I've been studying large chamber soprano pieces for quite some time. Why?
Well, because most of them seem problematic to me as a player. It's taken almost 9 years to come to some conclusions about what benefit can be had from a chamber larger than most.
Theo is right that almost all soprano pieces are NOT large chambered, in his sense (see his site for his definition of large chamber).
After all, there is a reason why all major mouthpiece makers abandoned large chamber soprano mouthpieces quite a while ago.
But, more importantly for players, "large chamber" doesn't really mean anything specific on soprano. It's a generalization and a rather useless one at that.
I own or have owned every large chamber (LC) soprano mouthpiece ever made, I think, both vintage and modern. I've investigated them as a player and, because I do mouthpiece work, I could optimize their performance. So, I've seen them all at their best.
So I know what they, each particular design, give and I know what they demand of the player and I know the upsides and I know, first hand, the downsides. So. What to make of it all?
First: a Martin LC is not a Link LC is not a Conn LC is not a Buescher LC is not a Caravan LC is not a Wanne LC is not an Alma LC is not an Aizen LC is not a Drake LC is not a King LC is not a ......... (I've got at least 20 more I can name, plus the unmarked ones). The difference are real and significant for players.
The defining point of view is....wait for it.... SOUND. Once we know what sound we're after, then we can begin to apply some ideas to which design moves us in that direction and which don't.
Where I would disagree with the statement attributed to Theo's website about the importance of the "throat" in terms of sound is here: throat/schmoat. It's a term that apllies to a part of the chamber. That's it. It's ALL about chamber. ALL about chamber.
Baffle/schmaffle, throat/schmoat. These are both aspects of the ENTIRE chamber. The terms are useful in indicating which part of the chamber we are talking about and , yes, the shape of the chamber is EVERYTHING in terms of sound. Throat is the back of the chamber- that's it.. It plays its part but only in conjunction with the entire chamber shape. period. It's noyt the "size of the throat" or even "the shape of the throat" that determines sound.
The short of it is this: a narrowing of the column affects the way a sound wave propagates. A narrow chambered piece ( Selmer metal,Selmer Soloist, King LC, all different) affects the wave one way. If the column then narrows even more, wave affected. But, that said, a LC piece also narrows (the chamber is wider than the completely open "throat" after all) so.... wave affected. But affected differently...VERY differently.
Stick any of those pieces on 10 different sopranos and, some horn bores will be wider, some bigger. Some will broaden at one ratio, some at another, etc, etc. The minute nature of some of the differences MATTER. It's real. Play them side by side. You'll feel it and maybe hear it too.
So, my advice is to NOT THINK but FEEL and HEAR. Then YOU will know what is and what is not: for you and your horn.
NB: Larger chambers, most often, will play darker if designed and set up correctly.
Yes, you can get a "dark" sound on a medium chamber piece. It means playing firmer reeds or NOT blowing too hard.
Yes, medium chamber sizes offer the most versatility in terms of sound and response on soprano. Tnhey can be set up to go in any direction.
But the horn plays a big part too. There are horns that tend to the brighter side and horns that tend to the darker side. It's in their particular resonance and what partials are most prominent in that resonance.
Confused? Sorry. :faceinpalm: