Klarinet Archive - Posting 000184.txt from 2003/10

From: Bill Hausmann <bhausmann1@-----.net>
Subj: Re: [kl] Macho Reed Selection, or Why I use a Number 37
Date: Tue, 7 Oct 2003 22:18:45 -0400

At 02:02 AM 10/8/2003 +0100, Matthew Lloyd wrote:
>I don't understand this pseudo-macho complex for hard reeds. It seems
>(to me at least) as if players through the world almost boast of using a
>number 37 reed, but then taking so much off it and adapting it that (a)
>it's probably down to a number 2 and (b) the careful design of the reed
>maker is lost. What is wrong with buying the strength you want to end up
>with?
>
>Ok - I jest to make a point....
>
>I seem to recall starting on something along the 1.5 mark. Even now I
>use a 2.5 or 3 Mitchell Lurie and don't feel hampered by it. Neither do
>I mangle them - if I don't like 'em I ditch 'em.
>
>Now I guess that any street cred I had is out of the window - although
>those that know me and love me (?) might suggest that I didn't have any
>to begin with. I'd certainly not challenge this...

I agree with you completely. Personally, I use anything from a 2 1/2 to a
4 1/2, depending upon which MOUTHPIECE I am using. Classical orchestral
players tend to dominate the list and, by and large, they prefer
mouthpieces with narrow tip openings and thus will naturally favor stiff
reeds. I play more band and jazz work, and thus prefer playing on a more
open mouthpiece with a softer reed most of the time, currently a Woodwind
K10M with a Mitchell Lurie 3 1/2. It also seems to work well with a 2 1/2
Legere.

Most students should start with softer reeds and move up GRADUALLY as their
embouchure strength improves, but unless all are using the same model
mouthpiece, there is likely to be considerable variation in what reed
strength is correct for each individual. I started on a Ciccone
Symmetricut 2 and a Selmer Goldentone mouthpiece. The combination resulted
in instant success in producing a tone and I was able to progress rapidly
and confidently as a result. That is far better than having a kid go blue
in the face trying to produce a sound on a professional's setup, a setup
for failure.

Bill Hausmann

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

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