If the Pomarico mouthpiece is symmetrical and balanced, Really comfortable and stable control is possible. It takes a really long time to polish a crystal mouthpiece, and the piece you completed is really nice. great
I determine the right baffle contour based on the sound, the overall resistance, tuning, and the speed of the response. One can measure reference points in the baffle with a depth gauge, some even use special wax or silicone to cast a shape and examine it. But there are too many variables to consider and there are subjective factors too. If a magic formula would exist, it should be enough to measure everything and use them as input in a spreadsheet or specialized software. But this is not my approach, I think there is room for engineering in the facing curve, window width, and even the tip rail contour. But I prefer leaving the baffle shaping to be led by sound, feel, experience, and instinct.
That's right, it was the original facing. It's easy to tell because the machines used for creating the factory facing leave a very distinct surface. In fact, I have yet to find a Pomarico (or any other crystal mouthpiece for that matter) that has a correct, or at least symmetrical facing curve. I think the crystal mouthpiece players' market has been always very niche, and it simply isn't worth investing in R&D regarding more precise facing applier machines just for crystal. Currently, on the watch of a strict QA team, hardly anything would leave the factory. I think the superstition about crystal mouthpieces should be played with very soft reeds comes from the extreme amount of resistance caused by thick rails and vastly asymmetrical facings.
@jimis3167 Those were also made by Pomarico. They are identical to the vintage Pomarico 1, 2 etc. But those do tend to have more decent facings, as Vandoren essentially selected the better ones and put their stamp on the tenon metal ring.
Hello Mark.... would love to get in touch... do you have an email or an address where maybe I can send some crystal mouthpieces to you... kindest wishes as always, Paul
Hi! I would be happy to work on your crystal mouthpieces! You can find me on Facebook and Messanger under the profile named 'Mouthpiece Medic', or reach out via mouthpiecemedic@gmail.com I prefer the first option for faster communication
From what I see, I don't recognize too many signs on hand-finishing on them. About 10 years ago, I went to Frankfurt to visit that huge music exhibition and I went through like 40 Pomaricos until I found one that was usable out of the box. Two years ago, when I worked on the 5th Pomarico in a row, I offered my work to Pomarico to create a custom series of hand-finished mouthpieces with my assistance, only to be released in small batches or with custom orders. Unfortunately, I didn't get any response. It's a pity, maybe I will try this again, because a nicely balanced crystal mouthpiece can provide a wonderful playing experience, and it would be nice if many players could have it.
@@markszavin5050 Yeah ... That's interesting ... By the way ... I own a Ruby Classic Crystal Pomarico which I use it on a cheap Armstrong 4001 Clarinet Student Model ... It used to have a crappy plastic stock mouthpiece ... with that Ruby it plays way better and a lot more control for me.
If the Pomarico mouthpiece is symmetrical and balanced,
Really comfortable and stable control is possible.
It takes a really long time to polish a crystal mouthpiece, and the piece you completed is really nice.
great
Thank you 😄
Amazing! Bravo!!!🎉🎉❤❤❤
Thank you 💙
Cuál es la abierta y cerrada *. ** ***
Gracias.
Cuál es la ( *) (**) y(***)cerrada.
I’m wondering how you balance the baffle. How do you determine what adjustments to make given that there are no measurements made?
I determine the right baffle contour based on the sound, the overall resistance, tuning, and the speed of the response. One can measure reference points in the baffle with a depth gauge, some even use special wax or silicone to cast a shape and examine it. But there are too many variables to consider and there are subjective factors too. If a magic formula would exist, it should be enough to measure everything and use them as input in a spreadsheet or specialized software. But this is not my approach, I think there is room for engineering in the facing curve, window width, and even the tip rail contour. But I prefer leaving the baffle shaping to be led by sound, feel, experience, and instinct.
Was that an original facing and yet the rails were uneven?
That's right, it was the original facing. It's easy to tell because the machines used for creating the factory facing leave a very distinct surface. In fact, I have yet to find a Pomarico (or any other crystal mouthpiece for that matter) that has a correct, or at least symmetrical facing curve. I think the crystal mouthpiece players' market has been always very niche, and it simply isn't worth investing in R&D regarding more precise facing applier machines just for crystal. Currently, on the watch of a strict QA team, hardly anything would leave the factory. I think the superstition about crystal mouthpieces should be played with very soft reeds comes from the extreme amount of resistance caused by thick rails and vastly asymmetrical facings.
@@markszavin5050 Do you think the Vandoren A series(discontinued) might had more symetrical facings?
@jimis3167 Those were also made by Pomarico. They are identical to the vintage Pomarico 1, 2 etc. But those do tend to have more decent facings, as Vandoren essentially selected the better ones and put their stamp on the tenon metal ring.
Hello Mark.... would love to get in touch... do you have an email or an address where maybe I can send some crystal mouthpieces to you... kindest wishes as always, Paul
Hi! I would be happy to work on your crystal mouthpieces! You can find me on Facebook and Messanger under the profile named 'Mouthpiece Medic', or reach out via mouthpiecemedic@gmail.com
I prefer the first option for faster communication
Wow ... I thought Pomarico meant to be almost perfect as they are handmade and highest of quality. They are not cheap.
From what I see, I don't recognize too many signs on hand-finishing on them. About 10 years ago, I went to Frankfurt to visit that huge music exhibition and I went through like 40 Pomaricos until I found one that was usable out of the box. Two years ago, when I worked on the 5th Pomarico in a row, I offered my work to Pomarico to create a custom series of hand-finished mouthpieces with my assistance, only to be released in small batches or with custom orders. Unfortunately, I didn't get any response. It's a pity, maybe I will try this again, because a nicely balanced crystal mouthpiece can provide a wonderful playing experience, and it would be nice if many players could have it.
@@markszavin5050 Yeah ... That's interesting ... By the way ... I own a Ruby Classic Crystal Pomarico which I use it on a cheap Armstrong 4001 Clarinet Student Model ... It used to have a crappy plastic stock mouthpiece ... with that Ruby it plays way better and a lot more control for me.