Klarinet Archive - Posting 000603.txt from 1997/02

From: Jrykorten@-----.com
Subj: Mouthpiece Facings
Date: Mon, 17 Feb 1997 15:33:27 -0500

First of all I apologize if I am resurecting an old thread about mouthpie=
ce
design. If it hasn't been debated before, I'd like to know the current
opinion on the topic.

I recently had the occasion to play other clarinets than my usual. And wa=
s
obligated to do the "search for the magical combination" of mouthpiece/ba=
rrel
and clarinet to make sure everything was in harmonium maximum.

Firstly I found this exercise to be very informative, and helped me to br=
eak
with old habits. Anybody who finds themselves in a rut should make an att=
empt
to try different barrels and mouthpieces with a box of new reeds for a we=
ek
or so as an exercise in breaking old barriers. After all we clarinetists =
pay
practically "disposable" prices for our most important part of our instru=
ment
(mouthpiece). And by comparison to my 75 year old Steinway Piano, the
instrument itself is "cheap" (Manufacturers don@-----. We owe it to
ourselves, once the college loan is paid off and one is flush with cash f=
or a
week or so, to try new equipment. I know my tone has improved as a result=
of
experimenting around a bit.

I have a problem understanding something, and so I will take a position f=
or
the sake of fomenting a discussion, to see what we can learn from the
seasoned pro@-----.

Regarding the tip opening of a mouthpiece and the length of the lay or
facing:=20

It appears to me that compared to Michigan (where I learned the clarinet)=
, we
in New York seem to like a sound with more overtones, or more of a lively
resonance (I won=92t use the word bright or dark here for reasons of lack=
of
specificity). Maybe it=92s because we assault our ears in the subways and=
lose
our low frequency hearing? I think that my own physiology biases me this =
way
because I am small boned and perhaps have better high frequency hearing, =
or
conversely worse low frequency hearing.

I have now attempted to work with some close facings (Vandoren M13, old
Blayman, Woodwind instrument K10M - tip openings from about 1.0 to 1.10) =
and
some more open facings (Vandoren B45 dot, B45 13, Kaspar - tip openings 1=
.14
- 1.2 or so). While I can find reeds that work with close facing mouthpie=
ces,
(these need to be hard of course) I find it more difficult to work with t=
he
reed (make adjustments to the reed) as the geometries are "constrained" (=
e.g.
the contour has less effect way back toward the heel as this part of the =
reed
does not vibrate as much as with a more open or longer facing).

I also have found that I can get a lot more variety in the upper partials=
of
the sound using a more open facing. More reeds are adjustable and useable=
in
a box for me with mouthpieces faced open.

Back in Michigan, where I would have my mouthpieces worked on by Robert
Scott, everything was a bit closer.

Is this just a matter of style? (NYC vs MI) Am I just used to something
different now? What is it that people like about a closer facing? The
advantage of more workable reeds/box seem to indicate the use of a more o=
pen
facing. (As a point of reference I use 3 =BD on open facings and somewher=
e
between 4 and 5 on close facings).

Of course if I resort to the manufacturers literature (LeBlanc in this ca=
se)
on this topic, I find the following (marketing) comments - remarkably
ambivalent - which is a great source of amusement to me=85

"this=85mouthpiece is characterized by a rich, deep tone that offers a fi=
ne
balance of projection, warmth and resistance." [Offered in both close and
open facings, I@-----.]

"=85has the deep, ringing quality and tonal density that allow it to proj=
ect in
the most demanding orchestral situations." [offered in close facings, I=92=
d
like to sound like this to!]

"=85large round bore that produces the rich, dark intonation preferred by=
many
artists." [offered in open facings, I=92d definitely want to sound like t=
his=85]

In fact, I want all of these qualities in my tone! And they are all equal=
ly
attributed to different and same openings and facing lengths!

Finally, when I try to measure tip openings myself, it turns out that the
opening gets wider at the center of the tip of the reed than at the rails=
. So
when I try to compare my numbers (using flat plate and feeler gauges etc)=
to
manufacturer@-----. Any suggestions?=
=20

One thing is for sure, the facings done by Vandoren look like they are ma=
de
with a wobbly blade. All cut marks and no flat surface for the reed to at=
tach
to. While I currently like the B45 dot, I am tempted to reface the surfac=
e
just to have a stable platform for the reed.

So far the biggest influence I have found so far is matching bore diamete=
rs
(barrel to mouthpiece). If I could buy the same mouthpiece in close and o=
pen
facings at the same bore diameter I could really make a true comparison. =
So
far I don@-----. Any comments?