keith , i've hit a wall . I've been messing with old hard rubber 
mouthpieces trying to copy an old  hr link. i keep reaching a point 
where the the e.brand numbers are very close , the baffle is 
similar i don't mind the sound. but the mouthpieces are not very 
free-blowing. I've tried thinning out the tip rail scooping out under 
the side rails and opening the chamber .It's like there are two 
sounds when I play loud the sound is ok with a tad too much 
resistance,and when I play soft I get a muffled sound with 
crippling resistance.
If you or any one else could point me in the right direction it 
would be greatly appriciated.

  thanks ,
    Tom gould

Try opening up under the window. A baffle may help as well.

Later
God Bless
Bootman
Richard Booth
www.bootmanmusic.com 


-----Original Message-----
From: bigbadbaritom [mailto:bigbadbaritom@...] 
Sent: Monday, 19 January 2004 9:24 PM
To: MouthpieceWork@yahoogroups.com
Subject: [MouthpieceWork] problems with being free

keith , i've hit a wall . I've been messing with old hard rubber 
mouthpieces trying to copy an old  hr link. i keep reaching a point 
where the the e.brand numbers are very close , the baffle is 
similar i don't mind the sound. but the mouthpieces are not very 
free-blowing. I've tried thinning out the tip rail scooping out under 
the side rails and opening the chamber .It's like there are two 
sounds when I play loud the sound is ok with a tad too much 
resistance,and when I play soft I get a muffled sound with 
crippling resistance.
If you or any one else could point me in the right direction it 
would be greatly appriciated.

  thanks ,
    Tom gould


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If the baffle, just behind the tip rail, is too low there will be 
resistance. 

Also, as you make the facing curve, as you near the tip, of you keep the 
same pressure, and lift the back of the mouthpiece too much, you end up 
with a "flip up" in the middle of the tip rail.  This can add a lot of 
resistance as you describe.  When you approach the end of the stroke, as 
you approach the tip rail, lessen pressure and stop lifting the back of 
the mouthpiece as soon as you see the tracks on the paper go from two 
lines (the side rails) to a solid smear of material on the paper, 
indicating the tip rail is being sanded.

Paul

Bootman wrote:

> Try opening up under the window. A baffle may help as well.
>
> Later
> God Bless
> Bootman
> Richard Booth
> www.bootmanmusic.com
>
>
> -----Original Message-----
> From: bigbadbaritom [mailto:bigbadbaritom@...]
> Sent: Monday, 19 January 2004 9:24 PM
> To: MouthpieceWork@yahoogroups.com
> Subject: [MouthpieceWork] problems with being free
>
> keith , i've hit a wall . I've been messing with old hard rubber
> mouthpieces trying to copy an old  hr link. i keep reaching a point
> where the the e.brand numbers are very close , the baffle is
> similar i don't mind the sound. but the mouthpieces are not very
> free-blowing. I've tried thinning out the tip rail scooping out under
> the side rails and opening the chamber .It's like there are two
> sounds when I play loud the sound is ok with a tad too much
> resistance,and when I play soft I get a muffled sound with
> crippling resistance.
> If you or any one else could point me in the right direction it
> would be greatly appriciated.
>
>   thanks ,
>     Tom gould
>
>
> 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.
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>
>
> Got a Mouthpiece Work question?  Send it to MouthpieceWork@yahoogroups.com
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> Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see 
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All good things to look for so far.

I have found that small irregularities on the facing curve will make a big
difference in how the piece responds.  Look how light reflects off the side
rails as you slowly tilt the piece in the light.  You will be able to see
if the tip has a large flip or if the side rails are faceted like a bunch
of flat sections with kinks between them.  The arc of the curve does not
need to be a perfect radius, but it does need to be smooth.  As the reed
tries to bend around kinks and flat spots, there are small leaks and the
response is poor.

For my work I minimize this problem by using additional feeler gauges in
the large gaps between the Erick Brand set.  I plot the facing curve on a
PC to illustrate where the irregularities are.  Still, a visual inspection
of the rails is needed to ensure they are smooth.

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