Patrick, I've written about this experience before; when I had the chance to go test fly four different models of Schilke (on the same day, in the same shop, and even unwrapped them from the factory packaging), I initially found that my intonation was horrible on all four of them! I had been playing a Bach also. What we did was sort through the different mouthpieces that I had taken with me until we found that one that seemed to work best. Then the sales guy (who plays in the Edmonton Symphony) watched me for a few minutes and told me to "drop the lower jaw a hair and extend it just a bit". All of a sudden the intonation improved tremendously... I had been putting too much resistance into my embouchure and just needed to open it up a bit. The next step was to work through his Warburton kit until we found the combo that sweetened everything up nicely... it turned out to be a 4B on a B10 backbore (very open backbore and increased gap). With that detective work out of the way I found that the intonation on all four Schilkes was suddenly better than I'd had with the Bach. (In fact, since the ML37 was with me I could prove that with the different chop set the intonation was better on the Schilke than it was on the Bach). I realized that the set was so different from the (relatively) high resistance horn to the open horn that I made the decision right then that I'd never play the Bach again... and I didn't. I sold it about five months later. Not a knock on the Bach but just "a different animal". Do yourself a favor and check out some different mouthpieces: I know that "everyone says" that you should play a Schilke mouthpiece on a Schilke horn...... but "everyone doesn't play a Schilke with YOUR chops".