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Klarinet Archive - Posting 001214.txt from 1998/04

From: David Frank <dave81477@-----.net>
Subj: Re: Mouthpiece Facings & Reed Strength
Date: Tue, 21 Apr 1998 23:24:10 -0400

For what it's worth, I've had great success with David Hite's mouthpieces.
After a repairman recommended to me by someone on this list made my old
treasured Wells mpc unplayable when I was looking for a refacing, I then
played the mpc game thru mailorder. I went thru B45's, Greg Smiths', Richard
Hawkins',......without much satisfaction. Then on a whim, I asked David
Hite (who I knew from clarinet choir festivals at the U. of Illinois in the
'70's,.......his from Capitol Univ., Columbus, OH) to consider reworking a
pair of old 'chewed' up Hites I had. Actually, he himself recommended I send
them to him (in Fla.) when I was simply inquiring about buying one of his
new ones. Well, he kindly reconditioned and refaced both, and even refused
payment despite my protestations. One of them is exquisite, especially with
Blackmaster 3 1/2 reeds.
David responds readily to email obtainable thru his website (jdhite.com).
However, I believe his mpc's are only sold thru mailorder like International
Music Suppliers, etc.

David Frank, Seattle

----------
From: "Gene Nibbelin" <gnibbelin@-----.com>
Subject: Re: Re: Mouthpiece Facings & Reed Strength
Date: Tue, 21 Apr 1998 14:54:11 -0400

Kevin -

As an "old-timer" amateur, I agree with your use of the B45. I tried
several of them a while back and found them unsatisfactory, seeming quite
stuffy and difficult to play for me.

Your mention of the Woodwind K10 intrigues me. As I posted earlier, I was
quite surprised to find that the K10s provided with my Leblanc Concertos
work very well. I didn't post the following that I found with the K10s.
The two mouthpieces are visually different, viewed from the facing side.
The interior measurements may be the same, but I have no way to tell.

The strange thing is that the mpc. that came with the Bb works very well
with the Bb and the one that came with the A works very well with the A.
However. switching the mpcs. results in poorer results. Could it be that
Leblanc has actually matched the mpcs. and the horns, or is it a
coincidence? Interesting.

Since I am using both mpcs. in our orchestra (Gulf Coast Symphony), it
makes quick switches a lot easier, but it does complicate the selection of
reeds.

In any event, this summer, I am planning on doing some more mpc. hunting,
starting with the Hite offerings. He's practically a neighbor, being about
20 miles south on US 41 from Cape Coral.
Should have checked out the Hites a long time ago.

Any comments, anyone?

Gene Nibbelin
----------
> From: Kevin Fay <kevinfay@-----.com>
> To: klarinet@-----.us
> Subject: Re: Re: Mouthpiece Facings & Reed Strength
> Date: Tuesday, April 21, 1998 12:43 PM
>
> Gosh--and the B45 is supposed to be the world's most popular orchestral
> mouthpiece!! Mine is now used as a doorstop. It functions quite well.
> ;-)
>
> On a more serious note, I am always looking for the perfect mouthpiece,
> one that will take care of all problems AND is cheap and readily
> availiable for student purchase. Personally, I use one of those custom
> things--in my case, a Dan Johnston J facing--and really like it. It's
> hard to have my jr. high students shuffle off to Buffalo for a fitting,
> though.
>
> I've come across the Woodwind K10. It's a little closer than my facing,
> and seems a little brighter, but seems to be a pretty OK commercial
> mouthpiece. I wish the tip rail was wider, though.
>
> Any thoughts out there on what to suggest to your students? I have
> usually recommended either the Hite Premier or Clark Fobes' student
> line, both pretty OK and reasonable.
>
> kjf
>
> ----Original Message Follows----
> From: RCLARINET <RCLARINET@-----.com>
> Date: Tue, 21 Apr 1998 09:44:24 EDT
> To: klarinet@-----.us
> Subject: Re: Re: Mouthpiece Facings & Reed Strength
> Reply-To: klarinet@-----.us
>
>
> In a message dated 4/17/98 5:45:38 PM, you wrote:
>
> <<At 09:47 PM 4/16/98 -0500, Roger Garrett wrote:
> >The M13 mouthpiece has the following schedule and tip opening:
> >
> >104 tip opening (1.04)
> >4
> >10
> >21
> >33
> >
> >What this means frankly, is that the tip is very close, and the curve
> >schedule is quite short. If you are playing on 2 or 2.5 reeds, you
> either
> >have no strength in the embouchure, or you never play above a high C.
>
> Doesn't the short curve schedule (given a constant tip opening) require
> a
> softer reed than a longer, more gradual curve like a B45?
>
> The shorter curve does indeed mitigate the closeness of the tip, causing
> the
> reed to feel stiffer than it would feel if the tip were the same and the
> curve
> was longer.
> The B45, however, does not have what I would call a more graduated
> curve.
> It's schedule is not much longer, especially near the tip, and then the
> tip
> itself flares quickly open to a whopping 1.18, and some I have measured
> have
> gone up to 1.20!
> Only a sax player should ever play the B45. It is not fit for anyone who
> wants
> to play the clarinet seriously in a classical setting.
> tom
>
>
>
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