AustinBrister
02-05-2007, 09:05 PM
Hello everyone, thank you in advance for your replies.
Here is my recent delimna: Mojobari had a short wait time (but I needed it done really soon as I had no other mouthpieces) so I had a local clarinet refacer do some work for me. He is VERY VERY good, but wasn't sure about a facing schedule for a tenor piece as he deals with clarinets.
I had him put a 50 length 118 facing (perfect radial curve using Mojobari Keith Bradbury's facing spreadsheet). The piece is a Phil Barone NY 8 (110, now 118) Brass piece.
My piece now plays pretty good, much more even sound across the horn.
Here's my problem: It has a very reedy and abrassive harshness to it. anything above the G with octave is quite bright. I really like the great response this long rollover baffle gives me down in the range without octave, but up high, again it is quite abrasive. I have noticed that in order to get control of this sound down below middle Bb, I must take in a much smaller portion of mouthpiece, but this range is quite an airy sound as well. Up high, there is nothing I can do. Someone told me to try to take in more mouthpiece (obvious) but that really makes things worse. I feel like the only thing I can do to try and compensate for all of this is to really restrict the reed quite a bit with a fat mooshy lip, which is something I really don't wish to do so much in order to let the reed vibrate more freely.
So here's my question: since this is a quite long roll over baffle, which areas need to be subracted from to keep this great response and flexibility, yet get rid of both the abbrasivness/brattyness of this peice, and get rid of those harsh upper overtones in the upper octaves?
Here is my recent delimna: Mojobari had a short wait time (but I needed it done really soon as I had no other mouthpieces) so I had a local clarinet refacer do some work for me. He is VERY VERY good, but wasn't sure about a facing schedule for a tenor piece as he deals with clarinets.
I had him put a 50 length 118 facing (perfect radial curve using Mojobari Keith Bradbury's facing spreadsheet). The piece is a Phil Barone NY 8 (110, now 118) Brass piece.
My piece now plays pretty good, much more even sound across the horn.
Here's my problem: It has a very reedy and abrassive harshness to it. anything above the G with octave is quite bright. I really like the great response this long rollover baffle gives me down in the range without octave, but up high, again it is quite abrasive. I have noticed that in order to get control of this sound down below middle Bb, I must take in a much smaller portion of mouthpiece, but this range is quite an airy sound as well. Up high, there is nothing I can do. Someone told me to try to take in more mouthpiece (obvious) but that really makes things worse. I feel like the only thing I can do to try and compensate for all of this is to really restrict the reed quite a bit with a fat mooshy lip, which is something I really don't wish to do so much in order to let the reed vibrate more freely.
So here's my question: since this is a quite long roll over baffle, which areas need to be subracted from to keep this great response and flexibility, yet get rid of both the abbrasivness/brattyness of this peice, and get rid of those harsh upper overtones in the upper octaves?