I can assure you that for the moment we are still 100% humans at Syos mouthpieces!Indeed the artisans that design and make mouthpieces sure have a lot of knowledge to go by. Also, when I evaluate a mouthpiece I may be looking for a certain sound but I would also be considering what it feels like to play. The subtleties of response, attack, intonation, flexibility, and timbre are what really distinguishes a mouthpiece over another that might be seeking the same concept. That said, technology is advancing and it will be interesting to see where this goes. For now I'll stick with the humans.
Our company is only 2-years old, and I wouldn't say the big boys aren't using our mouthpieces. Here's a list of endorsing artists who play Syos everyday, including Dayna Stephens, Lucky Chops, Moon Hooch, Godwin Louis, Jure Pukel... : https://www.syos.co/fr/ambassadorsSo far 3d printing makes usable blanks. However, they need as much or more finishing than traditional methods to meet professional standards. If you dont have a skilled and experienced craftsman at the helm it shows both in the finishing and performance. There is a reason the big boys arent using it.
Thank you !First of all congratulations for the amazing victory yesterday !
OK, since you are willing to answer to questions, i have one for you.
Since you have the acoustic background and you are able to work in an environment that can control every parameter of the design
could you please elaborate on the types of facing curves you are using and why?
Yes it can ! it really depends on the machine you're using I guess. But you can have the same accuracy as other machines used by mouthpiece manufacturers (CNC, machining units, ...). As scientists, we really don't like the "finishing" because you loose all the information about the mouthpiece, you change the opening, you round all the angles... All that for aesthetic reasonsI am not suggesting a robot could do the job.
i am simply stating that 3d printing, regardless of design and credentials, cannot create a professional mpc without experienced professional finishing at the end of the production line.
that was my singular point.
If you have this ...all the best to you..
I believe it's possible to make a mouthpiece without hand work. In fact, most of the newer CNC pieces today have very little hand work involved and 3d printing could do it. However, I'm not sure I would like it. I imagine that it would make every mouthpiece exactly the same and would take the personality out of each one. I really don't know. The question I have is could you make a piece with a round chamber?Thank you !
For the facing curves, we work with different facing lengths (from 18 mm to 28 mm) and openings (from 1.45 mm to 3.8 mm). Although easy to control with our machines accuracy, those parameters are honestly the hardest to fully-understand. We are observing very different behaviors in the mouthpieces when we change the facing length and opening, for instance.
Facing length reduction is very useful to get something more focused and more easy to play in the high register (altissimo) and in the low volume zone (pianissimo), whereas a longer facing will enhance the low register more, make the sound darker and slightly more resistant. For the openings... it really depends on the baffle you're using, some openings don't work at all with some baffles...
Yes it can ! it really depends on the machine you're using I guess. But you can have the same accuracy as other machines used by mouthpiece manufacturers (CNC, machining units, ...). As scientists, we really don't like the "finishing" because you loose all the information about the mouthpiece, you change the opening, you round all the angles... All that for aesthetic reasons
I read the thread just now and didn't see anything rude, it must have been elsewhere.I am excited that your company is incorporating acoustic science into the design and manufacture of saxophone mouthpieces. I would love to see your team of specialists address the question of what are the differences between the playing characteristics of a large chamber mouthpiece pushed farther on the cork to tune, and a smaller chamber mouthpiece with a longer shank pulled out to tune. A few years back there was a wonderful discussion of this topic on SOTW with Antoine Lefebvre which unfortunately ended abruptly when the rudeness of some members here caused him to leave the forum. His initial hypothesis was that both pieces would play the same in mode one, but would diverge in the higher modes.
His post is at this link: https://forum.saxontheweb.net/showt...th-on-tuning&p=1662181&viewfull=1#post1662181
The rudeness was elsewhere. I see where you are going with this, but I would hesitate to make that assumption because the "stretching" of the harmonic series causing the higher modes to go sharp is not the same as making the sounding length shorter as in the case of the palm keys---although they may be related.I read the thread just now and didn't see anything rude, it must have been elsewhere.
I did glean one very interesting point: that it appears a mouthpiece with a larger internal diameter (what we refer to as "larger chamber" not only will be pushed further on the neck to achieve the same pitch for a given note than a mouthpiece with a smaller internal diameter ("smaller chamber") - but also the second and higher harmonics will actually be higher in pitch. I interpret this to mean that for short tube notes, the inherent tendency to sharpen more when you push the mouthpiece in (due to basic geometry: 1" change in sounding length is a much bigger fraction of a 10" long tube than of a 30" long tube) - will be REINFORCED due to the acoustic characteristics of a large internal diameter chamber!
Did I understand that correctly?
Yeah, what I understood from skimming was that a "large chamber" MP will tend to have wider octaves and twelfths than a "small chamber" one - and then the difference in how sharp notes of different tube lengths get when you push in is (I think) independent of that.The rudeness was elsewhere. I see where you are going with this, but I would hesitate to make that assumption because the "stretching" of the harmonic series causing the higher modes to go sharp is not the same as making the sounding length shorter as in the case of the palm keys---although they may be related.
If the chamber is larger you're right, there is more volume inside the mouthpiece, so to get the same tuning it has to be adjusted. Best way to do that (what we do at Syos) is to modify the length of the mouthpiece at the bottom (the shank). The exact volume you gain with increasing the chamber has to be removed by shortening the shank (it's a simple mathematic operation). That explain why our mouthpieces don't have the same length: we usually use 10 different chamber sizes, so each has its corresponding length.My experience has been that the "most in tune to A=440" position of a "large chamber" mouthpiece is closer in than the "most in tune to A-440" position of a "small chamber" mouthpiece. This makes sense theoretically if we believe that the "most in tune" position of a mouthpiece is where its chamber volume (less, of course, what's occupied by the neck) is an approximation of the "missing cone".