When you reface a piece, (just talking tip opening and faccing curve here), is your aim to get the facing curve as it should be for a given piece (or smoother), or to alter the curve to suit a particular reed, for example. 
i.e. if you open up a piece, do you follow the know measurements like Mojo has posted or adjust it until it plays right IYSWIM?

--- In MouthpieceWork@yahoogroups.com, "oricmuso" <steve.m@...> wrote:
>
> When you reface a piece, (just talking tip opening and faccing curve here), is your aim to get the facing curve as it should be for a given piece (or smoother), or to alter the curve to suit a particular reed, for example. 
> i.e. if you open up a piece, do you follow the know measurements like Mojo has posted or adjust it until it plays right IYSWIM?
>
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Open tips are not necessarily a good thing in Jazz clarinet MPC's I find.

The problem is in the reed which suffers much bending, in a soft reed/open lay combination This means reeds quickly take on a curve which reduces the tip opening. If you want to go through reeds at a fast rate - OK. I think it is better to go for a slightly closer lay (we are speaking Jazz tip openings here, around 50 or more) with a slight harder reed.
I refer to Mojo's postings for approximate dimensions and go for  flats. If it works great I stop and do not try to improve it.
These have finished up from .048" to .053" with 16 to 18mm lengths.

This suck-it-and-see approach, is of course very difficult to duplicate, within the tiny measurements of such a small lay. 
Eddie

I think a reed bows when a player is using a long lay and an open tip and is not 
taking in a lot of mouthpiece with their embouchure.  They are in effect closing 
off the large tip opening to make the reed speak easier.   Some players play 
quite well this way.  But it can lead to fatigue and then you loose intonation 
control.




________________________________
From: Edward McLean <ed@...>
To: MouthpieceWork@yahoogroups.com
Sent: Thu, July 8, 2010 7:43:25 AM
Subject: [MouthpieceWork] Re: What's the aim?

...
The problem is in the reed which suffers much bending, in a soft reed/open lay 
combination This means reeds quickly take on a curve which reduces the tip 
opening....


      

--- In MouthpieceWork@yahoogroups.com, "Edward McLean" <ed@...> wrote:
>

> 
> Open tips are not necessarily a good thing in Jazz clarinet MPC's I find.
> 
> The problem is in the reed which suffers much bending, in a soft reed/open lay combination This means reeds quickly take on a curve which reduces the tip opening. If you want to go through reeds at a fast rate - OK. I think it is better to go for a slightly closer lay (we are speaking Jazz tip openings here, around 50 or more) with a slight harder reed.
> I refer to Mojo's postings for approximate dimensions and go for  flats. If it works great I stop and do not try to improve it.
> These have finished up from .048" to .053" with 16 to 18mm lengths.
> 
> This suck-it-and-see approach, is of course very difficult to duplicate, within the tiny measurements of such a small lay. 
> Eddie

Cheers. 
I wasn't talking specifically about clarinet pieces here. This was more about refacing in general. Are the facings trying to follow known criteria or going for what works. 
For example, I think Link facings seem to work but Berg have come in for a lot of criticism and someone may want to put a quite different facing on a Berg to make it work better whereas if a Link was being worked on a Link facing may be reapplied. Is this right?

Your right about open tips not necessarily being a good thing for playing jazz. I confess to using a medium open, around 55 thou myself, but the two most prominent straight-ahead players today, Eddie Daniels and Ken Peplowski  play astoundingly well with more conservative pieces.Of course they don't have DeFranco's sound but then no one  does. .


      

--- In MouthpieceWork@yahoogroups.com, Peter Deley <pfdeley@...> wrote:
>
> Your right about open tips not necessarily being a good thing for playing jazz. I confess to using a medium open, around 55 thou myself, but the two most prominent straight-ahead players today, Eddie Daniels and Ken Peplowski  play astoundingly well with more conservative pieces.Of course they don't have DeFranco's sound but then no one  does. .xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
>I was thinking more about the punishment to the reed and control for the player, when using a long open lay.
Ken Peplowski told me he used a Portnoy I think.
The nearest I have got to a DeFranco sound is with a Graftonite B5 relayed to a 48 tip, though the Bari - DeFranco range, runs from 48 to 58 tips. 
Eddie