 The Clarinet BBoard
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Author: Bruno
Date: 2006-09-24 17:26
I found an old Woodwind "Select G8" MP in my shoebox collection of one million mouthpieces which I had re-faced sometime back in my salad days. Doing so of course, widens the tip rail and changes the entry curve of the palate a bit. It blew hard but had a wonderful woody dark sound. I was really thrilled with my sound - Woody Herman, Artie shaw, Buddy DeFranco - wow!
"Fine," sez I, "I'll just file the entrance to the palate a bit and narrow down the tip rail. It'll still have the darkness but it'll be easier to blow."
WRONG! It is easier to blow, but now it's bright - and I know why.
I have a Beechler MP for my alto sax whose palate has quite a convex lift just behind the tip rail. It is the brightest MP I own. It makes me sound like Konitz in his Tristano days (albeit with about 1/10th his talent!).
Using my Rob't Marcellus MP as a guide, when I filed the palate entry I deliberately gave it a bit of a convex curve.
Moral?
Live and learn.
Leave well enough alone.
There's no such thing as 100 percent perfect.
If you make it to shore without drowning, don't dive back in. Especially when you don't "swim" too well.
b/
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Author: Gregory Smith ★2017
Date: 2006-09-24 17:38
Indeed the cardinal rule in the art of sculpture is to know when to stop. In fact one could clearly assert that the art of sculpture is more or less defined by that very concept itself.
Gregory Smith
http://www.gregory-smith.com
Post Edited (2006-09-24 17:39)
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Author: BobD
Date: 2006-09-24 17:44
....Or, as some say, measure twice, cut once.
Bob Draznik
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Author: Bob Phillips
Date: 2006-09-25 01:01
Or, as I found out today: build it twice; and throw the first one away.
Bob Phillips
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