will a bullet chamber along with a slight biuld up of the mpc floor 
make a minor or major difference on a stm ny link? what about the 
size of the bullet,is there a standard? widening and adding length 
to the window help increase the effects of the bullet.

--- In MouthpieceWork@yahoogroups.com, "william scharon" 
<dolphytone@h...> wrote:
> 
> will a bullet chamber along with a slight biuld up of the mpc floor 
> make a minor or major difference on a stm ny link? what about the 
> size of the bullet,is there a standard? 

The best way to tell is to make one out of temporary putty and try 
it.  What might be minor to one player is major to another.

>widening and adding length 
> to the window help increase the effects of the bullet.

In my opinion, no.  

AFAIK widening or lengthening the window really only has the effect of increasing the interior dimensions at that point, since the reed seals the window until the rail break (or should anyway). So it would have some effect, depending on how thick that mpc is under the table, but it would be somewhat analogous to taking some material off the back of the baffle at that point.

Toby
  ----- Original Message ----- 
  From: Keith Bradbury 
  To: MouthpieceWork@yahoogroups.com 
  Sent: Monday, November 08, 2004 12:44 PM
  Subject: [MouthpieceWork] Re: bullet chambers



  --- In MouthpieceWork@yahoogroups.com, "william scharon" 
  <dolphytone@h...> wrote:
  > 
  > will a bullet chamber along with a slight biuld up of the mpc floor 
  > make a minor or major difference on a stm ny link? what about the 
  > size of the bullet,is there a standard? 

  The best way to tell is to make one out of temporary putty and try 
  it.  What might be minor to one player is major to another.

  >widening and adding length 
  > to the window help increase the effects of the bullet.

  In my opinion, no.  





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I agree with Toby.  There may also be a slight difference in how the sound
reflects off the "wall" at the base of the window "U".  But no real
interaction with the bullet shape.



		
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