Ive been working on an old Conn Steelay.  It was really closed and I 
opened it A LOT.  These have very large chambers.  I did not put on a 
baffle (I have others to experiment with).  Im finding that regardless 
of what I do it is somewhat stuffy, very little in the way of 
projection and volume.  It is also VERY dark.  I realize I could have 
added a baffle but I have a related question:

When a mpc is opened a great deal (like 30)has one altered the basic 
design to a point where it just wont blow right?  It lowers the tip 
quite a distance from its origin.  Would a baffle potentially have 
overcome this alteration?

thanks  

Well, I found that opening up the piece typically increases the volume 
and usually causes more intense vibration. I typically work on tenor 
mouthpieces and don't like to go much more than .100" or .110". The 
vibration is a little too violent for my taste. Most of my work is to 
make C Melody pieces.  My typical pieces are between .080" to .095".

If you want projection, I would look at chamber and baffle. Generally, 
large chamber+low baffle = dark sound, not much projection.  If you 
have a large chamber to start with, look at raising the baffle.  
Assuming the lay and facing is accurate, putting in or raising the 
baffle would help the projection issue. I like roll-over type baffle 
most of the time.  I like it kind of dark in the bottom end and a less 
darker sound on top. I typically do a gradual roll-over baffle into a 
larger or bullet chamber.

For a test, you could try some putty or one of those stick-on power 
baffle thingys. For a more permanent baffle, I have used one of those 
$6 two-part acrylic nail refill kits at the drugstore to make up a 
baffle. Others have used plumber's epoxy. I have a few old large 
chamber, 1920's vintage, Buescher tenor mouthpieces.  I opened up and 
faced two of them and neither can play a palm hi F.  I added a slight 
baffle to one so that instead of a concave baffle area by the tip, it 
is now slightly convexed. Boy, what a difference it made. More 
projection and easy palm key speaking...

This is my experience--your mileage may vary...

Willis

--- In MouthpieceWork@yahoogroups.com, "sigmund451" <sigmund451@h...> 
wrote:
> Ive been working on an old Conn Steelay.  It was really closed and I 
> opened it A LOT.  These have very large chambers.  I did not put on a 
> baffle (I have others to experiment with).  Im finding that 
regardless 
> of what I do it is somewhat stuffy, very little in the way of 
> projection and volume.  It is also VERY dark.  I realize I could have 
> added a baffle but I have a related question:
> 
> When a mpc is opened a great deal (like 30)has one altered the basic 
> design to a point where it just wont blow right?  It lowers the tip 
> quite a distance from its origin.  Would a baffle potentially have 
> overcome this alteration?
> 
> thanks

>>>>When a mpc is opened a great deal (like 30)has one altered the basic 
design to a point where it just wont blow right?  It lowers the tip 
quite a distance from its origin.  Would a baffle potentially have 
overcome this alteration?<<<<

30 what?

As you open a piece it gets darker sounding.  Reed travel (amplitude) is
larger so it gets louder.  The additional loudness usually adds more
projection than the change to dark tone looses.

Larger tips also require the use of softer reeds to get them to speak and
play.  If softer reeds are not used, a player is often biting the tip
topening smaller in order to get the piece to speak.  Softer reeds can get
edgy/buzzy sounding.  Some hear this as an added brightness but it is
really a buzzy dark sound.

Larger tips are more sensitive to embouchure adjustments for expression and
pitch control.  Also on the big saxes, they take a whole lot of air.  You
should not have to breath after every whole note you play.

So you see there a several things that happen when going to larger tip
openings that can not be separated from each other.  Some of them can be
compensated for by adding additional baffle and/or going from curved to
straight sidewalls.  Reed brand changes may help as may a ligature change.

There are limitations.  That is why no tenor players are playing on .200"
tips.  I've heard of a .165".  I've seen a few .150"s.  I played with a guy
who played on a .150" Lawton (a 14) with Plasticover reeds (on a
Silver-plated tenor VI).  The loudest, brightest sound I have ever heard. 
He played this set-up for ~20 years.  But he said it was getting to be too
much work and was going to look for something smaller.

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