[Humbardi]

I am owner of a Yamaha 4C Soprano Mouthpiece that has a “ horseshoe” chamber . I have read about “ Square” chambers...
May someone explain me what differences in sound produce these types of chambers ?

 

[Benjamin Allen]

I don't know that there are any real differences playing wise--chamber volume is a more significant variable than chamber shape, IMO. I have lived on square chambered mouthpieces and almost always play either a Yamaha 4CM or Selmer S90 190 on soprano, so square chambers are a natural thing for me. It's a good question and wish I had a better answer for you.

 

[jman1977]

Don't know the answer either, but chiming in that Yanagisawa metals have square chambers as well. They are very good mouthpieces (I own two).

 

[Lambros]

The metal square chambered Yanagisawas play a bit brighter; it's subjective though.

 

[saxoclese]

Selmer went from a horseshoe shaped opening to one that was round on the Larry Teal mouthpiece that was popular for a while. It was supposed to produce a "rounder" tone. I played one on alto for a while in the '60's before going back to my scroll shank D. I switched to a Rousseau 4R in the '70's because I liked the tone color and the response in the low register. The modern Selmers sound too bright for my taste and concept, but I am getting "old and mellow" as time goes on.

 

[Benjamin Allen]

The metal square chambered Yanagisawas play a bit brighter; it's subjective though.

I recall now I've been told this before about all square chambered pieces in general, so your assessment seems to be well-supported anecdotally. I recall my two classical saxophone professors articulating such. Such memories . . . ?

 

[adamk]

The metal square chambered Yanagisawas play a bit brighter; it's subjective though.

I have a tenor metal 9 that has a square chamber.
It's pretty bright.

 

[mijderf]

In the book, "The Devil's Horn", the author recounts a discussion he had with Ralph Morgan on the subject of square chambers. Ralph stated that a smaller, square chamber helped the projection for players in dance bands, and gained popularity in the 1930's. However, it was his opinion that the square chamber sacrificed intonation. No reasons were presented in the text for stated intonation issues. It is just stated as an opinion. For anyone who has the book, this discussion occurs in chapter 8.

Edit: I just noticed that there are a few older threads in the SOTW archives that look like they are related to this topic.

 

[Lambros]

I have a tenor metal 9 that has a square chamber.
It's pretty bright.

I would imagine so, and yet again it's subjective or an equivocation. I have 5 Yanagisawa mouthpieces: 3 sopranino (2 HR & 1 metal) 1 HR alto, and 1 metal baritone. Here's 2 of the sopranino pieces side by side:

 

[MojoBari]

It is more about the size than the shape. A large square chamber will be darker than a small round one.

 

[Dr G]

It looks like there may be a difference in baffle, just behind the tip, as well.

 

[Lambros]

It looks like there may be a difference in baffle, just behind the tip, as well.

George, the roofs are different obviously, because they have to blend into the round and square shapes of their respective chambers. Here's a better picture of the window area. These things are quite small as you can see when set up next to a Berg Bari piece: