Klarinet Archive - Posting 000361.txt from 2003/01

From: "Rebecca Brennan" <rjbrennan1221@-----.com>
Subj: Re: [kl] Mouthpiece tables
Date: Sun, 19 Jan 2003 10:54:38 -0500

Perhaps I have found the problem with my reeds going soft on me, but I am
afraid I barely understand about mouthpiece tables. I would definately like
to learn though, because I am looking for a new mouthpiece right now.

I use a Vandoren B45 right now.

-Rebecca

>From: "CLARK FOBES " <reedman@-----.com>
>Reply-To: klarinet@-----.org
>To: klarinet@-----.org
>Subject: [kl] Mouthpiece tables
>Date: Sat, 18 Jan 2003 14:00:29 -0800
>
>
>I wonder where the term "french curve" as applied to mouthpieces making
>came about. I have heard it very infrequently. At any rate, there have
>always been two camps regarding mouthpiece design and whether to use a
>"flat" or slightly concave table.
>
>I was fortunate to spend about 6 hours with Everret Matsen nearly 10 years
>ago and this was an area that I was very interested in. He did feel that a
>flat table produced more "power" in the sound and a "flat" table was one of
>his signatures. He was perhaps the only person I have met that could come
>close to achieving this by hand. Still, I have measured many of his
>mouthpieces and although the craftsmanship is superb, most are not truly
>flat. Most makers that purport to make "flat" tables in actuality produce
>mouthpieces that have a rather pronounced "hump" or convex shape. This
>spells disaster as far as I am concerned. When players come to me
>complaining that they cannot find "ANY" reeds that work or that all of
>their reeds play too soft after a few days I check the table of their
>mouthpiece. Invariably, the table is humped.
>
>I have always preferred a slight concave table and even my "Debut"
>mouthpieces are made this way. The convex shape does several things.
>
> 1. It allows the reed to sit square on the table .
> 2. It provides a defined "fulcrum point" for the vibrating reed
> 3. It allows the reed to swell without "lifting" away from the fulcrum
>point
>
>My observations as a maker and performer are that the slight dip in the
>table improves overall response, creates greater resonance and enhances
>reed longevity.
>
>The only way to check your mouthpiece for concavity is to use a glass
>mouthpiece gage. Apply a very slight amount of saliva or water to the
>table. Place the gage on the mouthpiece and apply pressure with your thumb
>to the glass at the center of the table. The places where the glass meets
>the moisture are "high points" and where it does not are "low points". If
>the table is concave you will read the moisture on the side rails to a
>point slightly above or below the end of the window and then again near the
>butt of the mouthpiece table. If the table is convex the moisture will be
>right under your thumb . If this is the case. roll your thumb around a bit
>and you will see the moisture moving around. With convex tables the glass
>always feels unstable under my thumb and it is difficult to make an
>accurate reading of the measurements.
>
>Imagine your reed trying to vibrate consistently on a surface like this!
>Slight variations in reed placement and ligature tension make a big
>difference in how the reed plays.
>
>That said, I must admit that there can be too much of a good thing. Too
>much dip will cause the reed to warp away from the tip over time also
>reduce the necessary over tones for projection. In fact, I prefer to make
>my bass clarinet mouthpieces with only enough dip to keep the glass from
>moving around and not much more.
>
>
>
>
>CLARK FOBES
>reedman@-----.com
>Why Wait? Move to EarthLink.
>
>
>
>
>---------------------------------------------------------------------

STOP MORE SPAM with the new MSN 8 and get 2 months FREE*
http://join.msn.com/?page=features/junkmail

---------------------------------------------------------------------