I know what overtones are by definition (and what a harmonic series is),
but is there are simple way to explain what this means (like I'm in 3rd grade) and what a mouthpiece has to do with this?

This is the marketing hype I'm referring to:

"The rollover baffle and floor delivery points have been specifically designed for optimal air flow and to create a beautifully balance overtone series."

thanks all.

matt

Without giving you a convoluted explanation packed with acoustic  
theory and conjecture, you can structure the interior of the  
mouthpiece in a variety of fashions which will produce different type  
tones. A mouthpiece has a LOT do do with this, hence the proliferation  
of different styles of baffle, chamber sizes, rail widths, etc. etc.  
etc. A little research will show you what results to expect from  
specific configurations.




STEVE GOODSON
saxophone designer to the stars
sic gorgiamus allos subjectatos nunc

"The rollover baffle and floor delivery points have been specifically 
designed for optimal air flow and to create a beautifully balance 
overtone series."

It's the amplitude relationships of the harmonic resonances to each other which determines the basic tone quality.  If the fundamental (1st mode) is strong and the harmonics weak, the tone will be soft and warm, with no edge.  If then, say the 3rd harmonic (4th mode) is strong too, but the 1st and 2nd harmonic (2nd and 3rd mode) are weaker, the sound will be brighter but thin and hollow sounding.

The best way to experience it, hands on, is with additive sound synthesis.  There are plenty of software synths that will let you add together phase-locked sine waves and vari their amplitudes.  Try it.



      

Thanks Lance - I downloaded AddSynth1.0 and will give this a go.

Of course I understand the effects baffle height/shape and floor angle have on tone in terms of the commonly used adjectives.

So, was this just a "flowery" way to say not too bright, not too dark...?

--- In MouthpieceWork@yahoogroups.com, MartinMods <lancelotburt@...> wrote:
>
> "The rollover baffle and floor delivery points have been specifically 
> designed for optimal air flow and to create a beautifully balance 
> overtone series."
> 
> It's the amplitude relationships of the harmonic resonances to each other which determines the basic tone quality.  If the fundamental (1st mode) is strong and the harmonics weak, the tone will be soft and warm, with no edge.  If then, say the 3rd harmonic (4th mode) is strong too, but the 1st and 2nd harmonic (2nd and 3rd mode) are weaker, the sound will be brighter but thin and hollow sounding.
> 
> The best way to experience it, hands on, is with additive sound synthesis.  There are plenty of software synths that will let you add together phase-locked sine waves and vari their amplitudes.  Try it.
>

those programs will give you an idea about different sounds which are  
just sounds, not mouthpiece specific, and will tell you nothing about  
what to expect from a specific mouthpiece design so you can evaluate it.



On Apr 15, 2010, at 11:19 AM, Matthew wrote:

>
>
> Thanks Lance - I downloaded AddSynth1.0 and will give this a go.
>
> Of course I understand the effects baffle height/shape and floor  
> angle have on tone in terms of the commonly used adjectives.
>
> So, was this just a "flowery" way to say not too bright, not too  
> dark...?
>
> --- In MouthpieceWork@yahoogroups.com, MartinMods <lancelotburt@...>  
> wrote:
> >
> > "The rollover baffle and floor delivery points have been  
> specifically
> > designed for optimal air flow and to create a beautifully balance
> > overtone series."
> >
> > It's the amplitude relationships of the harmonic resonances to  
> each other which determines the basic tone quality.  If the  
> fundamental (1st mode) is strong and the harmonics weak, the tone  
> will be soft and warm, with no edge.  If then, say the 3rd harmonic  
> (4th mode) is strong too, but the 1st and 2nd harmonic (2nd and 3rd  
> mode) are weaker, the sound will be brighter but thin and hollow  
> sounding.
> >
> > The best way to experience it, hands on, is with additive sound  
> synthesis.  There are plenty of software synths that will let you  
> add together phase-locked sine waves and vari their amplitudes.  Try  
> it.
> >
>
>
> 

Yes, I understand that and similarly, the manufacturer's words I quoted are just words.

I've been evaluating mouthpieces as a player for many years with respect to baffles, chambers, etc. but I have a very limitted understanding of 'acoustics'.

I was trying to interpret what this particular manufacturer is saying about this "new" mouthpiece and hopefully learn something in the process.  I apreciate the replies.

--- In MouthpieceWork@yahoogroups.com, STEVE GOODSON <saxgourmet@...> wrote:
>
> those programs will give you an idea about different sounds which are  
> just sounds, not mouthpiece specific, and will tell you nothing about  
> what to expect from a specific mouthpiece design so you can evaluate it.
> 
> 
> 
> On Apr 15, 2010, at 11:19 AM, Matthew wrote:
> 
> >
> >
> > Thanks Lance - I downloaded AddSynth1.0 and will give this a go.
> >
> > Of course I understand the effects baffle height/shape and floor  
> > angle have on tone in terms of the commonly used adjectives.
> >
> > So, was this just a "flowery" way to say not too bright, not too  
> > dark...?
> >
> > --- In MouthpieceWork@yahoogroups.com, MartinMods <lancelotburt@>  
> > wrote:
> > >
> > > "The rollover baffle and floor delivery points have been  
> > specifically
> > > designed for optimal air flow and to create a beautifully balance
> > > overtone series."
> > >
> > > It's the amplitude relationships of the harmonic resonances to  
> > each other which determines the basic tone quality.  If the  
> > fundamental (1st mode) is strong and the harmonics weak, the tone  
> > will be soft and warm, with no edge.  If then, say the 3rd harmonic  
> > (4th mode) is strong too, but the 1st and 2nd harmonic (2nd and 3rd  
> > mode) are weaker, the sound will be brighter but thin and hollow  
> > sounding.
> > >
> > > The best way to experience it, hands on, is with additive sound  
> > synthesis.  There are plenty of software synths that will let you  
> > add together phase-locked sine waves and vari their amplitudes.  Try  
> > it.
> > >
> >
> >
> >
>