M/Pieces - Ligs Mouthpiece material

[kevgermany]

Found an interesting article on the effect of the material in sax mouthpieces on the sound produced. Although it's written by a scientist, it's basically a comparison test and no tech knowledge is needed. Some interesting results & conclusions, but I'll let you read for yourself.

hal9000.ps.uci.edu/Does%20Saxophone%20Mouthpiece%20Material%20Matter.doc.pdf

 

[Chris J]

http://hal9000.ps.uci.edu/Does Saxophone Mouthpiece Material Matter.doc.pdf

Clickable now

Conclusions make sense - thanks for posting

Chris

 

[Andante cantabile]

Thank you Kev and Chris J. The conclusions of this article are in line with other test results, but of course few will believe that they are right.

Be that as it may, this posting reminded me of an article that appeared about twelve years ago in the Scientific American. It compares materials used for Irish flutes, including one made of concrete. But read the article foryourself:

http://irishflutes.net/mef/SciAmFlutes.htm

 

[kevgermany]

Thanks Chris.

Concrete flute - superb! Thanks Beckmesser! Hadn't seen that before.

Interestingly, Germany's top Oboist, Albrecht Mayer, used to play a Buffet Greenline instrument of the grenadilla chippings and plastic.... But he seems to have switched back to a wood one.

 

[Morgan Fry]

Interesting little study, and close to doing it right. But his data dowsn't support his conclusions. There is a distinct difference between the two mouthpieces according to the spectral analyses.

 

[TomMapfumo]

My main reflection was the influence of material on mouthpiece shape, design, weight and so on. I play a Francois Louis Mouthpiece on Tenor (made of a composite material which presents as less bulky than ebonite, and uses an alto sized ligature. I would have to say that the shape feels more comfortable for me than either ebonite (just a little too large) or metal (just too small). How much this plays a part in the sound is open to speculation, but I do notice a significant difference in sound (as does my wife!). So I wonder whether the main influence on sound is design/size of mouthpiece, rather than material per se, but that material does have an important influence on size etc. and playing comfort. When I play trombone/trumpet mouthpieces they do have different designs and sounds, though mostly use plated brass, but the shapes & levels of comfort do differ above and beyond cup size and bore (read chamber and tip opening!).

Interesting.
Kind regards
Tom

 

[Morgan Fry]

I play a Francois Louis Mouthpiece on Tenor (made of a composite material which presents as less bulky than ebonite, and uses an alto sized ligature. I would have to say that the shape feels more comfortable for me than either ebonite (just a little too large) or metal (just too small). How much this plays a part in the sound is open to speculation, but I do notice a significant difference in sound (as does my wife!). So I wonder whether the main influence on sound is design/size of mouthpiece, rather than material per se.

This is an interesting point, Tom. A narrower body is the entire point behind Ralph Morgan's Exclibur pieces. The have the exact same chamber, baffle, facings as the Jazz model but sound significntly brighter because of the thinner shell. I'm not 100% sure how the thinner body makes this so, but it certainly seems to work. Of course, internl dimensions are by far the biggest factor in determining sound, but I don't think they are the only thing.

 

[a jackson]

Dear Cris J MODERATOR,


On 18th April 2010, 01:45 AM, you said:
Found an interesting article on the effect of the material in sax mouthpieces on the sound produced. Although it's written by a scientist, it's basically a comparison test and no tech knowledge is needed. Some interesting results & conclusions, but I'll let you read for yourself.

hal9000.ps.uci.edu/Does%20Saxophone%20Mouthpiece%20Material%20Matter. doc.pdf

I cannot find this article. Could you tell me the title, author's name, school, title, date,institution, and other information so I can find it? Or a good internet site address?

You could e-mail it to me.? I can give you my e-mail address.


Thank you.
A.Jackson

 

[kevgermany]

Dear Cris J MODERATOR,


On 18th April 2010, 01:45 AM, you said:
Found an interesting article on the effect of the material in sax mouthpieces on the sound produced. Although it's written by a scientist, it's basically a comparison test and no tech knowledge is needed. Some interesting results & conclusions, but I'll let you read for yourself.

hal9000.ps.uci.edu/Does%20Saxophone%20Mouthpiece%20Material%20Matter. doc.pdf

I cannot find this article. Could you tell me the title, author's name, school, title, date,institution, and other information so I can find it? Or a good internet site address?

You could e-mail it to me.? I can give you my e-mail address.


Thank you.
A.Jackson

The post is from 3 years ago. I guess the doc isn't available any more, sorry.

 

[a jackson]

Cris J MODERATOR,
Thank you for your message.
OK.
Could you give me the name and / or the author. please.

Andy

 

[jbtsax]

Here you go:
http://12000.org/my_courses/UCI_COURSES/CREDIT_COURSES/summer_2003/physics7E/class_supplement/Does_Saxophone_Mouthpiece_Material_Matter.pdf

 

[Danny@HSM]

Kidding

It is my first post here, it will be a pleasure for me to share my knowledge on saxophone and clarinet mouthpieces and try to be really helpful with beginners and pros so please ask!

Cheers,

Danny

 

[aldevis]

Thanks Danny.
Do you volcanize your own rubber?
And more pictures of your pieces would be welcome.

 

[Danny@HSM]

Sure, in time I will

 

[Pete Thomas]

I remember when we met at Frankfurt, I tried a couple of your alto pieces but found the facing a bit to different to my usual. I'd love to try them again, would you enteretain the idea of doing a passaround maybe? Seeing as we have the Rico passaround about to happen, it would be great for people to compare and I will do a soundclip for my alto mouthpiece comparison page.

No tenor mouthpieces allowed, we only play PPT tenor pieces here (only joking)

PS: I will take advantage of this thread to gratuitously show a pic of my sterling sliver PPT.

 

[Ads]

I`d certainly like to try a Tenor 7 .. and OK, yes I do play a PPT 8* which is a keeper but I`ve no aversion to adding something deeper and darker for a different sound ...

The Rico passaround is going well, Aldevis to myself and now onto Colin who's reviewing them now .

 

[Danny@HSM]

I remember when we met at Frankfurt, I tried a couple of your alto pieces but found the facing a bit to different to my usual. I'd love to try them again, would you enteretain the idea of doing a passaround maybe? Seeing as we have the Rico passaround about to happen, it would be great for people to compare and I will do a soundclip for my alto mouthpiece comparison page.

No tenor mouthpieces allowed, we only play PPT tenor pieces here (only joking)

PS: I will take advantage of this thread to gratuitously show a pic of my sterling sliver PPT.

Thanks Pete, I will think about it. I am currently working on a new version of the Revo for alto. As soon it will be ready I will contact you first. Hey, your tenor mouthpiece looks amazing too

 

[aldevis]

A serious question:
do you think that the counter-vibration of the beak against the reed has an effect on the sound?
It definitely feels like, but it might be that the player actually modifies his/her embouchure.

 

[Pete Thomas]

A serious question:
do you think that the counter-vibration of the beak against the reed has an effect on the sound?
It definitely feels like, but it might be that the player actually modifies his/her embouchure.

This is one of Dr. Pillinger's theories, which I believe may be entirely plausible.

 

[aldevis]

This is one of Dr. Pillinger's theories, which I believe may be entirely plausible.

But I am tempted to include the material matter in it...

Note to Danny:
The original PPT (the white one) was developed by Thomas & Pillinger.
I have a special exemption to be allowed not to play a PPT, but most of the content of my mouthpiece drawer comes from Dr. Pillinger's workshop.
In particular recently I had a vintage piece replicated that sparked new thoughts about materials, and the beak explanation seems to be the easiest to accept.