stages in repairing a didgeridoo mouthpiece

This is how you want the top edge of the mouthpiece to look like.

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stages in repairing a didgeridoo mouthpiece

Similarly you don’t want to play a didj with such a deformed hole violin as a complete system, in truth all of the sound is produced by, and-only-by, the string. No matter what the fiddle sounds like - mellow, strident, warm, shrill, etc.Mouthpiece -
Patented
#6,295,988
Oral Shield -
Patented
#6,295,988hpieces is always of interest to players of brass instruments as well as to directors of school bands and orchestras. Invariably, a discussion among brass experts starts with an expression that such and such a mouthpiece is the best, the poorest, or the producer of best results for one particular player. The argument that follows is mainly based on conjecture. Very seldom are the opinions or “conclusions” backed by sound reality or scientific evidence.
Obviously, such a mouthpiece is best suited to a player who tends to use more than ordinary pressure or who plays for long stretches of time as is the case with dance band players.

tenor sax mouthpiece
askey mouthpiece

Experimental evidence and experience suggest that the higher the inner portion of the rim, as shown in D, the more accurate the attack is in both pianissimo and fortissimo playing. However, flexibility is sacrificed somewhat thereby. As the inner edge or “bite” becomes rounded, as in F, the more difficult becomes the attacks, but the greater is the flexibility.

Let us consider the cup next. A desirable cup for all-around performance is shown in A. If precision of attack is the major requisite, the cup shown in Figure M [to the left] is preferable. This cup produces a stridency of tone that is piercing. It is important that a cup of this shape have a high shoulder at the throat (No. 3 in A) so that the shoulder becomes more convex and less like a second cup, or duo-cup.
01/26/07