Posted by Jay Bertolet on October 12, 2000 at 22:00:42:
In Reply to: Re: Re: Holton,York cut jobs posted by Joe S. on October 12, 2000 at 20:52:53:
I like your logic but my real world experiences don't support your conclusions. Specifically, your assertion that the mouthpiece can't really fix intonation problems is a conclusion that my experiences don't support. My most recent experience with this was when I purchased my Nirschl. I tried every mouthpiece I could get my hands on with it and nothing worked as well as the Laskey I settled on. And the pitch accuracy using that particular mouthpiece changed positively and dramatically. However, I've also tried this same experiment with my Rudy 4/4 which has some very specific pitch problems and no mouthpiece that I tried was able to fix those. So the question is whether the pitch fix didn't happen on the Rudy because I just didn't find the right mouthpiece or was it a fluke that it did occur on the Nirschl? Until I hear some acoustical theory that substantiates either side, I'd say the jury is still out...
I'd be very curious to know the specifics of your bell switching experiences. Not being familiar with the Olds bell you used, I can't compare the bell's throat to what Miraphone had on the 184 originally. My theory is that the bell diameter doesn't make so much a difference in the sound as it does in the perceived quality of the sound from up close. I think the relevant variable is the bell throat. And of course, having a larger bell throat means having a larger bottom bow and then a larger top bow, and so forth. I think these dimensions play the largest factor in determining the overall quality of the sound, perceived from any distance.
But I still have a feeling that the mouthpiece/mouthpipe/bore triumverate has to include intonation in its dominion. Considering that dents in the leadpipe have more impact on the intonation of the horn than those occuring later in the wrap tells me that this area of the horn plays a big part in the overall intonation quality of the instrument. Certainly resistance and feel are included here as well. But I still think intonation is in there as well. I also wouldn't argue with you if you said that badly tapered branches have a very negative effect on intonation. I know this to be true as well, in fact one of the improvements on the newer production Nirschls is an improved top bow that is manufactured in a different way to allow more exact control over the rate and consistency of expansion. But my instincts tell me that intonation is mostly determined in the front end of the tuba.
Interesting discussion!