Klarinet Archive - Posting 000170.txt from 2001/09

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] Mouthpieces and reed longevity
Date: Thu, 6 Sep 2001 08:28:04 -0400

On Thu, 6 Sep 2001 13:02:05 +0100, tony-wakefield@-----.net said:

> Alisha states:
>
> > In a message dated Wed, 5 Sep 2001 9:11:20 AM Eastern Daylight Time,
> Tony@-----.uk (Tony Pay) writes:
> >
> > > Actually it was a telephone card. And it was more that, when the
> > > reed starts closing up on the mouthpiece too much, you can open it
> > > up a bit.
> >
> > Tony, I know this works.
>
> I`ll accept that this works after hearing two people use this method
> quite extensively.

It might not work for everyone. For example, if you use a very open
facing, it wouldn't be necessary.

I use quite a long, close facing, so small perturbations in reed
position and small warpings of the wood tend to make a larger
difference.

Another trick that is sometimes helpful in ensuring that the
reed is closing properly against the mouthpiece is to remove the
mouthpiece, block the bottom with your wetted palm, and suck. The reed
is drawn against the mouthpiece, and springs back again with an audible
'plop' after a few seconds. Repeating once or twice can stabilise a
possibly slightly warped reed. Sometimes this works well in combination
with the phonecard technique.

> I only want to say that I am a little puzzled with Tony Pay`s analogy
> to the violin wood (body).
>
> > The wood in the body of a violin has been 'messed' quite
> > considerably.
>
> That`s not quite a correct comparison is it, if I may. Wood and reed
> cane are not the same are they(?), nor can they be compared.

Well, cane is wood:-)

What you do with the phonecard (and the technique above) is change the
equilibrium position of the reed. Vibrations around that equilibrium
position are another thing.

All I meant about the violin is that the wood of the body has been
manipulated extensively in manufacture -- bent, and so on. It hasn't
got like that *naturally*. And as we know, how it vibrates is crucial
to the excellence of the violin.

Manipulating the physical form of an existing reed, by wetting and
bending it rather than cutting away bits of it, is therefore not a
particularly outrageous thing to do.

> I think I know what Tony <means>, but if this is actually so, can Tony
> please send me some of his 200 year old reeds. :<)

Not yet:-)

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE GMN artist: http://www.gmn.com
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... Tis but a flesh wound...

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