This suggests to me as was pointed out by Benade that mode locking does occur but the process is more efficient in instruments whose bore dimensions produce harmonics close to their natural frequencies.Such mode locking is favored by nearly harmonic normal mode frequencies, by large mode amplitudes, and by large nonlineartry in the driving force.
The UNSW Saxophone Acoustics site at the heading "The Reed Controls the Airflow" has a good explanation of the non-linearity of the reed's function in the tone production.Gordon (NZ) said:"The non-linear reed "
To help me overcome a stumbling block, could you explain exactly what you mean by that?
The cork should be cylindrical from front to back the same as the interior of the shank of the mouthpiece. This means that on the tapered neck, the cork must be sanded more at the back than at the front. I am surprised that the person who overhauled your Mark VI couldn't properly fit your neck cork to your mouthpiece. This doesn't make sense.think its for sure the neck cork.. when i apply teflon tape and paper its seems to be fine.. is a tapered neck better to go with?
I agree with Kymarto, that in your case, the issues that this thread are about do not apply, because they apply to 'burbles' in the low B/C/C# region, but do not normally affect low Bb.i'm having this issue on my low B and Bb on my 1958 mark VI tenor only had this issue after an overhaul.. i've trying butting somehting in the bell a mouthpiece cap that made it worst ... another neck seemed better but a different sound that i don't want
checked that everything is sealing.. not sure what else to do
i think it has something to do with how far i am on the neck.. my mouthpiece is a gurdala superking and i have it pushed in maybe too far..
anything else to look for