Klarinet Archive - Posting 000279.txt from 2003/12

From: <gregory@-----.com>
Subj: [kl] RE: Copying Kaspar
Date: Thu, 11 Dec 2003 13:16:47 -0500

Excellent point and well stated Clark.

For the reasons that you've stated, I've always found it essential to refer to ANY mouthpiece that is not the product of the original maker as being more or less "in the style of". Any maker can copy dimensions, material formulations, etc. but as we've both experienced, it's a vast and much more complicated phenomenon than just that.

Personally, I don't even refer to original Kaspars or Chedevilles that have been adjusted in any way as "original" since they have been altered in some way unintended by their original makers.

Gregory Smith
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>To: <klarinet@-----.org>
>From: "CLARK FOBES {USER_LASTNAME}" <reedman@-----.netcom.com>
>Subject: Copying Kaspar
>Message-ID: <006601c3bf68$e04b2170$d0e5fea9@CLARKW>
>
>I believe any astute and creative clarinet mouthpiece maker in the US would
>aknowledge a debt of gratitude to the Franks Kaspar for their wonderful
>legacy and the huge influence they have had on several generations of
>American players.
>
>However, it is impossible to make a "Kaspar copy". As individuals we may
>employ some design elements that can be attributed to Kaspar, but copying
>the man's unique qualities is practically impossible. There are several
>factors that influence the work of a maker. I aspire to an ideal sound in my
>playing and try to create mouthpieces that adhere to that ideal. I am
>externally influenced by the good tones that have been imprinted on my ear
>through years of listening and isolating those sounds that appeal to me.
>Internally, my unique physiology influences my sound in a way that cannot
>be imitated. These elements directly affect my end product. I can no more
>copy Kaspar than (were he alive!) he could copy my mouthpieces.
>
>For those who use names of previous artisisans as a way of advertising their
>products it may be more useful to say "in the style of....".
>
>I like some elements if Kaspar and Chedeville mouthpieces, but there are
>also some limitations and problems with many of these mouthpieces. Also,
>approaches to playing are changing, clarinets are changing , available
>blanks are changing and halls are changing. All of these make it more
>interesting to explore new sounds and qualities in mouthpiece design than to
>merely attempt to repeat the past.
>
>Clark W Fobes

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