Klarinet Archive - Posting 000167.txt from 2000/02

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] Re: Velcro Ligature
Date: Thu, 3 Feb 2000 11:10:05 -0500

On Thu, 03 Feb 2000 15:49:09 GMT, I said:

[snip]

> Classical mouthpieces have a very short table below the slot.
>
> Tony

OK, I realise I'm taking stuff for granted again, so I'll spell it all
out.

Most of us that play on classical instruments don't play on original
classical mouthpieces, mainly because most of those original mouthpieces
that have survived have their facings severely damaged. (Some people do
play on originals, however.) Mostly we play on copies of those
mouthpieces -- though you can add wood or ebonite to a damaged original
and reface it, and I have a couple of mouthpieces like that.

Now, one of the characteristics of classical mouthpieces is that the
facing extends only a short distance (about a centimetre) below the
slot, as contrasted with more modern mouthpieces, where the facing goes
right to the tenon. On a classical mouthpiece, there's a step where the
facing stops, and below that the mouthpiece is symmetrical round the
central axis.

But whether or not the facing extends to the tenon makes no difference
to the playing characteristics of the mouthpiece. It's only the length
of the reed that makes a difference. Therefore, most of us (though not
all) ask the manufacturer to lengthen the facing by planing off the
step, so that a modern reed will fit on it. In that way, you can decide
whether to shorten the modern reed you happen to be trying to the
standard length of a classical reed (or not) at the same time as you
rescrape it (or not).

As I say, this gives you an opportunity to hear what effect shortening
the reed has.

Now, *purrrlease* nobody ask me what effect shortening the reed has.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE GMN family artist: www.gmn.com
tel/fax 01865 553339

... A seminar on Time Travel will be held two weeks ago

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