Klarinet Archive - Posting 000240.txt from 2002/11
From: "William Semple" <wsemple@-----.com>
Subj: Re: [kl] The dynamics of mouthpieces (and on fixing reeds)
Date: Tue, 5 Nov 2002 10:17:48 -0500
No! I ran across a crystal mouthpiece called the "Pete Fountain," I believe
manufactured by Selmer, that is of the facing I describe (I think), and is
the only facing offered. I did not buy it. But if you know differently, I
would love to have the facts.
Van Doren offers a "jazz" set-up (the 5JB) that has a facing of 22.5 mm and
a tip opening of 1.47mm with a reed strength recommendations of 1 to 2, as
opposed to my 5RVLyre, which has an opening of 1.09mm, a facing of 20.5mm,
and reed strength recommendations of 3 to 5.
I play a 3.5 V12, which works well in my cross-over work. It also helps the
transition to my A.
Also, I do not play much in the altissimo or upper altissimo registers
because I do not generally LIKE the sound of the clarinet altissimo,
although some players can work magic up there with some of the modern works
that concentrate on exploring that register.
But I defer to those technical geniuses. The only top top note I have ever
TRULY loved is the one Benny Goodman hit at the end of his famous Carnegie
Hall solo in Sing Sing Sing.
I have bought crystal mouthpieces in the past because I think they look
"cool," but my 5RV simply clobbers them.
I am interested in understanding the rationale in mouthpiece design, as much
as a theoretical inquiry than in changing my own set-up, but I am thinkin' I
need to add a bit more center and focus to my sound, which is quite
cultured, if not especially penetrating.
Some clarinetists have such a presumably centered focus that they sound like
the clarinet stop in an organ. I don't find that as appealing as a sweeter
sound, but I am also not sure whether "sweetness" and "center" are mutually
exclusive.
Other clarinetists have remarked on my "cultured" sound, whatever the hell
that means. All I know is that my fellow musicians really seem to like it.
They usually look at my clarinet. Hah! Nice horn, they say, as I look at
them quizzically. Hey, dude, what about the guy standing here.
I have always worked on the assumption, however erroneous, that
1) the harder reed has better cane in the heart and can always be worked,
whereas a softer reed has to be played more or less as it comes out of the
box.
2) the harder reed-closed tip short faced mouthpiece inherently produces a
more focused, classical sound than the longer lay, open "jazz" set-up.
I am not a great reed fixer, and ultimately I seem to ruin them. I first
hold the reed up to the light to see if the cane is clear and the heart has
a nice regular shape that evenly disperses. The better reeds seem to have a
translucent look with less fibre in the tip.
I start with checking to see if the reed is warped by placing it on glass
and having my wet.dry sandpaper at the ready.I do not sand every reed, as
some players do. I then work on the rails. I use a reed knife; for light
touch ups I use rush.
I avoid the heart, front and back, with all of my heart. There have been a
few occasions that I have delicately taken wood out of the vamp, to good
affect. And sometimes from the back near the tip. But usually the reed falls
apart rather quickly after I do that. I save the reeds anyway. Who knows
what a slightly different mouthpiece might do someday.
I don't spend much time working on reeds. I'd rather play.
I don't know how double-reed players do it. Hats off to 'em.
p.s. In my concert band, one of the players showed up with a bluish plastic
reed. She was very proud of it. She sounded horrible. Almost every one of
the players in the band has a Buffet or a Selmer. It is amazing to me what
lousy tones they ALL have. Dull and hard. Yet many have played for years.
----- Original Message -----
From: <A4ACHESON@-----.com>
Subject: Re: [kl] The dynamics of mouthpieces
>
> In a message dated 4/11/02 1:14:11 pm, wsemple@-----.com writes:
>
> << the very open "Pete Fountain" softer reed set-up >>
>
> I have read all your very informative posts with great interest but I had
> always assumed, with some evidence, that Fountain did indeed use a fairly
> soft reed, but not an open set up.
> As opposed to what advertisers may tell us, have you evidence to back up
the
> open m/p suggestion?
> Arthur Acheson
>
> ---------------------------------------------------------------------
>
---------------------------------------------------------------------
