Hi everybody,

 

I have a few questions for you all, I hope you have time to answer during
these busy days. 

 

I Recently traded 2 OL`s for a wwbw Guardala Studio LT. This one was refaced
by Brian Powell, from a .117 to a .105 and he did some chamber work. This is
my first time on a guardala, and a refaced piece. But this is one hell of a
player, the dynamic range is enormous, i never played that soft on a .100+
mpc. And well, when I want to go loud.. there just seems to be no end to it!
The only "problem"I have is that the lower register doesn`t speak as well as
lower baffled pieces, but tonight (after receiving it yesterday) I had some
more playtime and with some throat and embouchure adjustments it`ll work
just have to search sometimes.

 

Now some of  work ( I can see) Brian Powell did and where I'd like to know
what effect they have;

 

1.       He straightended the side walls;

2.       He enlarged the chamber / throat;

3.       He straightened, ( from presumeabley rounder form to a more
straight form) the bit coming from the thraot leading up to the window.

 

Happy holidays from the Netherlands!

 

Koen Bidlot

Maybe I'm not that smart but what is the question? Studio has a long and
high baffle and I would not try to make one of less than .115. Smaller ones
will have limited low end and .105 will have extremely limited one. It is
what it is. If somebody can measure the piece and if the facing is shorter,
low end will slightly benefit from longer facing of up to 27mm.

On Tue, Dec 20, 2011 at 2:50 PM, Koen Bidlot <koenbidlot@...> wrote:

> **
>
>
> Hi everybody,****
>
> ** **
>
> I have a few questions for you all, I hope you have time to answer during
> these busy days. ****
>
> ** **
>
> I Recently traded 2 OL`s for a wwbw Guardala Studio LT. This one was
> refaced by Brian Powell, from a .117 to a .105 and he did some chamber
> work. This is my first time on a guardala, and a refaced piece. But this is
> one hell of a player, the dynamic range is enormous, i never played that
> soft on a .100+ mpc. And well, when I want to go loud.. there just seems to
> be no end to it! The only “problem”I have is that the lower register
> doesn`t speak as well as lower baffled pieces, but tonight (after receiving
> it yesterday) I had some more playtime and with some throat and embouchure
> adjustments it`ll work just have to search sometimes.****
>
> ** **
>
> Now some of  work ( I can see) Brian Powell did and where I’d like to know
> what effect they have;****
>
> ** **
>
> **1.       **He straightended the side walls;****
>
> **2.       **He enlarged the chamber / throat;****
>
> **3.       **He straightened, ( from presumeabley rounder form to a more
> straight form) the bit coming from the thraot leading up to the window.***
> *
>
> ** **
>
> Happy holidays from the Netherlands!****
>
> ** **
>
> Koen Bidlot****
>
>  
>



-- 
Sakshama

www. sakshamamouthpieces.com

The unmodified Studio LTs I have measured are .110"-.111" inside the tip rail, not .117".
 


________________________________
From: Koen Bidlot <koenbidlot@...>
To: MouthpieceWork@yahoogroups.com 
Sent: Tuesday, December 20, 2011 2:50 PM
Subject: RE: [MouthpieceWork] wwbw Guardala Studio LT


  
Hi everybody,
 
I have a few questions for you all, I hope you have time to answer during these busy days. 
 
I Recently traded 2 OL`s for a wwbw Guardala Studio LT. This one was refaced by Brian Powell, from a .117 to a .105 and he did some chamber work. This is my first time on a guardala, and a refaced piece. But this is one hell of a player, the dynamic range is enormous, i never played that soft on a .100+ mpc. And well, when I want to go loud.. there just seems to be no end to it! The only “problem”I have is that the lower register doesn`t speak as well as lower baffled pieces, but tonight (after receiving it yesterday) I had some more playtime and with some throat and embouchure adjustments it`ll work just have to search sometimes.
 
Now some of  work ( I can see) Brian Powell did and where I’d like to know what effect they have;
 
1.       He straightended the side walls;
2.       He enlarged the chamber / throat;
3.       He straightened, ( from presumeabley rounder form to a more straight form) the bit coming from the thraot leading up to the window.
 
Happy holidays from the Netherlands!
 
Koen Bidlot

Agreed, but even if the facing is lengthened, on high baffle pieces, the smaller the tip opening, the more impossible it becomes to balance the chamber resonant frequency with the chamber volume.  Intonation and stability will suffer regardless.

--- On Tue, 12/20/11, Sakshama Koloski <sakshama1@...> wrote:

From: Sakshama Koloski <sakshama1@...>
Subject: Re: [MouthpieceWork] wwbw Guardala Studio LT
To: MouthpieceWork@yahoogroups.com
Date: Tuesday, December 20, 2011, 8:10 PM








 



  


    
      
      
      Maybe I'm not that smart but what is the question? Studio has a long and high baffle and I would not try to make one of less than .115. Smaller ones will have limited low end and .105 will have extremely limited one. It is what it is. If somebody can measure the piece and if the facing is shorter, low end will slightly benefit from longer facing of up to 27mm.



On Tue, Dec 20, 2011 at 2:50 PM, Koen Bidlot <koenbidlot@hotmail.com> wrote:

















 



  


    
      
      
      Hi everybody, 

I have a few questions for you all, I hope you have time to answer during these busy days.  

I Recently traded 2 OL`s for a wwbw Guardala Studio LT. This one was refaced by Brian Powell, from a .117 to a .105 and he did some chamber work. This is my first time on a guardala, and a refaced piece. But this is one hell of a player, the dynamic range is enormous, i never played that soft on a .100+ mpc. And well, when I want to go loud.. there just seems to be no end to it! The only “problem”I have is that the lower register doesn`t speak as well as lower baffled pieces, but tonight (after receiving it yesterday) I had some more playtime and with some throat and embouchure adjustments it`ll work just have to search sometimes.

 Now some of  work ( I can see) Brian Powell did and where I’d like to know what effect they have;

 1.       He straightended the side walls;

2.       He enlarged the chamber / throat;

3.       He straightened, ( from presumeabley rounder form to a more straight form) the bit coming from the thraot leading up to the window.

 Happy holidays from the Netherlands!

 Koen Bidlot

    
     

    
    






  









-- 
Sakshama

www. sakshamamouthpieces.com





    
     

    
    






  

No that`s my intro story about the mpc and what I noticed the first time playing, if you scroll down a bit I have listed 3 things that are adjusted during the reface.

Here they are again:

 

1.       He straightended the side walls;

2.       He enlarged the chamber / throat;

3.       He straightened, ( from presumeabley rounder form to a more straight form) the bit coming from the thraot leading up to the window.

What are the affects of above mentioned work done? I dont know if those are 3 seperate things or those 3 combined give a certain effect on the playabillity.

 

Happy Holidays,

 

Van: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com] Namens MartinMods
Verzonden: woensdag 21 december 2011 0:13
Aan: MouthpieceWork@yahoogroups.com
Onderwerp: Re: [MouthpieceWork] wwbw Guardala Studio LT

 

  


Agreed, but even if the facing is lengthened, on high baffle pieces, the smaller the tip opening, the more impossible it becomes to balance the chamber resonant frequency with the chamber volume.  Intonation and stability will suffer regardless.

--- On Tue, 12/20/11, Sakshama Koloski <sakshama1@...> wrote:


From: Sakshama Koloski <sakshama1@...>
Subject: Re: [MouthpieceWork] wwbw Guardala Studio LT
To: MouthpieceWork@yahoogroups.com
Date: Tuesday, December 20, 2011, 8:10 PM

  

Maybe I'm not that smart but what is the question? Studio has a long and high baffle and I would not try to make one of less than .115. Smaller ones will have limited low end and .105 will have extremely limited one. It is what it is. If somebody can measure the piece and if the facing is shorter, low end will slightly benefit from longer facing of up to 27mm.

On Tue, Dec 20, 2011 at 2:50 PM, Koen Bidlot <koenbidlot@...> wrote:

  

Hi everybody,

 

I have a few questions for you all, I hope you have time to answer during these busy days. 

 

I Recently traded 2 OL`s for a wwbw Guardala Studio LT. This one was refaced by Brian Powell, from a .117 to a .105 and he did some chamber work. This is my first time on a guardala, and a refaced piece. But this is one hell of a player, the dynamic range is enormous, i never played that soft on a .100+ mpc. And well, when I want to go loud.. there just seems to be no end to it! The only “problem”I have is that the lower register doesn`t speak as well as lower baffled pieces, but tonight (after receiving it yesterday) I had some more playtime and with some throat and embouchure adjustments it`ll work just have to search sometimes.

 

Now some of  work ( I can see) Brian Powell did and where I’d like to know what effect they have;

 

1.       He straightended the side walls;

2.       He enlarged the chamber / throat;

3.       He straightened, ( from presumeabley rounder form to a more straight form) the bit coming from the thraot leading up to the window.

 

Happy holidays from the Netherlands!

 

Koen Bidlot




-- 
Sakshama

www. sakshamamouthpieces.com

1. Probably negligible.  LT side rails are very thin and usually very even in thickness.  If you mean BP smoothed out the surface inside the sidewalls, this would not have much effect, if any.
2. How much?  Enlarging the throat squeeze diameter makes the design somewhere between the Studio and the MB2.
3. BP probably reshaped this after he cut down the table to close the tip.  That edge got too sharp and thin.
 
The biggest change is probably from the work on the facing curve.  You did not mention that.  We do not know how the new curve compares to the original one.  BP does good work, but someone would need to measure the facing curve to know if it is long like the original DG curve or is now medium or what.  
 
I think the Studio design can play fine with a reduced tip opening.  

________________________________
From: Koen Bidlot <koenbidlot@...>
To: MouthpieceWork@yahoogroups.com 
Sent: Tuesday, December 20, 2011 7:08 PM
Subject: RE: [MouthpieceWork] wwbw Guardala Studio LT

  
No that`s my intro story about the mpc and what I noticed the first time playing, if you scroll down a bit I have listed 3 things that are adjusted during the reface.
Here they are again:
 
1.       He straightended the side walls;
2.       He enlarged the chamber / throat;
3.       He straightened, ( from presumeabley rounder form to a more straight form) the bit coming from the thraot leading up to the window.
What are the affects of above mentioned work done? I dont know if those are 3 seperate things or those 3 combined give a certain effect on the playabillity.
 
Happy Holidays,
 
Van:MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com] Namens MartinMods
Verzonden: woensdag 21 december 2011 0:13
Aan: MouthpieceWork@yahoogroups.com
Onderwerp: Re: [MouthpieceWork] wwbw Guardala Studio LT
 
  
Agreed, but even if the facing is lengthened, on high baffle pieces, the smaller the tip opening, the more impossible it becomes to balance the chamber resonant frequency with the chamber volume.  Intonation and stability will suffer regardless.

--- On Tue, 12/20/11, Sakshama Koloski <sakshama1@...> wrote:

From: Sakshama Koloski <sakshama1@...>
Subject: Re: [MouthpieceWork] wwbw Guardala Studio LT
To: MouthpieceWork@yahoogroups.com
Date: Tuesday, December 20, 2011, 8:10 PM
  
Maybe I'm not that smart but what is the question? Studio has a long and high baffle and I would not try to make one of less than .115. Smaller ones will have limited low end and .105 will have extremely limited one. It is what it is. If somebody can measure the piece and if the facing is shorter, low end will slightly benefit from longer facing of up to 27mm.
On Tue, Dec 20, 2011 at 2:50 PM, Koen Bidlot <koenbidlot@...> wrote:
  
Hi everybody,
 
I have a few questions for you all, I hope you have time to answer during these busy days. 
 
I Recently traded 2 OL`s for a wwbw Guardala Studio LT. This one was refaced by Brian Powell, from a .117 to a .105 and he did some chamber work. This is my first time on a guardala, and a refaced piece. But this is one hell of a player, the dynamic range is enormous, i never played that soft on a .100+ mpc. And well, when I want to go loud.. there just seems to be no end to it! The only “problem”I have is that the lower register doesn`t speak as well as lower baffled pieces, but tonight (after receiving it yesterday) I had some more playtime and with some throat and embouchure adjustments it`ll work just have to search sometimes.
 
Now some of  work ( I can see) Brian Powell did and where I’d like to know what effect they have;
 
1.       He straightended the side walls;
2.       He enlarged the chamber / throat;
3.       He straightened, ( from presumeabley rounder form to a more straight form) the bit coming from the thraot leading up to the window.
 
Happy holidays from the Netherlands!
 
Koen Bidlot



-- 
Sakshama

www. sakshamamouthpieces.com

 

"I think the Studio design can play fine with a reduced tip opening."

Can, but it's a matter of degree as well.  Given a well made/balanced facing and tip, nicely shaped baffle, and optimal facing length,  I find the horn will seemingly sound/respond fine except for the middle low register (starting on E1 usually), which will crack and speak poorly, if the baffle is too high.  One must "search" for the a working voicing for the low notes, just as the OP describes, and it is impossible to align the chamber frequency/volume relationship for good intonation.  Making the baffle slightly lower then, corrects all issues.

@martinmods; the middle register isn`t that big of a problem, sometimes
the D1 feels like it wants to go motorbaoting but I correct it before it
does, I've got more problems with motorbaoting on Bb1 and B1 but i'm
getting better at it. and I'm sure it`s not my sax. but maybe it`s just
my voicing.
@keith (and in general); I think I wasnt that clear about point 1.  It
looks like he made the angle between the baffle en side wals straighter,
like he put a triangular file in there.
and when I got this mpc it was allready refaced, so I dont have any data
from the before situation but you can clearly see where work has been
done.
keith my source from the original size was actually you..
"Is it a Guardala LT from WW&BW? If so they run close to .117" inside
the tip rail. A vintage handmade or a PMS LT or PMS handmade should be
similar, but they can vary."
http://forum.saxontheweb.net/showthread.php?139466-Guardala-Studio&highl\
ight=guardala+studio
doesn`t really matter, it`s a .105" now.
"I think the Studio design can play fine with a reduced tip opening."

Can, but it's a matter of degree as well.  Given a well made/balanced
facing and tip, nicely shaped baffle, and optimal facing length,  I find
the horn will seemingly sound/respond fine except for the middle low
register (starting on E1 usually), which will crack and speak poorly, if
the baffle is too high.  One must "search" for the a working voicing for
the low notes, just as the OP describes, and it is impossible to align
the chamber frequency/volume relationship for good intonation.  Making
the baffle slightly lower then, corrects all issues.
>> 1. Probably negligible.  LT side rails are very thin and usually
very even in thickness.  If you mean BP smoothed out the surface
inside the sidewalls, this would not have much effect, if any.> 2. How
much?  Enlarging the throat squeeze diameter makes the design
somewhere between the Studio and the MB2.> 3. BP probably reshaped this
after he cut down the table to close the tip.  That edge got too
sharp and thin.> Â > The biggest change is probably from the work on
the facing curve.  You did not mention that.  We do not know how
the new curve compares to the original one.  BP does good work, but
someone would need to measure the facing curve to know if it is long
like the original DG curve or is now medium or what.  >  > I
think the Studio design can play fine with a reduced tip
opening.Â


--- In MouthpieceWork@yahoogroups.com, Keith Bradbury <kwbradbury@...>
wrote:
>
> The unmodified Studio LTs I have measured are .110"-.111" inside the
tip rail, not .117".
> Â
>
>
> ________________________________
> From: Koen Bidlot koenbidlot@...
> To: MouthpieceWork@yahoogroups.com
> Sent: Tuesday, December 20, 2011 2:50 PM
> Subject: RE: [MouthpieceWork] wwbw Guardala Studio LT
>
>
> Â
> Hi everybody,
> Â
> I have a few questions for you all, I hope you have time to answer
during these busy days.
> Â
> I Recently traded 2 OL`s for a wwbw Guardala Studio LT. This one was
refaced by Brian Powell, from a .117 to a .105 and he did some chamber
work. This is my first time on a guardala, and a refaced piece. But this
is one hell of a player, the dynamic range is enormous, i never played
that soft on a .100+ mpc. And well, when I want to go loud.. there just
seems to be no end to it! The only “problem”I have is that
the lower register doesn`t speak as well as lower baffled pieces, but
tonight (after receiving it yesterday) I had some more playtime and with
some throat and embouchure adjustments it`ll work just have to search
sometimes.
> Â
> Now some of  work ( I can see) Brian Powell did and where
I’d like to know what effect they have;
> Â
> 1.       He straightended the side walls;
> 2.       He enlarged the chamber / throat;
> 3.       He straightened, ( from presumeabley
rounder form to a more straight form) the bit coming from the thraot
leading up to the window.
> Â
> Happy holidays from the Netherlands!
> Â
> Koen Bidlot
>

I'm not sure why I typed .117" on the SOTW post.  I have 2 Studio LTs here and they measure .110" annd .111".
 
There is no way closing the tip from .111" to .105" is going to create response problems that requires lowering the baffle except near the tip rail.  If there are response problems, they are due to the facing curve length/shape, reed choice, sax, and/or player's learning curve (embochure).


________________________________
From: Koen <koenbidlot@...>
To: MouthpieceWork@yahoogroups.com 
Sent: Wednesday, December 21, 2011 3:34 AM
Subject: [MouthpieceWork] Re: wwbw Guardala Studio LT

  
@martinmods; the middle register isn`t that big of a problem, sometimes the D1 feels like it wants to go motorbaoting but I correct it before it does, I've got more problems with motorbaoting on Bb1 and B1 but i'm getting better at it. and I'm sure it`s not my sax. but maybe it`s just my voicing.

@keith (and in general); I think I wasnt that clear about point 1.  It looks like he made the angle between the baffle en side wals straighter, like he put a triangular file in there.

and when I got this mpc it was allready refaced, so I dont have any data from the before situation but you can clearly see where work has been done.

keith my source from the original size was actually you..

"Is it a Guardala LT from WW&BW? If so they run close to .117" inside the tip rail. A vintage handmade or a PMS LT or PMS handmade should be similar, but they can vary."

http://forum.saxontheweb.net/showthread.php?139466-Guardala-Studio&highlight=guardala+studio

doesn`t really matter, it`s a .105" now.

"I think the Studio design can play fine with a reduced tip opening."

Can, but it's a matter of degree as well.  Given a well made/balanced facing and tip, nicely shaped baffle, and optimal facing length,  I find the horn will seemingly sound/respond fine except for the middle low register (starting on E1 usually), which will crack and speak poorly, if the baffle is too high.  One must "search" for the a working voicing for the low notes, just as the OP describes, and it is impossible to align the chamber frequency/volume relationship for good intonation.  Making the baffle slightly lower then, corrects all issues. 
>
> 1. Probably negligible.  LT side rails are very thin and usually very even in thickness.  If you mean BP smoothed out the surface inside the sidewalls, this would not have much effect, if any.
> 2. How much?  Enlarging the throat squeeze diameter makes the design somewhere between the Studio and the MB2.
> 3. BP probably reshaped this after he cut down the table to close the tip.  That edge got too sharp and thin.
>  
> The biggest change is probably from the work on the facing curve.  You did not mention that.  We do not know how the new curve compares to the original one.  BP does good work, but someone would need to measure the facing curve to know if it is long like the original DG curve or is now medium or what.  
>  
> I think the Studio design can play fine with a reduced tip opening.  --- In MouthpieceWork@yahoogroups.com, Keith Bradbury <kwbradbury@...> wrote:>> The unmodified Studio LTs I have measured are .110"-.111" inside the tip rail, not .117".>  > > > ________________________________> From: Koen Bidlot koenbidlot@...> To: MouthpieceWork@...m > Sent: Tuesday, December 20, 2011 2:50 PM> Subject: RE: [MouthpieceWork] wwbw Guardala Studio LT> > >   > Hi everybody,>  > I have a few questions for you all, I hope you have time to answer during these busy days. >  > I Recently traded 2 OL`s for a wwbw Guardala Studio LT. This one was refaced by Brian Powell, from a .117 to a .105 and he did some chamber work. This is my first time on a guardala, and a refaced piece. But this is one hell of a player, the dynamic range is enormous, i never played that soft on a .100+ mpc. And well, when I want to go loud.. there just seems to be no end to
 it! The only “problem�I have is that the lower register doesn`t speak as well as lower baffled pieces, but tonight (after receiving it yesterday) I had some more playtime and with some throat and embouchure adjustments it`ll work just have to search sometimes.>  > Now some of  work ( I can see) Brian Powell did and where I’d like to know what effect they have;>  > 1.       He straightended the side walls;> 2.       He enlarged the chamber / throat;> 3.       He straightened, ( from presumeabley rounder form to a more straight form) the bit coming from the thraot leading up to the window.>  > Happy holidays from the Netherlands!>  > Koen Bidlot>

It seems like there are too many variables in this situation to determine
what's going on without examining & measuring (& playing) the mouthpiece -
preferably alongside an untouched version of it for comparison.  The fact
that it was already refaced when he got it says "all bets are off".
Subsequent work by a renowned refacer makes one think "maybe it's the reed
and/or embouchure".  Lack of facing measurements makes the curve a wild
card in assessment. As always, these discussions are interesting and
enlightening, but I don't think he should expect a definitive, actionable
answer.  That being said... my money is on facing curve, reed choice,
and/or embouchure.

Thanks for another year of great information & insight, guys!

Dan T

On Wed, Dec 21, 2011 at 8:12 AM, Keith Bradbury <kwbradbury@...>wrote:

> **
>
>
> I'm not sure why I typed .117" on the SOTW post.  I have 2 Studio LTs here
> and they measure .110" annd .111".
>
> There is no way closing the tip from .111" to .105" is going to create
> response problems that requires lowering the baffle except near the tip
> rail.  If there are response problems, they are due to the facing curve
> length/shape, reed choice, sax, and/or player's learning curve (embochure).
>
>  *From:* Koen <koenbidlot@hotmail.com>
> *To:* MouthpieceWork@yahoogroups.com
> *Sent:* Wednesday, December 21, 2011 3:34 AM
> *Subject:* [MouthpieceWork] Re: wwbw Guardala Studio LT
> **
>
>  @martinmods; the middle register isn`t that big of a problem, sometimes
> the D1 feels like it wants to go motorbaoting but I correct it before it
> does, I've got more problems with motorbaoting on Bb1 and B1 but i'm
> getting better at it. and I'm sure it`s not my sax. but maybe it`s just my
> voicing.
>
> @keith (and in general); I think I wasnt that clear about point 1.  It
> looks like he made the angle between the baffle en side wals straighter,
> like he put a triangular file in there.
>
> and when I got this mpc it was allready refaced, so I dont have any data
> from the before situation but you can clearly see where work has been done.
>
> keith my source from the original size was actually you..
>
> "Is it a Guardala LT from WW&BW? If so they run close to .117" inside the
> tip rail. A vintage handmade or a PMS LT or PMS handmade should be similar,
> but they can vary."
>
>
> http://forum.saxontheweb.net/showthread.php?139466-Guardala-Studio&highlight=guardala+studio
>
> doesn`t really matter, it`s a .105" now.
>
>   *"I think the Studio design can play fine with a reduced tip opening."
>
> Can, but it's a matter of degree as well.  Given a well made/balanced
> facing and tip, nicely shaped baffle, and optimal facing length,  I find
> the horn will seemingly sound/respond fine except for the middle low
> register (starting on E1 usually), which will crack and speak poorly, if
> the baffle is too high.  One must "search" for the a working voicing for
> the low notes, just as the OP describes, and it is impossible to align the
> chamber frequency/volume relationship for good intonation.  Making the
> baffle slightly lower then, corrects all issues*.
> **
>  >
> *> 1. Probably negligible.  LT side rails are very thin and usually very
> even in thickness.  If you mean BP smoothed out the surface inside the
> sidewalls, this would not have much effect, if any.*
> *> 2. How much?  Enlarging the throat squeeze diameter makes the design
> somewhere between the Studio and the MB2.*
> *> 3. BP probably reshaped this after he cut down the table to close the
> tip.  That edge got too sharp and thin.*
> *> Â *
> *> The biggest change is probably from the work on the facing curve.Â
>  You did not mention that.  We do not know how the new curve compares to
> the original one.  BP does good work, but someone would need to measure
> the facing curve to know if it is long like the original DG curve or is now
> medium or what.  *
> *> Â *
> *> I think the Studio design can play fine with a reduced tip opening.Â
> *
> **
> **
> **
> --- In MouthpieceWork@yahoogroups.com, Keith Bradbury <kwbradbury@...>
> wrote:**>**> The unmodified Studio LTs I have measured are .110"-.111"
> inside the tip rail, not .117".**> Â **> **> **>
> ________________________________**> From: Koen Bidlot koenbidlot@...**>
> To: MouthpieceWork@yahoogroups.com **> Sent: Tuesday, December 20, 2011
> 2:50 PM**> Subject: RE: [MouthpieceWork] wwbw Guardala Studio LT**> **> **>
> Â  **> Hi everybody,**> Â **> I have a few questions for you all, I hope
> you have time to answer during these busy days. **> Â **> I Recently
> traded 2 OL`s for a wwbw Guardala Studio LT. This one was refaced by Brian
> Powell, from a .117 to a .105 and he did some chamber work. This is my
> first time on a guardala, and a refaced piece. But this is one hell of a
> player, the dynamic range is enormous, i never played that soft on a .100+
> mpc. And well, when I want to go loud.. there just seems to be no end to
> it! The only “problem�I have is that the lower register doesn`t speak
> as well as lower baffled pieces, but tonight (after receiving it yesterday)
> I had some more playtime and with some throat and embouchure adjustments
> it`ll work just have to search sometimes.**>  **> Now some of  work ( I
> can see) Brian Powell did and where I’d like to know what effect they
> have;**>  **> 1.       He straightended the side walls;**>
> 2.       He enlarged the chamber / throat;**> 3.       He
> straightened, ( from presumeabley rounder form to a more straight form) the
> bit coming from the thraot leading up to the window.**> Â **> Happy
> holidays from the Netherlands!**> Â **> Koen Bidlot**>**
> ****
>
>  
>

  Perhaps  BP refaced this mouthpiece because of a damaged tip. I fixed a Studio Guardala for a friend and the work I ended up doing on it seems similar to what is being described with this mouthpiece.   I also ended up with a slightly more closed tip and shorter  table. It played about the same as before the repair but not longer squeaked because of the damaged tip.    Peter

To clarify, I didn't say the middle register would be a problem.  I said the middle-low register - starting at E1.  In such a case where the baffle is slightly too high, an accomplished player will not have terrible difficulty negotiating the low end in a pinch (no pun intended), but faced with performing on the mouthpiece daily, they would find it annoying and change it.  The less accomplished player, still becoming familiar with note voicings, will find it very frustrating.  

--- On Wed, 12/21/11, Koen <koenbidlot@...> wrote:

From: Koen <koenbidlot@...>
Subject: [MouthpieceWork] Re: wwbw Guardala Studio LT
To: MouthpieceWork@yahoogroups.com
Date: Wednesday, December 21, 2011, 8:34 AM








 



  


    
      
      
      


@martinmods; the middle register isn`t that big of a problem, sometimes the D1 feels like it wants to go motorbaoting but I correct it before it does, I've got more problems with motorbaoting on Bb1 and B1 but i'm getting better at it. and I'm sure it`s not my sax. but maybe it`s just my voicing.
@keith (and in general); I think I wasnt that clear about point 1.  It looks like he made the angle between the baffle en side wals straighter, like he put a triangular file in there.
and when I got this mpc it was allready refaced, so I dont have any data from the before situation but you can clearly see where work has been done.
keith my source from the original size was actually you..
"Is it a Guardala LT from WW&BW? If so they run close to .117" inside the tip rail. A vintage handmade or a PMS LT or PMS handmade should be similar, but they can vary."
http://forum.saxontheweb.net/showthread.php?139466-Guardala-Studio&highlight=guardala+studio
doesn`t really matter, it`s a .105" now.
"I think the Studio design can play fine with a reduced tip opening."

Can, but it's a matter of degree as well.  Given a well made/balanced facing and tip, nicely shaped baffle, and optimal facing length,  I find the horn will seemingly sound/respond fine except for the middle low register (starting on E1 usually), which will crack and speak poorly, if the baffle is too high.  One must "search" for the a working voicing for the low notes, just as the OP describes, and it is impossible to align the chamber frequency/volume relationship for good intonation.  Making the baffle slightly lower then, corrects all issues.
>> 1. Probably negligible.  LT side rails are very thin and usually very even in thickness.  If you mean BP smoothed out the surface inside the sidewalls, this would not have much effect, if any.> 2. How much?  Enlarging the throat squeeze diameter makes the design somewhere between the Studio and the MB2.> 3. BP probably reshaped this after he cut down the table to close the tip.  That edge got too sharp and thin.>  > The biggest change is probably from the work on the facing curve.  You did not mention that.  We do not know how the new curve compares to the original one.  BP does good work, but someone would need to measure the facing curve to know if it is long like the original DG curve or is now medium or what.  >  > I think the Studio design can play fine with a reduced tip opening.  


--- In MouthpieceWork@yahoogroups.com, Keith Bradbury <kwbradbury@...> wrote:
>
> The unmodified Studio LTs I have measured are .110"-.111" inside the tip rail, not .117".
>  
> 
> 
> ________________________________
> From: Koen Bidlot koenbidlot@...
> To: MouthpieceWork@yahoogroups.com 
> Sent: Tuesday, December 20, 2011 2:50 PM
> Subject: RE: [MouthpieceWork] wwbw Guardala Studio LT
> 
> 
>   
> Hi everybody,
>  
> I have a few questions for you all, I hope you have time to answer during these busy days. 
>  
> I Recently traded 2 OL`s for a wwbw Guardala Studio LT. This one was refaced by Brian Powell, from a .117 to a .105 and he did some chamber work. This is my first time on a guardala, and a refaced piece. But this is one hell of a player, the dynamic range is enormous, i never played that soft on a .100+ mpc. And well, when I want to go loud.. there just seems to be no end to it! The only “problem�I have is that the lower register doesn`t speak as well as lower baffled pieces, but tonight (after receiving it yesterday) I had some more playtime and with some throat and embouchure adjustments it`ll work just have to search sometimes.
>  
> Now some of  work ( I can see) Brian Powell did and where I’d like to know what effect they have;
>  
> 1.       He straightended the side walls;
> 2.       He enlarged the chamber / throat;
> 3.       He straightened, ( from presumeabley rounder form to a more straight form) the bit coming from the thraot leading up to the window.
>  
> Happy holidays from the Netherlands!
>  
> Koen Bidlot
>



    
     

    
    






  

I have about 3 hours of playing on this mpc today and the problems are gone. But I wasn`t worried about that, I was just wondering why the applied work was done. Thank you for the replies!

 

Happy holidays!

 

Van: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com] Namens MartinMods
Verzonden: woensdag 21 december 2011 19:15
Aan: MouthpieceWork@yahoogroups.com
Onderwerp: Re: [MouthpieceWork] Re: wwbw Guardala Studio LT

 

  


To clarify, I didn't say the middle register would be a problem.  I said the middle-low register - starting at E1.  In such a case where the baffle is slightly too high, an accomplished player will not have terrible difficulty negotiating the low end in a pinch (no pun intended), but faced with performing on the mouthpiece daily, they would find it annoying and change it.  The less accomplished player, still becoming familiar with note voicings, will find it very frustrating.  

--- On Wed, 12/21/11, Koen <koenbidlot@...> wrote:


From: Koen <koenbidlot@...>
Subject: [MouthpieceWork] Re: wwbw Guardala Studio LT
To: MouthpieceWork@yahoogroups.com
Date: Wednesday, December 21, 2011, 8:34 AM

  

@martinmods; the middle register isn`t that big of a problem, sometimes the D1 feels like it wants to go motorbaoting but I correct it before it does, I've got more problems with motorbaoting on Bb1 and B1 but i'm getting better at it. and I'm sure it`s not my sax. but maybe it`s just my voicing.

 

@keith (and in general); I think I wasnt that clear about point 1.  It looks like he made the angle between the baffle en side wals straighter, like he put a triangular file in there.

 

and when I got this mpc it was allready refaced, so I dont have any data from the before situation but you can clearly see where work has been done.

 

keith my source from the original size was actually you..

 

"Is it a Guardala LT from WW&BW? If so they run close to .117" inside the tip rail. A vintage handmade or a PMS LT or PMS handmade should be similar, but they can vary."

 

http://forum.saxontheweb.net/showthread.php?139466-Guardala-Studio <http://forum.saxontheweb.net/showthread.php?139466-Guardala-Studio&highlight=guardala+studio> &highlight=guardala+studio

 

doesn`t really matter, it`s a .105" now.

 


"I think the Studio design can play fine with a reduced tip opening."

Can, but it's a matter of degree as well.  Given a well made/balanced facing and tip, nicely shaped baffle, and optimal facing length,  I find the horn will seemingly sound/respond fine except for the middle low register (starting on E1 usually), which will crack and speak poorly, if the baffle is too high.  One must "search" for the a working voicing for the low notes, just as the OP describes, and it is impossible to align the chamber frequency/volume relationship for good intonation.  Making the baffle slightly lower then, corrects all issues.

 

> 

> 1. Probably negligible.  LT side rails are very thin and usually very even in thickness.  If you mean BP smoothed out the surface inside the sidewalls, this would not have much effect, if any.

> 2. How much?  Enlarging the throat squeeze diameter makes the design somewhere between the Studio and the MB2.

> 3. BP probably reshaped this after he cut down the table to close the tip.  That edge got too sharp and thin.

> Â 

> The biggest change is probably from the work on the facing curve.  You did not mention that.  We do not know how the new curve compares to the original one.  BP does good work, but someone would need to measure the facing curve to know if it is long like the original DG curve or is now medium or what.  

> Â 

> I think the Studio design can play fine with a reduced tip opening.  

 

 

 

--- In MouthpieceWork@yahoogroups.com, Keith Bradbury <kwbradbury@...> wrote:
>
> The unmodified Studio LTs I have measured are .110"-.111" inside the tip rail, not .117".
> Â 
> 
> 
> ________________________________
> From: Koen Bidlot koenbidlot@...
> To: MouthpieceWork@yahoogroups.com 
> Sent: Tuesday, December 20, 2011 2:50 PM
> Subject: RE: [MouthpieceWork] wwbw Guardala Studio LT
> 
> 
> Â  
> Hi everybody,
> Â 
> I have a few questions for you all, I hope you have time to answer during these busy days. 
> Â 
> I Recently traded 2 OL`s for a wwbw Guardala Studio LT. This one was refaced by Brian Powell, from a .117 to a .105 and he did some chamber work. This is my first time on a guardala, and a refaced piece. But this is one hell of a player, the dynamic range is enormous, i never played that soft on a .100+ mpc. And well, when I want to go loud.. there just seems to be no end to it! The only “problem�I have is that the lower register doesn`t speak as well as lower baffled pieces, but tonight (after receiving it yesterday) I had some more playtime and with some throat and embouchure adjustments it`ll work just have to search sometimes.
> Â 
> Now some of  work ( I can see) Brian Powell did and where I’d like to know what effect they have;
> Â 
> 1.       He straightended the side walls;
> 2.       He enlarged the chamber / throat;
> 3.       He straightened, ( from presumeabley rounder form to a more straight form) the bit coming from the thraot leading up to the window.
> Â 
> Happy holidays from the Netherlands!
> Â 
> Koen Bidlot
>

How long is usually the facing on a Studio LT? I got a handmade Studio here that is 54, or 27 mm. Tip opening is .114
EgilF.



--- In MouthpieceWork@yahoogroups.com, Sakshama Koloski <sakshama1@...> wrote:
>
> Maybe I'm not that smart but what is the question? Studio has a long and
> high baffle and I would not try to make one of less than .115. Smaller ones
> will have limited low end and .105 will have extremely limited one. It is
> what it is. If somebody can measure the piece and if the facing is shorter,
> low end will slightly benefit from longer facing of up to 27mm.
> 
> On Tue, Dec 20, 2011 at 2:50 PM, Koen Bidlot <koenbidlot@...> wrote:
> 
> > **
> >
> >
> > Hi everybody,****
> >
> > ** **
> >
> > I have a few questions for you all, I hope you have time to answer during
> > these busy days. ****
> >
> > ** **
> >
> > I Recently traded 2 OL`s for a wwbw Guardala Studio LT. This one was
> > refaced by Brian Powell, from a .117 to a .105 and he did some chamber
> > work. This is my first time on a guardala, and a refaced piece. But this is
> > one hell of a player, the dynamic range is enormous, i never played that
> > soft on a .100+ mpc. And well, when I want to go loud.. there just seems to
> > be no end to it! The only "problem"I have is that the lower register
> > doesn`t speak as well as lower baffled pieces, but tonight (after receiving
> > it yesterday) I had some more playtime and with some throat and embouchure
> > adjustments it`ll work just have to search sometimes.****
> >
> > ** **
> >
> > Now some of  work ( I can see) Brian Powell did and where I'd like to know
> > what effect they have;****
> >
> > ** **
> >
> > **1.       **He straightended the side walls;****
> >
> > **2.       **He enlarged the chamber / throat;****
> >
> > **3.       **He straightened, ( from presumeabley rounder form to a more
> > straight form) the bit coming from the thraot leading up to the window.***
> > *
> >
> > ** **
> >
> > Happy holidays from the Netherlands!****
> >
> > ** **
> >
> > Koen Bidlot****
> >
> >  
> >
> 
> 
> 
> -- 
> Sakshama
> 
> www. sakshamamouthpieces.com
>

why i can't unsubsribe?

I don't know.  Try:
 
To see and modify your groups, go to http://groups.yahoo.com/mygroups 
 
Click on "Edit my groups" and then check the box to the right to leave the group.


________________________________
From: Marjan Bakrevski <m_bakrevski@...>
To: MouthpieceWork@yahoogroups.com 
Sent: Thursday, December 22, 2011 10:30 AM
Subject: Re: [MouthpieceWork] Re: wwbw Guardala Studio LT

  
why i can't unsubsribe? 

Hello

I know the Fibracell reeds use kevlar fibers. Does anyone know the nature of
the resin used, in which they are embedded?

Thanks,

Barry