Sneak Preview of new PPT

[Phil]

I dont know too much about Morgan's opinion in terms of making them, but I can tell you from experience that white mouthpieces are a bit of a pain to work on.
Even with a lot of light and magnification it is more of a challenge than black to really see what you are doing.

 

[Pete Thomas]

Is it the same black stuff as the 9* tenor prototype that I've got?

I can't remember - is your prototype resin or HR? (HR are the slim ones)

HR have always been black, the rain ones were originally blue, but there may have been some black prototypes.

I dont know too much about Morgan's opinion in terms of making them, but I can tell you from experience that white mouthpieces are a bit of a pain to work on.

The white ones are made by Edward Pillinger. The material is what we call "Onyxite" It is a resin composite that has a white stone powder mixed in. I'm not sure why "onyxite" as I think actual onyx is more often dark coloured. Ah well.

The biggest problem with the white composite is that cosmetically it is very unforgiving of the teeniest particle of something else. e.g. if a bit of the darker pigment we also use gets in there it shows up very obviously, whereas if a teeny bit of black was to get into a dark blue or purple composite, it would not be a problem.

 

[Phil]

The nice thing about black and doing work is that you get a surface that catches the light better than white on white. You can of course work white just fine but doing things like trimming tip rails takes a lot of extra attention since they hid from you🙂

 

[Targa]

The white ones are made by Edward Pillinger. The material is what we call "Onyxite" It is a resin composite that has a white stone powder mixed in. I'm not sure why "onyxite" as I think actual onyx is more often dark coloured. Ah well.

I was sure onyx could be white, usually streaky, as well so went to have a look and in the middle was this image.
How could I not post it.

 

[Pete Thomas]

Not sure I can see the pearlescent aspect.

table:

 

[Jeanette]

table:

That's pretty 🙂

 

[Phil]

Cool...looks sharp!

 

[Pete Thomas]

And how it might look with blue pigment:

 

[Nick Wyver]

is your prototype resin or HR? (HR are the slim ones)

Resin.

 

[Pete Thomas]

Resin.

OK, then that was probably the very first (I expect it has PPT logo and also a Pillinger logo?)

This model is similar then, but different in that the composite has some other material to give it a heavier feel. I can't imagine it would sound significantly different

 

[trimmy]

I can't imagine it would sound significantly different

Bad salesman 😉

 

[Pete Thomas]

Bad salesman 😉

Seeing as the sound is perfect, why would I try to make it sound different?

 

[Bruce Grove]

And how it might look with blue

I can feel the GAS kicking in already....

 

[Nick Wyver]

OK, then that was probably the very first (I expect it has PPT logo and also a Pillinger logo?)

This model is similar then, but different in that the composite has some other material to give it a heavier feel. I can't imagine it would sound significantly different

Yes, it has both logos.
Currently my favourite tenor mouthpiece.

Seeing as the sound is perfect, why would I try to make it sound different?

Quite.

 

[sirsurthur]

Looks great. Any idea of the estimated "release" date ?

 

[Pete Thomas]

Looks great. Any idea of the estimated "release" date ?

Hopefully mid September for baritone signature, alto & tenor a bit later.

 

[sdt99]

Interesting

Lining up a see through Légère on Onyxite is difficultissimo, but is there the same problem with cane reeds?

Yes - I love my PPT bari mouthpiece, but lining up reeds, especially in low light is a PITA.

 

[Ivan]

Yes - I love my PPT bari mouthpiece, but lining up reeds, especially in low light is a PITA.

I've taken to doing it purely by feel... the top of the Légère is robust enough to allow the fingers to nudge it back from the edge of the mouthpiece