Klarinet Archive - Posting 000183.txt from 1997/08

From: Jrykorten@-----.com
Subj: Re: mouthpiece and reed freaks
Date: Wed, 6 Aug 1997 13:22:18 -0400

In a message dated 97-08-05 20:38:59 EDT, you write:

<< Mr. Korten -
>>

Don't call me that or I'll look around for my dad. (Even though I'm no spring
chicken any more.) My name is Jerry.

<<
I never claimed to be an authority on mouthpiece design. That was one of
the
major points of my article. There is nothing technical about selecting a
mouthpiece.
>>

Your wrong, a short facing or a long facing will affect pitch stability and
affect the ability of a player to play in tune or not (s/he may want
flexibility).

<<
Ideally, the best possible mouthpiece design is one that is
constructed using precision, computer controlled machines utillizing modern
production processes.
>>
And how!

<<
Facing does little except dictate how much air is
needed to vibrate the reed. That is why players who use stong reeds need a
smaller tip opening and a longer facing to get a sound. That should be
avoided because It gives you a smaller, stuffy sound.
>>

Wrong. A poor reed will give a stuffy sound. A good hard reed on a close
facing will give the same control of dynamic range but allow a stronger
fundamental at a loud volume. You haven't experimented sufficiently. Buy
several boxes of reeds at various harder strengths when trying a close
facing.

<<
Try playing pianissimo on one of those setups. I guarantee you'll hear air
leakage and/or white noise, not to mention a red face from expelling such a
large volume of air. Think light reed and open mouthpiece.
>>

Simply not true. You haven't worked with one long enough. A strong reed on a
close facing is the same as a light reed on an open facing. Except the extra
thickness in a strong reed on a close facing may allow longer reed life (my
hypothesis).

<<
I just know what works for myself and countless other clarinetists. If
something works for you, use it. I merely specified a particular brand that
is consistently playable right out of the box. You don't want to be one of
those people who are ready to call it quits when their precious mouthpiece
they purchased in 1965 and swear by suddenly falls and breaks! The idea is
to play the clarinet and not worry about nonsense. Some players believe all
the crap mouthpiece makers and refacers throw at them. Look in the clarinet
archives on the net about mouthpiece refacing by those witch doctors and see
if I'm joking! Take everything with a grain of salt.
>>

I agree, it is a matter of taste. It would be nice if we had some hard data
on what affects what. Rate of curvature on the facing is more complicated
than just a simple arc, for instance (my Hawkins seems to have a unique type
of curve and an unbelievable stability in the high registers). But you said
we should all play a B45 (I have 3) and this is not a matter of taste, this
is dictation!

<<
As for the repairman aspect of my mini -thesis, I fix my own clarinet (and
others).
The point I was trying to drive home was that the repair industry has scared
clarinet players by making like what they do is an art form. I guess art,
once again, is in the eye of the beholder! It is simple mechanics at best.
The Zen of repair is this: If a key is loose, fix it. If the wood is
cracked, mend it. If a pad is bad, replace it. If a joint is loose, make
it
tighter. How does one accomplish these impossible tasks you ask? Swage the
key. Glue -yes glue - the wood. Recork the joint or build it up using
various techniques. Remove the old pad and put in the new.
>>

Fine, but you underestimate the importance of mouthpieces made by the best
mouthpiece manufacturers and dismiss them unfairly.

<<
As a service to fellow clarinetists I will offer FREE information from this
day forward on ALL aspects of repair. E-mail me at gtgallant@-----. Just
use your imagination and a little skill and you'll never have to pay someone
$300 to "service" your clarinet. That, my friend, is what's idiotic. Try
explaining a custom feature you want to an unwilling, closed minded
repairman! You know what you want and expect from your clarinet, so do it
yourself!
>>

98% of people can't plug in a phone and get their answering machine to work.
You think they can seat a pad?

<<
If you want a physics point of view, consult Jonathan Cohler who is a member
of this list. He will be able to tell you about the differences of bore
design and what effect it has on tone production. Jonathan graduated from
Harvard with a physics degree and specializes in accoustics and formulae.
He's also one great clarinetist!
>>

Lets ask him and others. There seems to be very little literature on the
subject, unless there are doctoral dissertations that I do not know about.

I agree he is good.

Jerry Korten
NYC