Lectron wrote:Have I tried different shanks, wall thickness, gaps, veturis and experienced less kick-back and more accessible low register?
Yes I have.
Has the actual "interface" ment just as much as the holes itselves?
Yes it has
Could I tell from just looking at the MPC?
Nope. Mouthpiece, receiver and leadpipe has to work together
Did theories/physics back up findings?
Why do some of the best players in the world seem to take a mouthpiece they've been using for two or three decades and put it in one tuba and then another and another, and it always seems to work?
Certainly I myself notoriously like to try a lot of different things, but one of the lessons of that seems to be that it just doesn't matter that much. Of all the factors in mouthpiece design that could matter, the shape of the end of the shank just seems to be the last and least.
I'll give you that the material it's made of and the shape of the end of the shank are probably at least tied for the least important, other things being equal. If material nudges shank end out as the least important factor, I can live with that.
Michael Bush wrote:Why do some of the best players in the world seem to take a mouthpiece they've been using for two or three decades and put it in one tuba and then another and another, and it always seems to
Why do I always sound like me? On some equipment it's just easier for me to sound like me
And that's really the point. Mouthpieces do matter, but it just seems possible to overthink them, and I feel pretty confident we've reached that point when we start worrying over minuscule measurements at the end of the shank. It would be more productive for us both to go practice.
when we start worrying over minuscule measurements at the end of the shank
They actually do matter for some people. Like 8.43mm throat bore giving someone air hunger and an 8.25mm bore not producing the same effect (all other measurements the same notwithstanding). Or how notes can suddenly become in tune switching from a 32.00mm rim diameter to a 32.50mm rim diameter. Everyone is different, and has different needs at certain points in their tuba playing career. One thing for sure is more practice is always good.
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Well... .I tried it, and as the wiser heads on the TNFJ predicted, there was little-to-no effect. It may have opened up the tone a bit, but not enough for me to put any money on it. FYI- I tapered the inside at a 18 degree included angle (9 degree per side) until 1/2 of the perpendicular portion of the shank end was gone. (the wall thickness at the end of the shank was 50% of original) My thoughts going in were that since the Rudy's don't have a traditional step at the receiver like many horns, it may have played into whatever design drove that decision by smoothing the transition even further. Apparently not enough to notice. - thanks for all the input and opinions. I'm back to the lurker mode.
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