Hi!

I today tried the following thing:
I bought a box of forming wax, usable for children...
The I did a baffle for my tenor tone master piece (105 tip opening), as suggested me Theo Wanne from Mouthpiece Heaven.
I formed the baffle through the whole chamber, the end was directly at the window. Not a high baffle, just following the contours of the original roll-over baffle..I tried it with an Alexander #3 reed and wow: The Tone had more power, more brillance..It worked! But stange: I had to go more out with the mouthpiece to reach 440 - 442 HZ, 1 cm less than without the baffle...
I tried another thing:
I did the same procedure, but installed only a small wedge which didn´t end at the window, maybe a kind of "step" 1,5 cm way from the tip. Looked like a brecker guardala baffle, but only the baffle step was formed with the wax, no more was the whole chamber filled out..
I thought this would even bring better results, but: the tone was thin and squeaked..
So, I think I´ve to continue my experiments with the first kind of baffle and work it smoothly through the whole chamber...
Does anybody have similar experiences with it?
Would interest me!

Many greetings, Chriss

>>>But stange: I had to go more out with the mouthpiece to reach 440 - 442
HZ, 1 cm less than without the baffle...<<<

The amount you had to pull out should be similar to what was needed to
recover the chamber volume you lost by putting wax in the mouthpiece.  If
you reformed the wax into a cylinder the same diameter as the neck cork, is
it 1 cm long? (That is a lot of wax).

After you tune the mid-range of the sax, you should also notice that your
high notes (palm keys) are now flatter and/or your low notes are sharper. 
This could be a new problem for you or it may have solved an old problem
for you.  If it created a problem, and you want to keep the baffle, you
will need to make the mouthpiece chamber larger somewhere else to recover
the lost volume.

==2925 Crane St., Vineland, NJ 08361

My CD, Lamps and Mouthpieces at http://www.geocities.com/kwbradbury/

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>>The amount you had to pull out should be similar to what was needed to recover the chamber volume you lost by putting wax in the mouthpiece.<<
I have to shove my Link 7* hard rubber soprano mouthpiece really far down on the neck to get it to play in tune. Even then, after the horn warms up, it plays flat in the middle register. Would putting a modest baffle into this piece allow me more tuning flexibility at the neck? 
This is a great discussion group, folks. 
Mike



 

My Link 7*, modern metal Link on the Buescher 256K Sop is 2/3 the way
down the cork to play in tune.
I have found that this mpc is very loud, quite bright and plays with
good intonation.
 
Later
God Bless
Bootman
Richard Booth
www.bootmanmusic.com
 
-----Original Message-----
From: Thaddeus Mugwump [mailto:tmugwump@...] 
Sent: Tuesday, 11 February 2003 7:01 AM
To: MouthpieceWork@yahoogroups.com
Subject: Re: [MouthpieceWork] Tone Master Baffle
 
>>The amount you had to pull out should be similar to what was needed to
recover the chamber volume you lost by putting wax in the mouthpiece.<< 
I have to shove my Link 7* hard rubber soprano mouthpiece really far
down on the neck to get it to play in tune. Even then, after the horn
warms up, it plays flat in the middle register. Would putting a modest
baffle into this piece allow me more tuning flexibility at the neck?  
This is a great discussion group, folks. 
Mike
 
 

Got a Mouthpiece Work question?  Send it to
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To see and modify your groups, go to http://groups.yahoo.com/mygroups 

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>>>I have to shove my Link 7* hard rubber soprano mouthpiece really far
down on the neck to get it to play in tune. Even then, after the horn warms
up, it plays flat in the middle register. Would putting a modest baffle
into this piece allow me more tuning flexibility at the neck?  <<<

In my opinion, yes.  Try it with some temporary putty or chewing gum.  Use
less than a pea size.  You do not need to place it in the baffle area if
you do not want any more brightness.  Just make the chamber smaller.  If it
already has a squeeze throat, do not reduce it there.





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Chriss, the volume past the end of the neckpipe must be equal to the
missing section of cone for the sax to tune to A-440.  This is why when
you added material, you had to pull out the mouthpiece.

Paul

Chriss wrote:

> Hi! I today tried the following thing:I bought a box of forming wax,
> usable for children...The I did a baffle for my tenor tone master
> piece (105 tip opening), as suggested me Theo Wanne from Mouthpiece
> Heaven.I formed the baffle through the whole chamber, the end was
> directly at the window. Not a high baffle, just following the contours
> of the original roll-over baffle..I tried it with an Alexander #3 reed
> and wow: The Tone had more power, more brillance..It worked! But
> stange: I had to go more out with the mouthpiece to reach 440 - 442
> HZ, 1 cm less than without the baffle...I tried another thing:I did
> the same procedure, but installed only a small wedge which didn�t end
> at the window, maybe a kind of "step" 1,5 cm way from the tip. Looked
> like a brecker guardala baffle, but only the baffle step was formed
> with the wax, no more was the whole chamber filled out..I thought this
> would even bring better results, but: the tone was thin and
> squeaked..So, I think I�ve to continue my experiments with the first
> kind of baffle and work it smoothly through the whole chamber...Does
> anybody have similar experiences with it?Would interest me! Many
> greetings, Chriss
>
>
> 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.

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