Santy Runyon told me he did something similar to Marshall Royal's mouthpiece.  Wells
and Tannenbaum both worked for Santy at one time, and likely learned it from him. 
The theory on this is that it allows the tip of the reed to close on the facing
all at once, rather than from the corners to the middle, if the curve continues
all the way through the tip rail area.  It was felt that this gave a quicker, easier
response.  Paul Coats
 


----- Original Message ----- From: saxtek@... [mailto:saxtek@...] Sent:
3/15/2006 9:35:41 PM To: MouthpieceWork@yahoogroups.com Subject: [MouthpieceWork]
"Flat spot" at the tip of a mouthpiece facing 
I have been a member of this group for quite some time but I have not posted until
I took some time to read the extensive list of previous posts. 
I have watched several great refacers work on my mouthpieces. These people include
Ben Harrod (Otto Link Pompano Beach), Wolfie Tannebaum (Wolfe Tayne, Guy Hawkins
and BARI), Bobby Dukoff, Ralph Morgan, Bennie Bonacio, and Frank Wells. To a greater
or lesser extent, these refacers and manufacturers use a flat spot near the tip
of their facing curves. I have not seen this tendency discussed to any great extent
here. 
The Erick Brand refacing manual mentions that many good mouthpiece facings are nearly
flat from the tip back to the first or even second feeler gauge. Frank Wells, famous
for his work for John Coltrane, Eric Dolphy, Bobby Mintzer Mike Smith and too many
others to mention here, was a serious exponent of this technique. Frank would finish
his facing curve with a SIDEWAYS sweep of the tip across his sandpaper. The angle
of the mouthpiece, of course, would determine the length of this "flat spot." 
From the experienced refacers here, what is your experience with this technique?
What results does it yield for you? What part of the range of the instrument is
most affected? How do you go about producing your tip curve. Please - I'm looking
for empirical results, not armchair theory. 

Got a Mouthpiece Work question? Send it to MouthpieceWork@yahoogroups.com


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So, the $64,000 question is: what is the length, relative to facing 
length, of the flat spot?  I suspect this is a trial and error thing.

Doug

--- In MouthpieceWork@yahoogroups.com, "" <tenorman@...> wrote:
>
> Santy Runyon told me he did something similar to Marshall Royal's 
mouthpiece.  Wells
> and Tannenbaum both worked for Santy at one time, and likely 
learned it from him. 
> The theory on this is that it allows the tip of the reed to close 
on the facing
> all at once, rather than from the corners to the middle, if the 
curve continues
> all the way through the tip rail area.  It was felt that this gave 
a quicker, easier
> response.  Paul Coats
>  
> 
> 
> ----- Original Message ----- From: saxtek@... [mailto:saxtek@...] 
Sent:
> 3/15/2006 9:35:41 PM To: MouthpieceWork@yahoogroups.com Subject: 
[MouthpieceWork]
> "Flat spot" at the tip of a mouthpiece facing 
> I have been a member of this group for quite some time but I have 
not posted until
> I took some time to read the extensive list of previous posts. 
> I have watched several great refacers work on my mouthpieces. 
These people include
> Ben Harrod (Otto Link Pompano Beach), Wolfie Tannebaum (Wolfe 
Tayne, Guy Hawkins
> and BARI), Bobby Dukoff, Ralph Morgan, Bennie Bonacio, and Frank 
Wells. To a greater
> or lesser extent, these refacers and manufacturers use a flat spot 
near the tip
> of their facing curves. I have not seen this tendency discussed to 
any great extent
> here. 
> The Erick Brand refacing manual mentions that many good mouthpiece 
facings are nearly
> flat from the tip back to the first or even second feeler gauge. 
Frank Wells, famous
> for his work for John Coltrane, Eric Dolphy, Bobby Mintzer Mike 
Smith and too many
> others to mention here, was a serious exponent of this technique. 
Frank would finish
> his facing curve with a SIDEWAYS sweep of the tip across his 
sandpaper. The angle
> of the mouthpiece, of course, would determine the length of 
this "flat spot." 
> From the experienced refacers here, what is your experience with 
this technique?
> What results does it yield for you? What part of the range of the 
instrument is
> most affected? How do you go about producing your tip curve. 
Please - I'm looking
> for empirical results, not armchair theory. 
> 
> Got a Mouthpiece Work question? Send it to 
MouthpieceWork@yahoogroups.com
> 
> 
> Visit the site at  [http://groups.yahoo.com/group/MouthpieceWork]
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]http://groups.yahoo.com/mygroups
> 
> 
> 
> 
> -------------------------------------------------------------------
-------------
> YAHOO! GROUPS LINKS 
> 
>  · Visit your group " 
[http://groups.yahoo.com/group/MouthpieceWork] MouthpieceWork
> " on the web.
>  To unsubscribe from this group, send an email to:
>   [mailto:MouthpieceWork-unsubscribe@yahoogroups.com?
subject=Unsubscribe]MouthpieceWork-unsubscribe@yahoogroups.com
> 
> Your use of Yahoo! Groups is subject to the  
[http://docs.yahoo.com/info/terms/]Yahoo!
> Terms of Service . 
> 
> 
> 
> -------------------------------------------------------------------
-------------
>