Mouthpiece Work / Wooden Mouthpiece
FROM: dkulcinski (David Kulcinski)
SUBJECT: Wooden Mouthpiece
I saw this I saw this Francois Louis Wood Tenor Saxophone Mouthpiece on eBay. It is an 11 facing (.140). Can anyone tell me what might make this mpc worth more than $1000? Thank you, David
FROM: gregwier (Greg Wier)
SUBJECT: Re: Wooden Mouthpiece
<dkulcinski@...> wrote: > > I saw this I saw this Francois Louis Wood Tenor Saxophone Mouthpiece > on eBay. It is an 11 facing (.140). Can anyone tell me what might > make this mpc worth more than $1000? This is a question more likely to be discussed on SOTW. But here's a few cents worth anyway. Francois Louis works very slowly and meticuliously to exacting standards so his mouthpieces take about a month to complete. They are almost never available commercially which also drives the price to the stratosphere. I have seen his very unique metal mouthpieces sell for over $2000. He has also created a very unique double soprano saxophone or aulophone.
FROM: ndypnd (andy panda)
SUBJECT: chirps
I've got a mystery that just really haunts me. The mouthpieces that I like the best are very loud and edgy - when I work on a piece I like to get that baffle to be perfectly straight right out to the tip (like the CNC guardala pieces do). But when I do that, they almost always chirp unless I give them a slight rollover right behind the tip. I'm not talking about a lot of rollover (like the lawtons) and certainly not the HUGE amount of rollover like a Selmer - just a small hint of a rollover seems to be able to tame the chirp. But I don't see any evidence of any rollover at all on the guardalas I've examined. So how did he get those to not chirp or is that the perfect symetry of CNC at work? Is there some little trick I'm missing?
---------------------------------
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FROM: tenorman1952 (Paul C.)
SUBJECT: Re: chirps
Good fit of the tip rail to the contour of the tip of the reed is one thing.
Not having the tip rail too thin helps, too. If the tip rail is too thin or narrow, the mouthpiece can chirp. If the tip rail is too wide, the mouthpiece plays sluggishly, that is, poor response.
Also the facing curve. Be careful that you don't have too much curvature at the tip rail. As I get right to the tip, and see that as I draw the mouthpiece across the cutting paper, the pattern left on the paper goes from two lines (the side rails) to a full width mark (the tip rail) STOP LIFTING the butt end of the mouthpiece! Having that little "flip" on the very tip of the tip rail can introduce a chirp and also resistance. The reed can't seal well there.
And some reeds just don't work with some mouthpieces. Why, I don't know. For example, a friend sent a nice RIA metal bari sax mouthpiece to me to work on. He had a really bad chirping problem, so I had him send his reeds, too. They were Vandoren Traditional ("blue box").
As I was testing his mouthpiece, and chirping and squeeking badly, my wife called from the other room, "I have NEVER heard you sound that bad... you sound like a beginner."
I tried a few other brands of reeds, all of which worked better. And best was the Fibracell bari reed. I sent the mouthpiece back with no work done on it and charged only for two Fibracell bari reeds, which I packed with the mouthpiece. The customer was thrilled.
This was not just any customer... he is not only a fine repairman, but also has toured with a world class big band. You don't send such a player home with the advice, "Kid, you need more practice." Something was wrong, and in this case, it was the reeds used.
Oddly, those same reeds worked well with another mouthpiece. But that particular combination, that RIA metal and those reeds just did not work together.
Paul
andy panda <ndypnd@...> wrote:
I've got a mystery that just really haunts me. The mouthpieces that I like the best are very loud and edgy - when I work on a piece I like to get that baffle to be perfectly straight right out to the tip (like the CNC guardala pieces do). But when I do that, they almost always chirp unless I give them a slight rollover right behind the tip. I'm not talking about a lot of rollover (like the lawtons) and certainly not the HUGE amount of rollover like a Selmer - just a small hint of a rollover seems to be able to tame the chirp. But I don't see any evidence of any rollover at all on the guardalas I've examined. So how did he get those to not chirp or is that the perfect symetry of CNC at work? Is there some little trick I'm missing?
---------------------------------
Sick sense of humor? Visit Yahoo! TV's Comedy with an Edge to see what's on, when.
Link to Paul's articles from Main page of "Saxgourmet":
http://www.saxgourmet.com
Listen to Paul's MP3's and view saxophone photos at:
http://briefcase.yahoo.com/tenorman1952
Paul Coats is the sole US importer of SAXRAX products from
http://www.saxrax.com
For SAXRAX products, email Paul at saxraxus@...
---------------------------------
Yahoo! oneSearch: Finally, mobile search that gives answers, not web links.
FROM: kwbradbury (Keith Bradbury)
SUBJECT: Re: chirps
--- andy panda <ndypnd@...> wrote:
>... But when I do that, they almost always chirp
> unless I give them a slight rollover right behind the tip....
I have found that lowering the baffle near the tip rail helps to reduce
chirps. So in creating your roll-over, if you are actually making the
baffle higher by lowering the table and opening the tip, that is the
opposite of what I have observed. But if you are just taking material away
from the tip to make the roll over, you may be lowering the baffle there.
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FROM: dkulcinski (David Kulcinski)
SUBJECT: Re: chirps
So, when we see a reference to a "flip", it refers to a continuation of the curve through the tip rail?
Thank you,
David
----- Original Message ----
From: Paul C. <tenorman1952@...>
To: MouthpieceWork@yahoogroups.com
Sent: Tuesday, August 28, 2007 10:55:03 PM
Subject: Re: [MouthpieceWork] chirps
Good fit of the tip rail to the contour of the tip of the reed is one thing.
Not having the tip rail too thin helps, too. If the tip rail is too thin or narrow, the mouthpiece can chirp. If the tip rail is too wide, the mouthpiece plays sluggishly, that is, poor response.
Also the facing curve. Be careful that you don't have too much curvature at the tip rail. As I get right to the tip, and see that as I draw the mouthpiece across the cutting paper, the pattern left on the paper goes from two lines (the side rails) to a full width mark (the tip rail) STOP LIFTING the butt end of the mouthpiece! Having that little "flip" on the very tip of the tip rail can introduce a chirp and also resistance. The reed can't seal well there.
And some reeds just don't work with some mouthpieces. Why, I don't know. For example, a friend sent a
nice RIA metal bari sax mouthpiece to me to work on. He had a really bad chirping problem, so I had him send his reeds, too. They were Vandoren Traditional ("blue box").
As I was testing his mouthpiece, and chirping and squeeking badly, my wife called from the other room, "I have NEVER heard you sound that bad... you sound like a beginner."
I tried a few other brands of reeds, all of which worked better. And best was the Fibracell bari reed. I sent the mouthpiece back with no work done on it and charged only for two Fibracell bari reeds, which I packed with the mouthpiece. The customer was thrilled.
This was not just any customer... he is not only a fine repairman, but also has toured with a world class big band. You don't send such a player home with the advice, "Kid, you need more practice." Something was wrong,
and in this case, it was the reeds used.
Oddly, those same reeds worked well with another mouthpiece. But that particular combination, that RIA metal and those reeds just did not work together.
Paul
andy panda <ndypnd@yahoo. com> wrote:
I've got a mystery that just really haunts me. The mouthpieces that I like the best are very loud and edgy - when I work on a piece I like to get that baffle to be perfectly straight right out to the tip (like the CNC guardala
pieces do). But when I do that, they almost always chirp unless I give them a slight rollover right behind the tip. I'm not talking about a lot of rollover (like the lawtons) and certainly not the HUGE amount of rollover like a Selmer - just a small hint of a rollover seems to be able to tame the chirp. But I don't see any evidence of any rollover at all on the guardalas I've examined. So how did he get those to not chirp or is that the perfect symetry of CNC at work? Is there some little trick I'm missing?
Sick sense of humor? Visit Yahoo! TV's Comedy with an Edge to see what's on, when.
Link to Paul's articles from Main page of "Saxgourmet" :
http://www.saxgourm et.com
Listen to Paul's MP3's and view saxophone photos at:
http://briefcase. yahoo.com/ tenorman1952
Paul Coats is the sole US importer of SAXRAX products from
http://www.saxrax. com
For SAXRAX products, email Paul at saxraxus@saxrax. com
Yahoo! oneSearch: Finally, mobile search
that gives answers, not web links.
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FROM: tenorman1952 (Paul C.)
SUBJECT: Re: chirps
Yes... but a "flip" on the tip is even more than just continuing the facing curve. It is done by picking up the end of the mouthpiece too fast as the last bit of tip is touching.
Paul
David Kulcinski <dkulcinski@...> wrote:
So, when we see a reference to a "flip", it refers to a continuation of the curve through the tip rail?
Thank you,
David
----- Original Message ----
From: Paul C. <tenorman1952@...>
To: MouthpieceWork@yahoogroups.com
Sent: Tuesday, August 28, 2007 10:55:03 PM
Subject: Re: [MouthpieceWork] chirps
Good fit of the tip rail to the contour of the tip of the reed is one thing.
Not having the tip rail too thin helps, too. If the tip rail is too thin or narrow, the mouthpiece can chirp. If the tip rail is too wide, the mouthpiece plays sluggishly, that is, poor response.
Also the facing curve. Be careful that you don't have too much curvature at the tip rail. As I get right to the tip, and see that as I draw the mouthpiece across the cutting paper, the pattern left on the paper goes from two lines (the side rails) to a full width mark (the tip rail) STOP LIFTING the butt end of the mouthpiece! Having that little "flip" on the very tip of the tip rail can introduce a chirp and also resistance. The reed can't seal well there.
And some reeds just don't work with some mouthpieces. Why, I don't know. For example, a friend sent a nice RIA metal bari sax mouthpiece to me to work on. He had a really bad chirping problem, so I had him send his reeds, too. They were Vandoren Traditional ("blue box").
As I was testing his mouthpiece, and chirping and squeeking badly, my wife called from the other room, "I have NEVER heard you sound that bad... you sound like a beginner."
I tried a few other brands of reeds, all of which worked better. And best was the Fibracell bari reed. I sent the mouthpiece back with no work done on it and charged only for two Fibracell bari reeds, which I packed with the mouthpiece. The customer was thrilled.
This was not just any customer... he is not only a fine repairman, but also has toured with a world class big band. You don't send such a player home with the advice, "Kid, you need more practice." Something was wrong, and in this case, it was the reeds used.
Oddly, those same reeds worked well with another mouthpiece. But that particular combination, that RIA metal and those reeds just did not work together.
Paul
andy panda <ndypnd@yahoo. com> wrote:
I've got a mystery that just really haunts me. The mouthpieces that I like the best are very loud and edgy - when I work on a piece I like to get that baffle to be perfectly straight right out to the tip (like the CNC guardala pieces do). But when I do that, they almost always chirp unless I give them a slight rollover right behind the tip. I'm not talking about a lot of rollover (like the lawtons) and certainly not the HUGE amount of rollover like a Selmer - just a small hint of a rollover seems to be able to tame the chirp. But I don't see any evidence of any rollover at all on the guardalas I've examined. So how did he get those to not chirp or is that the perfect symetry of CNC at work? Is there some little trick I'm missing?
---------------------------------
Sick sense of humor? Visit Yahoo! TV's Comedy with an Edge to see what's on, when.
Link to Paul's articles from Main page of "Saxgourmet" :
http://www.saxgourm et.com
Listen to Paul's MP3's and view saxophone photos at:
http://briefcase. yahoo.com/ tenorman1952
Paul Coats is the sole US importer of SAXRAX products from
http://www.saxrax. com
For SAXRAX products, email Paul at saxraxus@saxrax. com
---------------------------------
Yahoo! oneSearch: Finally, mobile search that gives answers, not web links.
---------------------------------
Luggage? GPS? Comic books?
Check out fitting gifts for grads at Yahoo! Search.
Link to Paul's articles from Main page of "Saxgourmet":
http://www.saxgourmet.com
Listen to Paul's MP3's and view saxophone photos at:
http://briefcase.yahoo.com/tenorman1952
Paul Coats is the sole US importer of SAXRAX products from
http://www.saxrax.com
For SAXRAX products, email Paul at saxraxus@...
---------------------------------
Boardwalk for $500? In 2007? Ha!
Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
FROM: dkulcinski (David Kulcinski)
SUBJECT: Re: chirps
Thanks. I will watch myself when working at the tip.
David
----- Original Message ----
From: Paul C. <tenorman1952@...>
To: MouthpieceWork@yahoogroups.com
Sent: Tuesday, September 4, 2007 1:36:42 PM
Subject: Re: [MouthpieceWork] chirps
Yes... but a "flip" on the tip is even more than just continuing the facing curve. It is done by picking up the end of the mouthpiece too fast as the last bit of tip is touching.
Paul
David Kulcinski <dkulcinski@yahoo. com> wrote:
So, when we see a reference to a "flip", it refers to a continuation of the curve through the tip
rail?
Thank you,
David
----- Original Message ----
From: Paul C. <tenorman1952@ yahoo.com>
To: MouthpieceWork@ yahoogroups. com
Sent: Tuesday, August 28, 2007 10:55:03 PM
Subject: Re: [MouthpieceWork] chirps
Good fit of the tip rail to the contour of the tip of the reed is one thing.
Not having the tip rail too thin helps, too. If the tip rail is too thin or narrow, the mouthpiece can chirp. If the tip rail is too wide, the mouthpiece plays sluggishly, that is, poor response.
Also the facing curve. Be careful that you don't have too much curvature at the tip rail. As I get right to the tip, and see that as I draw the mouthpiece across the cutting paper, the pattern left on
the paper goes from two lines (the side rails) to a full width mark (the tip rail) STOP LIFTING the butt end of the mouthpiece! Having that little "flip" on the very tip of the tip rail can introduce a chirp and also resistance. The reed can't seal well there.
And some reeds just don't work with some mouthpieces. Why, I don't know. For example, a friend sent a nice RIA metal bari sax mouthpiece to me to work on. He had a really bad chirping problem, so I had him send his reeds, too. They were Vandoren Traditional ("blue box").
As I was testing his mouthpiece, and chirping and squeeking badly, my wife called from the other room, "I have NEVER heard you sound that bad... you sound like a beginner."
I tried a few other brands of reeds, all of which worked better. And best was the Fibracell bari reed. I
sent the mouthpiece back with no work done on it and charged only for two Fibracell bari reeds, which I packed with the mouthpiece. The customer was thrilled.
This was not just any customer... he is not only a fine repairman, but also has toured with a world class big band. You don't send such a player home with the advice, "Kid, you need more practice." Something was wrong, and in this case, it was the reeds used.
Oddly, those same reeds worked well with another mouthpiece. But that particular combination, that RIA metal and those reeds just did not work together.
Paul
andy panda <ndypnd@yahoo. com> wrote:
I've got a mystery that just really haunts me. The mouthpieces that I like the best are very loud and
edgy - when I work on a piece I like to get that baffle to be perfectly straight right out to the tip (like the CNC guardala pieces do). But when I do that, they almost always chirp unless I give them a slight rollover right behind the tip. I'm not talking about a lot of rollover (like the lawtons) and certainly not the HUGE amount of rollover like a Selmer - just a small hint of a rollover seems to be able to tame the chirp. But I don't see any evidence of any rollover at all on the guardalas I've examined. So how did he get those to not chirp or is that the perfect symetry of CNC at work? Is there some little trick I'm missing?
Sick sense of humor? Visit Yahoo! TV's Comedy with an Edge to see what's on, when.
Link to Paul's articles from Main
page of "Saxgourmet" :
http://www.saxgourm et.com
Listen to Paul's MP3's and view saxophone photos at:
http://briefcase. yahoo.com/ tenorman1952
Paul Coats is the sole US importer of SAXRAX products from
http://www.saxrax. com
For SAXRAX products, email Paul at saxraxus@saxrax. com
Yahoo! oneSearch: Finally, mobile search that gives answers, not web links.
Luggage? GPS? Comic books?
Check out fitting gifts for grads at Yahoo!
Search.
Link to Paul's articles from Main page of "Saxgourmet" :
http://www.saxgourm et.com
Listen to Paul's MP3's and view saxophone photos at:
http://briefcase. yahoo.com/ tenorman1952
Paul Coats is the sole US importer of SAXRAX products from
http://www.saxrax. com
For SAXRAX products, email Paul at saxraxus@saxrax. com
Boardwalk for $500? In 2007? Ha!
Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
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FROM: soloiststyle (Ted Botaska)
SUBJECT: Re: chirps
Is this also the reason to make a radial curved facing slightly more
elliptical?
i.e. creating a "flat spot" toward the tip rail to allow a larger
radius curve towards the tip.
Or is the "flat spot" more of a preference in the facing?
Thanks,
Ted
At 11:43 AM 9/5/2007, you wrote:
>Thanks. I will watch myself when working at the tip.
>
>David
>
>----- Original Message ----
>From: Paul C. <tenorman1952@...>
>To: MouthpieceWork@yahoogroups.com
>Sent: Tuesday, September 4, 2007 1:36:42 PM
>Subject: Re: [MouthpieceWork] chirps
>
>Yes... but a "flip" on the tip is even more than just continuing the
>facing curve. It is done by picking up the end of the mouthpiece
>too fast as the last bit of tip is touching.
>
>Paul
>
>David Kulcinski <dkulcinski@yahoo. com> wrote:
>So, when we see a reference to a "flip", it refers to a continuation
>of the curve through the tip rail?
>
>Thank you,
>
>David
>
>----- Original Message ----
>From: Paul C. <tenorman1952@ yahoo.com>
>To: MouthpieceWork@ yahoogroups. com
>Sent: Tuesday, August 28, 2007 10:55:03 PM
>Subject: Re: [MouthpieceWork] chirps
>
>Good fit of the tip rail to the contour of the tip of the reed is one thing.
>
>Not having the tip rail too thin helps, too. If the tip rail is too
>thin or narrow, the mouthpiece can chirp. If the tip rail is too
>wide, the mouthpiece plays sluggishly, that is, poor response.
>
>Also the facing curve. Be careful that you don't have too much
>curvature at the tip rail. As I get right to the tip, and see that
>as I draw the mouthpiece across the cutting paper, the pattern left
>on the paper goes from two lines (the side rails) to a full width
>mark (the tip rail) STOP LIFTING the butt end of the
>mouthpiece! Having that little "flip" on the very tip of the tip
>rail can introduce a chirp and also resistance. The reed can't seal
>well there.
>
>And some reeds just don't work with some mouthpieces. Why, I don't
>know. For example, a friend sent a nice RIA metal bari sax
>mouthpiece to me to work on. He had a really bad chirping problem,
>so I had him send his reeds, too. They were Vandoren Traditional
>("blue box").
>
>As I was testing his mouthpiece, and chirping and squeeking badly,
>my wife called from the other room, "I have NEVER heard you sound
>that bad... you sound like a beginner."
>
>I tried a few other brands of reeds, all of which worked
>better. And best was the Fibracell bari reed. I sent the
>mouthpiece back with no work done on it and charged only for two
>Fibracell bari reeds, which I packed with the mouthpiece. The
>customer was thrilled.
>
>This was not just any customer... he is not only a fine repairman,
>but also has toured with a world class big band. You don't send
>such a player home with the advice, "Kid, you need more
>practice." Something was wrong, and in this case, it was the reeds used.
>
>Oddly, those same reeds worked well with another mouthpiece. But
>that particular combination, that RIA metal and those reeds just did
>not work together.
>
>Paul
>
>andy panda <ndypnd@yahoo. com> wrote:
>I've got a mystery that just really haunts me. The mouthpieces that
>I like the best are very loud and edgy - when I work on a piece I
>like to get that baffle to be perfectly straight right out to the
>tip (like the CNC guardala pieces do). But when I do that, they
>almost always chirp unless I give them a slight rollover right
>behind the tip. I'm not talking about a lot of rollover (like the
>lawtons) and certainly not the HUGE amount of rollover like a Selmer
>- just a small hint of a rollover seems to be able to tame the
>chirp. But I don't see any evidence of any rollover at all on the
>guardalas I've examined. So how did he get those to not chirp or is
>that the perfect symetry of CNC at work? Is there some little trick
>I'm missing?
>
>Sick sense of humor? Visit Yahoo! TV's
><http://us.rd.yahoo.com/evtG093/*http://tv.yahoo.com/collections/222>Comedy
>with an Edge to see what's on, when.
>
>
>
>
>Link to Paul's articles from Main page of "Saxgourmet" :
><http://www.saxgourm/>http://www.saxgourm et.com
>Listen to Paul's MP3's and view saxophone photos at:
><http://briefcase/>http://briefcase. yahoo.com/ tenorman1952
>
>Paul Coats is the sole US importer of SAXRAX products from
><http://www.saxrax/>http://www.saxrax. com
>For SAXRAX products, email Paul at saxraxus@saxrax. com
>
>Yahoo! oneSearch: Finally,
><http://us.rd.yahoo.com/evtH252/*http://mobile.yahoo.com/mobileweb/onesearch?refer=1ONXIC>mobile
>search that gives answers, not web links.
>
>
>
>Luggage? GPS? Comic books?
>Check out fitting
><http://us.rd.yahoo.com/evtH249/*http://search.yahoo.com/search?fr=oni_on_mail&p=gradation+gifts&cs=bz>gifts
>for grads at Yahoo! Search.
>
>
>
>
>Link to Paul's articles from Main page of "Saxgourmet" :
><http://www.saxgourm>http://www.saxgourm et.com
>Listen to Paul's MP3's and view saxophone photos at:
><http://briefcase>http://briefcase. yahoo.com/ tenorman1952
>
>Paul Coats is the sole US importer of SAXRAX products from
><http://www.saxrax>http://www.saxrax. com
>For SAXRAX products, email Paul at saxraxus@saxrax. com
>
>
>Boardwalk for $500? In 2007? Ha!
><http://us.rd.yahoo.com/evtH223/*http://get.games.yahoo.com/proddesc?gamekey=monopolyherenow>Play
>Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
>
>
>
>
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>great prices on flights and hotels with Yahoo! FareChase.
>
FROM: tenorman1952 (Paul C.)
SUBJECT: Re: chirps
What happens is this...
As you raise the end of the mouthpiece, while approaching the tip, even if you do so at a constant rate, and you roll off of the side rails and onto the tip rail, you are suddenly applying the same force to less and less area. So, the rate of cutting is increased as that last portion in the middle of the tip rail is sanded.
I stop raising the end of the mouthpiece the moment the sandpaper shows the entire tip rail is being cut. That is, the tracks on the paper go from two lines (the side rails) to a full width shading. I watch for that very carefully.
And this allows the reed to close off the entire tip rail at once, instead of from the corners inward.
Paul
Ted Botaska <tuesdayhockey@...> wrote:
Is this also the reason to make a radial curved facing slightly more elliptical?
i.e. creating a "flat spot" toward the tip rail to allow a larger radius curve towards the tip.
Or is the "flat spot" more of a preference in the facing?
Thanks,
Ted
At 11:43 AM 9/5/2007, you wrote:
Thanks. I will watch myself when working at the tip.
David
----- Original Message ----
From: Paul C. <tenorman1952@...>
To: MouthpieceWork@yahoogroups.com
Sent: Tuesday, September 4, 2007 1:36:42 PM
Subject: Re: [MouthpieceWork] chirps
Yes... but a "flip" on the tip is even more than just continuing the facing curve. It is done by picking up the end of the mouthpiece too fast as the last bit of tip is touching.
Paul
David Kulcinski <dkulcinski@yahoo. com> wrote:
So, when we see a reference to a "flip", it refers to a continuation of the curve through the tip rail?
Thank you,
David
----- Original Message ----
From: Paul C. <tenorman1952@ yahoo.com>
To: MouthpieceWork@ yahoogroups. com
Sent: Tuesday, August 28, 2007 10:55:03 PM
Subject: Re: [MouthpieceWork] chirps
Good fit of the tip rail to the contour of the tip of the reed is one thing.
Not having the tip rail too thin helps, too. If the tip rail is too thin or narrow, the mouthpiece can chirp. If the tip rail is too wide, the mouthpiece plays sluggishly, that is, poor response.
Also the facing curve. Be careful that you don't have too much curvature at the tip rail. As I get right to the tip, and see that as I draw the mouthpiece across the cutting paper, the pattern left on the paper goes from two lines (the side rails) to a full width mark (the tip rail) STOP LIFTING the butt end of the mouthpiece! Having that little "flip" on the very tip of the tip rail can introduce a chirp and also resistance. The reed can't seal well there.
And some reeds just don't work with some mouthpieces. Why, I don't know. For example, a friend sent a nice RIA metal bari sax mouthpiece to me to work on. He had a really bad chirping problem, so I had him send his reeds, too. They were Vandoren Traditional ("blue box").
As I was testing his mouthpiece, and chirping and squeeking badly, my wife called from the other room, "I have NEVER heard you sound that bad... you sound like a beginner."
I tried a few other brands of reeds, all of which worked better. And best was the Fibracell bari reed. I sent the mouthpiece back with no work done on it and charged only for two Fibracell bari reeds, which I packed with the mouthpiece. The customer was thrilled.
This was not just any customer... he is not only a fine repairman, but also has toured with a world class big band. You don't send such a player home with the advice, "Kid, you need more practice." Something was wrong, and in this case, it was the reeds used.
Oddly, those same reeds worked well with another mouthpiece. But that particular combination, that RIA metal and those reeds just did not work together.
Paul
andy panda <ndypnd@yahoo. com> wrote:
I've got a mystery that just really haunts me. The mouthpieces that I like the best are very loud and edgy - when I work on a piece I like to get that baffle to be perfectly straight right out to the tip (like the CNC guardala pieces do). But when I do that, they almost always chirp unless I give them a slight rollover right behind the tip. I'm not talking about a lot of rollover (like the lawtons) and certainly not the HUGE amount of rollover like a Selmer - just a small hint of a rollover seems to be able to tame the chirp. But I don't see any evidence of any rollover at all on the guardalas I've examined. So how did he get those to not chirp or is that the perfect symetry of CNC at work? Is there some little trick I'm missing?
Sick sense of humor? Visit Yahoo! TV's Comedy with an Edge to see what's on, when.
Link to Paul's articles from Main page of "Saxgourmet" :
http://www.saxgourm et.com
Listen to Paul's MP3's and view saxophone photos at:
http://briefcase. yahoo.com/ tenorman1952
Paul Coats is the sole US importer of SAXRAX products from
http://www.saxrax. com
For SAXRAX products, email Paul at saxraxus@saxrax. com
Yahoo! oneSearch: Finally, mobile search that gives answers, not web links.
Luggage? GPS? Comic books?
Check out fitting gifts for grads at Yahoo! Search.
Link to Paul's articles from Main page of "Saxgourmet" :
http://www.saxgourm et.com
Listen to Paul's MP3's and view saxophone photos at:
http://briefcase. yahoo.com/ tenorman1952
Paul Coats is the sole US importer of SAXRAX products from
http://www.saxrax. com
For SAXRAX products, email Paul at saxraxus@saxrax. com
Boardwalk for $500? In 2007? Ha!
Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
Looking for a deal? Find great prices on flights and hotels with Yahoo! FareChase.
Link to Paul's articles from Main page of "Saxgourmet":
http://www.saxgourmet.com
Listen to Paul's MP3's and view saxophone photos at:
http://briefcase.yahoo.com/tenorman1952
Paul Coats is the sole US importer of SAXRAX products from
http://www.saxrax.com
For SAXRAX products, email Paul at saxraxus@...
---------------------------------
Take the Internet to Go: Yahoo!Go puts the Internet in your pocket: mail, news, photos & more.
FROM: kwbradbury (Keith Bradbury)
SUBJECT: Re: chirps
--- Ted Botaska <tuesdayhockey@...> wrote:
>
> Is this also the reason to make a radial curved facing slightly more
> elliptical?
> i.e. creating a "flat spot" toward the tip rail to allow a larger
> radius curve towards the tip.
Nearly all elliptical facings are more curved at the tip and less at the
table.
>
> Or is the "flat spot" more of a preference in the facing?
>
In my experiance, a slight flip is preferred over a flat section at the tip
rail. Altissimo response is better. But if you are having chirp problems,
a flatter tip rail can be tried.
____________________________________________________________________________________
Boardwalk for $500? In 2007? Ha! Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
http://get.games.yahoo.com/proddesc?gamekey=monopolyherenow
FROM: theglasstravesty (Brad)
SUBJECT: Wooden Mouthpiece
I recently made my first wooden mouthpiece out of cherry (as a practice block). With a little help from my brother and his drill press, a wood chisel, dremel, and sand paper, I made a mouthpiece that plays. I'm still working on the facing to get it how I really want it and the chamber since I don't have a proper tool to open it up really. What are some tools I will need so I don't have to eyeball the table, side rails, tip rail, etc...? I'm also planning on making more out of harder exotic woods, like cocobolo or honduran rosewood. Thoughts?
FROM: saxgourmet (STEVE GOODSON)
SUBJECT: Re: Wooden Mouthpiece
Brad: You won't need anything out of the ordinary for your wooden mouthpiece: a perfectly level surface to level the table, a standard mouthpiece gauge and feelers for the facing curve, assorted small fine tooth files, assorted grades of emery paper, and a digital caliper. You can do some one stop shopping for all of this at www.musicmedic.com . From: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com] On Behalf Of Brad Sent: Thursday, March 18, 2010 7:56 AM To: MouthpieceWork@yahoogroups.com Subject: [MouthpieceWork] Wooden Mouthpiece I recently made my first wooden mouthpiece out of cherry (as a practice block). With a little help from my brother and his drill press, a wood chisel, dremel, and sand paper, I made a mouthpiece that plays. I'm still working on the facing to get it how I really want it and the chamber since I don't have a proper tool to open it up really. What are some tools I will need so I don't have to eyeball the table, side rails, tip rail, etc...? I'm also planning on making more out of harder exotic woods, like cocobolo or honduran rosewood. Thoughts?