Klarinet Archive - Posting 001043.txt from 1999/11

From: Sfdr@-----.com
Subj: Re: [kl] Chedeville vs. Kaspar- - -Original verses Rebored
Date: Sat, 27 Nov 1999 04:00:00 -0500

In a message dated 11/25/99 8:32:38 PM EST, Androyd973@-----.com writes:

<< Im just wondering what the differences are between a kaspar mouthpiece and
a
chedeville style mouthpiece, both physically, and in respects to their
playing characteristics. Could someone help me out, i am lookin into
purchasing a new mouthpiece, and every now and then i see a reference to
these two styles or bores and facings, im just curious.
thanks
andy brown

Dear Sir:
It is quite difficult to analyze and compare mouthpieces such as Kaspars
or Chedevilles without knowing the complete history of the given mouthpiece.
Buying a previously owned mouthpiece is very much like buying a used car.
You really don't know what you are getting for your money. Unless you
actually purchased the mouthpiece directly from Mr. Kaspar or Mr. Chedville,
you are taking a chance on the authenticity of the product.
Many of today's players have taken great mouthpieces and had them refaced
and rebored. Even though the exterior of the mouthpiece still reads Kaspar or
Chedville, the internal dimensions have been illigitamized to the
contemporary mouthpiece maker's standards. Whether they play better or not is
a matter of ones personal opinion. My point being, an old mouthpiece might
look like a Kaspar, Smell like a Kaspar, Even read "Kaspar" but play like an
Acme mouthpiece.
Looking back at the history of great American Mouthpiece makers such as
Frank Kaspar or C. Chedville, great clarinetists played an important role in
the development of the makers product and reputation for quality. W. Hans
Moennig told me that Mr. Chedville actually lived in the Philadelphia area.
Since he was readily accessible to members of the Philadelphia Orchestra,
players such as Ralph McLane and Don Bonade used his mouthpiece services
frequently. First, the local player would go to Mr. Chedeville's shop in
south Philadelphia and have a mouthpiece made. Next the musician would take
the new mouthpiece to the Moennig shop and try new clarinets. Mr. Moennig
would then customize the instrument for the player's set up. Finally the
clarinetist would take the new instrument and mouthpiece back to Mr.
Chedville and refine the mouthpiece even more. The close proximity of the
mouthpiece maker and the clarinet repairman was of great advantage to the
musicians of that era. Bonade and McLane played a crucial role in the
development and popularity of the Chedville mouthpieces in conjunction with
Moennig's repair work.
Clarinetists in the Chicago area were responsible for the development and
popularity of the Kaspar mouthpieces. Mr. Moennig's first cousin Walter
Guetter played principal bassoon in the Chicago Symphony and was a close
friend of the Principal clarinetist there. It was Guetter that introduced
the Chicago Clarinet section to Hans Moennig. A mouthpiece maker by the name
of Goldbeck worked with Kaspar. It was through Mr. Goldbeck, that Hans
Moennig and Frank Kaspar met. Robert Marcellus preferred Kaspar Mouthpieces
even though he owned quite a few Chedevilles. Since Hans Moennig made
customized Barrels for most of the leading American clarinetists and their
students, he was in the unique position to analyze and document the
individual's personal "Set Up".
Mr. Moennig asked each player, Ralph McLane, Robert McGinnis, Don Bonade
and Robert Marcellus for one of their personal mouthpieces to keep on hand as
prototypes. This collection of mouthpieces allowed Mr. Moennig to calculate
the acoustical tendencies of each player's system. After a period of time, a
student would walk into the Moennig shop and say, " Mr. Bonade sent me here
to get a barrel" and Mr. Moennig would know exactly what to make for the
student as the "Set Up" was already established. It was the precision and
consistency of the Kaspar and Chedville mouthpieces that made them the
hallmarks of excellence. If I were going to pay some $600 plus for one of
these famous mouthpieces I would insist on finding out an in depth history of
its previous owners and a detailed account of any refacing or reboring of the
product. Any modification of the original mouthpiece design or dimensions
can depreciate its value. Just make sure you are getting an original
mouthpiece and not a Kaspar or Chedville Blank that someone else converted to
the "Correct Dimensions"
Also Attached is an illustration of The Moennig Mouthpiece and Bore Gauge
with instructions. These suggested measurements were taken from blueprints of
great instruments and mouthpieces that Mr. Moennig compiled over the years. I
hope this information will help you when choosing a mouthpiece, barrel or
clarinet.
Thanks.
Alvin Swiney
Affordable Music Co.
P.O.Box 4245
Virginia Beach, VA 23454
757-412-2160 fax 412-2158
www.corkpad.com

INSTRUCTIONS FOR THE MOENNIG BORE GAUGE
The measurements below were developed by W. Hans Moennig and used on
some of the great clarinets of the Twentieth Century. Mr. Moennig attributed
the barrel measurements to Ralph McLane, the clarinet bore measurements to
Robert McGinnis, and the Mouthpiece dimensions to the Kaspar and Chedeville
played Robert Marcellus.
l<-Small Large->l
[-a+][-b+][-c+][-d+][))))))))))))))))))

1. Insert small end of bore gauge into the mouthpiece, barrel, or joint.
The measuring point can be made by placing the thumb on the gauge or marking
the gauge with a felt tipped marker. (ink can easily be removed with alcohol)
2. After marking the gauge, compare the bearing marks with the following
suggested measurements.
Remember! The larger the mouthpiece, the smaller the barrel should be.
The volume balance between the mouthpiece and barrel is crucial. If your
mouthpiece bore measures large on the gauge, the left hand notes, high A, B,
and C will play on the sharp side. To remedy this problem, Mr. Moennig would
decrease the barrel's bore dimensions while maintaining the same barrel
length 65mm, 66 mm, 67mm, ect.

Mouthpiece = B+

Bb Barrel-Top= 66mm is D+, 67mm is D

Bb Barrrel-Bottom= 66mm is C+, 67mm is C

Bb Upper Joint -Top= C+

Bb Upper Joint-Bottom= A+

Bb Lower Joint-Top(measure at tenon ring)= C

A Barrel-Top=65mm D, 66mm is D-, 67mm C+

A Barrel-Bottom= 65mm is C, 66mm is C-, 67mm is B+

A Upper Joint-Top= C

A Upper Joint-Bottom= A+

A Lower Joint-Top(measure at tenon ring)=C+

For additional information regarding the Moennig Bore Gauge, Please feel
free to contact:

Alvin Swiney
Affordable Music Co.
P.O. Box 4245
Virginia Beach, VA 23454
757-412-2160
Fax 412-2158
E-mail corkpad@-----.com
www.corkpad.com

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