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?
Surprisingly yes
Mouthpiece Design question -
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Re: Mouthpiece Design question -
Melton 200 -=- Melton 2141 -=- Cerveny 883 Opera -=- Besson 992 -=- MPCs: 3pcs steel (Sellmansberger/Parker)
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Re: Mouthpiece Design question -
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?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?
Surprisingly yes
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.
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Re: Mouthpiece Design question -
Surely it counts for more than the material the mouthpiece is made of? At least the shank end is involved at a fairly critical juncture in the air stream.
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Re: Mouthpiece Design question -
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.
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Re: Mouthpiece Design question -
Why do I always sound like me?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
On some equipment it's just easier for me to sound like me
Melton 200 -=- Melton 2141 -=- Cerveny 883 Opera -=- Besson 992 -=- MPCs: 3pcs steel (Sellmansberger/Parker)
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Re: Mouthpiece Design question -
Because.Lectron wrote: Why do I always 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.
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Re: Mouthpiece Design question -
But as long as we aren't keeping you from your practice, then there's no harm done, right?
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Re: Mouthpiece Design question -
That's kinda my point....Donn wrote:But as long as we aren't keeping you from your practice, then there's no harm done, right?
IMO.....having the leadpipe moved for better ergonomics, tveaking the trasitions, alligning the valves perfectly etc.....
Makes practicing and preforming even more fun
Last edited by Lectron on Sun Apr 16, 2017 10:52 am, edited 1 time in total.
Melton 200 -=- Melton 2141 -=- Cerveny 883 Opera -=- Besson 992 -=- MPCs: 3pcs steel (Sellmansberger/Parker)
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Re: Mouthpiece Design question -
Both of you do as you please. I will.Lectron wrote:That's kinda my point....Donn wrote:But as long as we aren't keeping you from your practice, then there's no harm done, right?
IMO.....having the leadpipe moved for better ergonomics, tveaking the trasitions, alligning the valves perfectly etc.....
Makes practicing even more fun
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Re: Mouthpiece Design question -
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.
Rudy RMC50
Rudy 4345R
Mira 181-6GB
Gronitz BBb Kaiser (for sale)
Custom Kanstul 1662
King 4B
York pea-shooter
French Tuba in C
Rudy 4345R
Mira 181-6GB
Gronitz BBb Kaiser (for sale)
Custom Kanstul 1662
King 4B
York pea-shooter
French Tuba in C