It has been pretty quiet on this site for some time so it's time to 
revive things. 

When you have a work session that involves alot of filing and hand 
sanding, you can reduce the wear, tear and callouses to your fingers by 
wrapping cloth tape around the fingertips. I use medical white cloth 
tape used to hold gauze bandages in place and tape the index fingers 
and thumbs of both hands. This is especially good for players who like 
to keep their hands in top shape. 

BTW: MANY THANKS TO MOJO FOR THE GREAT SET OF METAL REED TOOLS.

-Greg

Last night I was using a metal reed to judge the shape a brass mouthpiece
tip curve.  Under the light I was using, I could not easily see the
contrast between the metal reed and metal mouthpiece.  So I took a black
marker and colored one side of the metal reed tip black.  Much better.  I
just flip it over and use the uncolored metal side when I'm working on a
hard rubber mouthpiece.

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Hello everyone,
   
            I have a very important question.  Besides the length of the shank, what other factors control the intonation of a mouthpiece.  Say if you had a mouthpiece that plays flat, what would be the way to fix the intonation?  Thanks

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A mouthpiece that plays flat, cannot be pushed in far enough to bring up to pitch, probably has a too large chamber.  The fix is to fill in some of the chamber with epoxy putty.
   
  Paul

arnold montgomery <ammouthpieces@...> wrote:
              
Hello everyone,
     
              I have a very important question.  Besides the length of the shank, what other factors control the intonation of a mouthpiece.  Say if you had a mouthpiece that plays flat, what would be the way to fix the intonation?  Thanks


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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@...
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Hey Paul,

            Thanks for your reply on the intonation problem I was having on my piece.  In theory though is it not possible to cut the shank down far enough to bring up the intonation.  Its a nice playing pieceing with a very fat sound, and I'm scared if I fill it up with epoxy then I will loose some of that fullness in the sound. Thanks.

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This html message parsed with html2text ---------------------------Use some temporary material, like beeswax, putty, or non-hardening modeling
clay to try this idea out without any permanent alteration to the mouthpiece.
The farther back from the tip you use it, the less it will affect the playing
characteristics. Also, if I understand what you're talking about, I wouldn't
cut down the shank if the mouthpiece can't get far enough on to the neck, I'd
sand down the neck cork - it's at least reversible!  
  
Dan T  
  
arnold montgomery wrote:

>  
>  Hey Paul,
>
> Thanks for your reply on the intonation problem I was having on my piece. In
> theory though is it not possible to cut the shank down far enough to bring
> up the intonation. Its a nice playing pieceing with a very fat sound, and
> I'm scared if I fill it up with epoxy then I will loose some of that
> fullness in the sound. Thanks.
>
>  
>  __________________________________________________  
>  Do You Yahoo!?  
>  Tired of spam? Yahoo! Mail has the best spam protection around  
>  .yahoo.com

BTW, please change the Subject of your questions and replies to reflect the
topic you are discussing.

--- arnold montgomery <ammouthpieces@...> wrote:

>             Thanks for your reply on the intonation problem I was having
> on my piece.  In theory though is it not possible to cut the shank down
> far enough to bring up the intonation.  Its a nice playing pieceing with
> a very fat sound, and I'm scared if I fill it up with epoxy then I will
> loose some of that fullness in the sound. Thanks.
> 

You should not fall in love with a mouthpiece tone that can not be played
in tune.  You can put a tenor mouthpiece on an alto and like the sound, but
it is a poor trade off unless you are going to play only by yourself.

The key is to make the chamber volume smaller in a region that does not
impact the sound as much.  Try making the throat to shank volume smaller. 
Stay away from the tip and reed window areas.  It will add some focus to
the piece but not a lot of brightness because you are not changing the
baffle.


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Got my metal reeds the other day, too.  Those things are great but, man,
they're hard to play!