terrible ladies K & R,
but I will continue with my query regarding the Guardala tenor MPC.
   It will be interesting to see what Paul does to the Guardala with
its two flats. If Ross thought it was awesome, yet is now having
problems,it looks like a reed mismatch. After all, you don't have to
be a pro to get reed problems.
   Maybe this is one of the snags with flats on the lay.
IE:  Not easy getting a suitable reed.
Getting rid of the flats might be one solution ?
    It still does not answer my original question, as to why they (the
flats)were there in the first place and what they do to the tone and
blowing characteristics.   Eddie.

Eddie

Paul has now done the mouthpiece.It is in the mail. Paul is sending his 
measurements.
 He would probably be the one to ask an opinion.
This piece was allways reed friendly and that was with ALL reeds good and 
bad.
I only had problems with it in the last 6 months or so.  I feel that it must 
have been damaged. Although I don't see how a flat part of the curve could 
result from damage. My measurements could also be slightly out.
Before i sent it to Paul it was a good 1mm in height out at the tip. I 
balanced this out before it went to Paul.
I'll let you know.
Ross McIntyre
----- Original Message ----- 
From: "Edward McLean" <ewmclean@...>
To: <MouthpieceWork@yahoogroups.com>
Sent: Saturday, September 24, 2005 7:29 AM
Subject: [MouthpieceWork] Guardala Facing


> No disrespect to those involved with those two terrible ladies K & R,
> but I will continue with my query regarding the Guardala tenor MPC.
>   It will be interesting to see what Paul does to the Guardala with
> its two flats. If Ross thought it was awesome, yet is now having
> problems,it looks like a reed mismatch. After all, you don't have to
> be a pro to get reed problems.
>   Maybe this is one of the snags with flats on the lay.
> IE:  Not easy getting a suitable reed.
> Getting rid of the flats might be one solution ?
>    It still does not answer my original question, as to why they (the
> flats)were there in the first place and what they do to the tone and
> blowing characteristics.   Eddie.
>
>
>
>
>
> Got a Mouthpiece Work question?  Send it to MouthpieceWork@yahoogroups.com
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> 

Ross,
     Thanks for the info. It appears my guess was incorrect as you
have tried many reeds. I have not seen a Guardala and assumed that it
was a metal 'piece. The warping suggests otherwise. I must be out of
my depth here and await the outcome with interest.   Eddie

A few comments:

1. The Guardala facing supplied way back by Ross is not typical of 
Guardalas.  The piece may be a fluke, damaged, and/or the measurements 
have some errors in them.

2. Flat spots often make a sax mouthpiece sound edgy, even at low 
volumes.  It can be hard to get a pure tone out of it.  Flat sections 
near the tip make palm keys and altissimo more difficult to play.

3. Bumps add resisitance to the facing curve.  They make it more 
difficult to get the reed to speak at low volumes.  The reed has a 
tough time bending over the bumps and sealing well.

--- In MouthpieceWork@yahoogroups.com, "Keith Bradbury"
<kwbradbury@y...> wrote:
> A few comments:
> 
> 1. The Guardala facing supplied way back by Ross is not typical of 
> Guardalas.  The piece may be a fluke, damaged, and/or the measurements 
> have some errors in them.
> 
> 2. Flat spots often make a sax mouthpiece sound edgy, even at low 
> volumes.  It can be hard to get a pure tone out of it.  Flat sections 
> near the tip make palm keys and altissimo more difficult to play.
> 
> 3. Bumps add resisitance to the facing curve.  They make it more 
> difficult to get the reed to speak at low volumes.  The reed has a 
> tough time bending over the bumps and sealing well.

Thanks for the low down on the high spots and flat sections Keith.
They do not appear to be generaly desireable features and do effect
the tone.
This was the sort of definitive answer I was looking for.      Eddie