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Klarinet Archive - Posting 000865.txt from 1998/03

From: RCLARINET <RCLARINET@-----.com>
Subj: Re: Re: Another note on Chedeville Revamps...
Date: Sat, 14 Mar 1998 11:44:53 -0500

In a message dated 3/13/98 5:56:52 PM, you wrote:

<<

-----Original Message-----

From: Shouryu Nohe <jnohe@-----.edu>

Date: Friday, March 13, 1998 10:31 AM

Subject: Another note on Chedeville Revamps...

>One more note to all you people who are experimenting witht he M13 and

>other long-faced mpieces:

>

>If you've been playing on a medium facing mpiece, when you try out the

>longer faced ones, it is best to try them playing with the normal reed

>strength you use, and then one little softer (no more than half a

>strength). Longer faced mouthpieces generally seem to get a better tone

>with softer reeds.

I'm not a mouthpiece expert by any means, but my understanding (supported

only in part by my own experience) is that one of the reasons for longer

facings (i.e. distance from the tip to the point at which the facing begins

to separate from the reed) is that they permit the use of heavier reeds. The

German facings are noted for their length and the very stiff reeds they

permit - reeds that wouldn't make a sound on a French style facing. If

you're basing this advice solely on experience with M13s , I would suggest

that the mouthpiece itself is, I find, a little more resistant than others

with similar facings. It is certainly more resistant than a Gigliotti P34 I

own, which has nearly the same length and tip opening as the M13. My

Gigliotti P, which is a little over a millimeter longer than the M13, is

much more accommodating to stiffer reeds - in fact, anything that works on

the M13 is too thin on the AG P and, conversely, the reeds that feel good on

the Gigliotti are nearly unplayable on the M13.

For What It's Worth

Karl Krelove

Karl,
I think you are right. The longer the facing the more strength you need in
the heart of the reed.
The M13 facing is not excessively long, but the facing curve behind the tip is
very short and the tip is closed down. This short or closed down area behind
the tip increases resistance and off sets the freedom and decreased resistance
any longer curve might have afforded.
Whatsmore, if the rails behind the tip has a curve whose subtle shape is
radially too great this will also increase the resistance and cause the
mouthpiece to play stuffy and with a "tippy" tone......that is , thin and
shallow in the upper clarion and beyond.
I think the need to play softer reeds Mr. Nohe experiences comes NOT from the
longer curve, but from the short, closed down side rails right behind the tip.
Working on that area alone and lengthening them to a reasonable opening
without opening the tip inceases reed amplitude and allows you to get more air
into the mouthpiece........and this affords you more volume and depth of tone
and delivers you from that shallow, tippy sound in the upper clarion.
In my estimation your observations are on the button.
tom

   
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