Klarinet Archive - Posting 000609.txt from 2000/10

From: "Clark W Fobes" <reedman@-----.com>
Subj: [kl] Kaspar facings
Date: Wed, 11 Oct 2000 18:40:25 -0400

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Greg Smith said:

"My experience with Frank Kaspar (Chicago/Cicero) mouthpieces are that =
of the
many originals I have played and measured (hundreds), the ones that by =
far
play the most beautifully for me are symmetrical. My intention has =
always
been to replicate the best of what I have played in the orchestra and =
offer
a similar style to my clients. If asymmetrical plays the best for you,
terrific. I simply don't experience asymmetry as being as responsible =
for
the Kaspar "sound" as perhaps you do."

Greg, I guess I will have to bow to your experience in this area. I have =
NEVER as I stated seen a true Kaspar that was even. I have measured =
many, many Kaspars, but most had been refaced (usually by Matsen). Those =
were all symmetrical.

I don't ascribe the Kaspar sound to just the facing - that was my point. =

In respect to the short facings on Zinner blanks Greg responded:

"But most importantly, because of the concavity in the table of this =
type of
Zinner blank, the final playing characteristic is one of a medium =
length,
medium tip mouthpiece."

I thought you said in an earlier post that you used a flat table for =
your Kaspar copies? I confess that I have not seen any of your Kaspar =
mouthpieces, but most of the other Gregory Smith mouthpieces seem to =
retain the concavity from the maker. This is also the case with Richard =
Hawkins.

I am not convinced that a concave table makes the mouthpiece feel like =
it has a longer curve. It may increase the resistance at the tip because =
the reed is springing from a definite fulcrum. The pressure from the =
ligature might also "lift" the reed tip a bit.

I use a concave table ( slight), but only because I like to know that =
the reed is sitting square on the table. Making a truly flat table is =
almost impossible. In measuring mouthpieces made by makers that insist =
that the table is flat I find that they are actually "humped". One can =
cause the .0015 gauge to slip all over depending on the thumb placement =
on the glass. In my experince this type of table causes the facing to =
feel longer because the reed has no definite fulcrum from which to =
spring. Attacks feel mushy and reeds tend to warp to the tip on =
mouthpieces with more pronounced humps. Again I will refer to the =
Kaspars. In my *limited* experience Kaspar mouthpieces all had a =
beautiful concavity. Wish I knew how they did it.

I have to relate a story about Greg Smith. I knew Greg and and Carol Lee =
when they lived in San Francisco for two years when Greg was assistant =
principal and Eb in the SF Symphony Greg brought me his Eb? clarinet to =
make some tuning adjustments. I removed one of the keys and saw that he =
had already placed some tape very neatly and meticulously in one of the =
tone holes. I asked "Why should you pay me to do this, you obviously =
know what you are doing"?

Greg replied, "No, I am all thumbs and have no aptitude for that kind of =
work".

I guess you proved yourself wrong, Greg!

Best wishes

Clark

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