Klarinet Archive - Posting 000336.txt from 2003/08

From: Bill Hausmann <bhausmann1@-----.net>
Subj: Re: [kl] Mouthpiece Patches Revisited (once more!)
Date: Tue, 12 Aug 2003 22:32:34 -0400

At 02:53 PM 8/12/2003 -0400, Don Yungkurth wrote:
>Bill (Hausmann) responded:
>
> >I think you have misunderstood some of the posts on this. The apparent
> >improvement in sound that SEEMS to be created upon REMOVING the patch is
> >caused by the increase in the conduction of sound through the teeth and
> >bones to your ears. The difference is unlikely to be noted by anyone else
> >(or the recorder), except for the possible improvement WITH the patch due
> >to the more secure embouchure. Personally, once I tried a patch, I could
> >not bear the thought of playing WITHOUT one! The comfort and security they
> >offer outweighs any bone conduction loss by far. I have put patches on
> >mouthpieces I do not even play anymore, just in case! They are
> >particularly useful on crystal mouthpieces, which have really NO grip of
> >their own, and can feel cold on the teeth, too. By the way, I use the
> >thin, clear vinyl type of patch, rather than the thick black rubber
> >variety, although I can see those as possibly being more useful for
> >marching band applications where the extra cushioning might be desirable.
>
>Bill indicates that the apparent improvement in sound that SEEMS to be
>created upon REMOVING the patch is caused by the increase in the conduction
>of sound through the teeth and bones to your ears.
>
>I think that, as in most things, there is a typical distribution curve
>covering the differences in players with respect to the effect of using a
>patch.
>
>In my case, my original clarinet teacher never mentioned single and double
>lip or even commented on the embouchure that I had gotten from my band
>teacher (who played the 'cello, I believe). I soon settled on a double lip
>embouchure by myself since I didn't like the sound I made with single lip.
>About 40 years later, I started taking lessons again. The first question my
>new teacher asked was, "Why do you use a double lip embouchure". I told
>him my reason and he said, "Let me see your mouthpiece". He returned it in
>a few minutes with a patch on it and asked me to play single lip. He asked
>what I thought of the sound and I indicated it was greatly improved. He
>said it sounded the same to him as my double lip. He preferred double lip
>himself, but gave it up when he began to play a great deal of soprano Eb.
>
>My point here is that, while Bill suggests a perceived improvement in sound
>to the player by removing the patch, I had exactly the opposite experience.
>I would have to agree with John that, "using the patch only makes you think
>that your tone is better". I play mostly single lip now, but occasionally
>use double, which I feel allows better (more subtle?) control.

Maybe I should have said "change" rather than "improvement." In your case,
though, since you were playing double lip, the upper lip was performing the
same teeth-cushioning function that the mouthpiece patch does, so the
difference should have been slight, but there may still be increased bone
conduction with the patch vs. the double lip, as there would be an increase
using no patch vs. using a patch. It any case, the difference perceived by
OTHERS should be much less, if any at all. Of course, you must take into
consideration that if you sound better to YOU, the increased confidence and
enjoyment of playing you will feel will likely result in improved
performance that others CAN hear!

Bill Hausmann

If you have to mic a saxophone, the rest of the band is TOO LOUD!

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