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 Frequently Asked Questions on Mouthpiece Work Minimize
Q.  Could you recommend a good book dealing with mouthpiece design and rework?
Q.  What is included in a refacing?
Q.  What does the info you scratch into the side of the mouthpiece you work on mean?
Q.  Can you open my vintage Link from a 4* to a 7*?
Q.  Why does my metal mouthpiece chirp and squeak when I play it?
Q.  How can I get a more tenor sax sound on alto?
Q.  What are the differences between a Selmer C*, C**, D and E? (tip opening FAQ)
Q.  What does it mean when someone describes a mouthpiece as “stuffy”?
Q.  Who are the greatest design engineers in mouthpiece history?
Q.  What do you do to Dukoff mouthpieces to make them play so well?
Q.  How do I get a more Jazzy sound in my playing?
Q.  What’s the difference in sound between bullet chambers, wedge baffles, and ramp baffles.
Q.  Can my mouthpiece be altered to be less reed picky?
Q.  What can be done when some mouthpieces fit loose and some fit tight on the neck cork?
Q.  How do I test a mouthpiece?
Q.  The mouthpiece you reworked for me plays great.  Why does it not do well in the seal test (AKA: pop test, suction test)?
Q.  I have a new Link STM 7*. My reed sticks out on each side 1/16th of an inch. Is this a problem?
Q.  How does chamber size affect intonation, etc?
Q.  So what really goes on inside a mouthpiece?
Q.  I need a set-up that “does it all” from loud and bright to soft and dark. Is this possible? I sometimes think I have it. Then the set-up does not work on the gig.
Q.  What does the spiral fluted chamber in the Mojo Vortex mouthpiece sound like?


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