 The Clarinet BBoard
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Author: ving
Date: 2006-03-14 16:15
Hello,
I have checked in to this board from time to time and found some helpful advice, so thanks for that. I am curious of other's thoughts on mpc. tip opening and how this relates to control. Particularly in a doubling/pit situation. I have three very fine Fobes mouthpieces, a 4L which I found a revelation when I picked it up last year. However, I found this a bit open at times. So I picked up a CF plus, which worked very nicely for practicing but in a pit situation I found I had to use harder reeds than I was comfortable with when coming straight from sax or going to flute. Enter mouthpiece number 3, a 2L on the advice of Mr. Fobes. It is very nice as well, a nice cross between the two, but again for certain louder pit environments I am finding I need to use a little bit harder reed which grows tiresome. The 4L, when my reeds are playing more softly, is very easy and I have gone back to this. IT seems to have the flexibility with a softer reed without losing the projection. (I know, however, that if I were just playing clarinet for a practice session or in a lesson I would prefer the smaller opening of the 2L or the CF plus). Is this a normal reaction? My first instinct was that a smaller opening would be easier to control, but with the increased reed strength that doesn't seem to be the case. (FWIW I am using v12 3's or blue box 3's on the 4L right now, with the other two I need to switch up to at least 3 1/2's to have enought resistance to push against).
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Author: Bassie
Date: 2006-03-15 07:28
Well, my current challenge is a clarinet solo with brass band accompaniment. As you can imagine this requires a certain quantity of dynamic range :-) without throwing away a tone that keeps people listening. After some experimentation I've been drawn to use a naturally loud piece and to learn to play it quietly when required. It's taught me a lot.
But opening ain't the whole story (if only!). I have a similar facing from a different manufacturer, but with a radically different bore. This has a naturally sweeter sound but draws me to use harder and harder reeds until my head hurts. I've gone off it for the moment.
My (heretical) suggestion, then, is to try a different manufacturer, just to see what they think the /inside/ of a mouthpiece should be like.
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Author: Synonymous Botch
Date: 2006-03-15 10:56
Rather than concern yourself over anticipated standards, I wonder if you could think of it as "tuning the suspension" like a racing car?
It's not always horsepower determining the winner...
Being in the sweet spot means you can accelerate out of corners, and brake under control - analogous to control of a wide dynamic range!
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Author: ving
Date: 2006-03-15 15:21
Thanks, I think the acoustically dry environment of an orchestra pit sometimes requires a louder mouthpiece, and the 4L seems to deliver. Anyhow, I was just curious what others have found in doubling situations. ....
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Author: Roger Aldridge
Date: 2006-03-15 16:42
Ving,
I get excellent results with a #3 Legere Quebec reed on a Ralph Morgan RM28 (1.28 mm) mouthpiece and a gold Charles Bay ligature. With this set up I get a dark fat sound that is consistant through the range of the instrument and has superb projection. I'm especially happy with it in big band clarinet playing and other doubling situations.
For me, the challenge was to get a dark and "thick" clarinet sound that is also lively and vibrant -- ie, not dark and dull -- and has enough projection to be heard unmiked in a big band. Largely through trial & error I pieced together my set up so that each part is a supportive match for the other pieces. Thus, for me, I look at the total package rather than thinking about the mouthpiece or tip opening in an isolated manner.
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Author: Arnoldstang
Date: 2006-03-16 13:50
I use a Fobes Zinner CF+ in a pit situation. I am playing flute, picc and alto sax as well. I love the Fobes.....I use a Vandoren Blue box #3 reed. Reed selection for me is important for projection. I don't understand your statement regarding harder reeds. I do not wish to insult you but I would offer the following without hearing you play. Why would you use harder reeds than what you were comfortable with? If your reeds are too stiff you definitely won't get enough vibrancy. I would suggest practicing with softer reeds. Maybe put a bit more in the mouth to help upper register. Harder reeds shouldn't make you bite more. They should just require more air. Try playing on a harder reed letting the air do the work......if you have to bite then go down a half strength until you get results without jaw fatigue. I guess many people start with harder reeds and make them vibrate....reed adjustment ATG system etc. As a doubler I just pick vibrant reeds even though they might be on the light side . Regarding switching to and from flute I find that easier playing reeds work best. They don't cause you to tense up excessively before playing flute. If you use heavy duty equipment on sax however then that might create problems. It's going to be unnatural to go from a heavy/open setup on sax to close light on clarinet. You have to change something. In any case trial and error is probably the best way to figure out what works for you. Endless babbling on my part won't be of much help. Good Luck
Freelance woodwind performer
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Author: ving
Date: 2006-03-16 14:14
Thanks for the comments--I just found on the CF plus with 3's there wasn't enough resistance for me, or it didn't put enough sound out there or something. Anyhow, I seem to prefer the longer facing of the 2L or 4L so maybe thats it...I hear your comments about not player on a heavy set-up; I don't like to play on anything harder than a 3 for that reason. I may try the CF again and try taking more mouthpiece in the mouth.....
FWIW, right now in the pit I am playing in even blue box 3's are playing very, very soft, and there is no way I could be using those on the cf plus...
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Author: Arnoldstang
Date: 2006-03-16 18:03
Of course my CF+ might differ from yours and we all play differently. I take it you have tried different ligatures with this setup? eg Vandoren optimum might give you some projection. I use the Spriggs ligature....it's great. You might have the Fobes worked on by someone who knows what you are after. It shouldn't be too hard....especially if you are settled on a reed brand and strength. As long as the Fobes baffle gives you enough presence of sound refacing might be an alternative. If you stray away from Fobes.....there are lots of people finishing Zinner mouthpieces. I assume you are playing the Zinner model.
Freelance woodwind performer
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Author: Arnoldstang
Date: 2006-03-16 18:10
Of course my CF+ might differ from yours and we all play differently. I take it you have tried different ligatures with this setup? eg Vandoren optimum might give you some projection. I use the Spriggs ligature....it's great. You might have the Fobes worked on by someone who knows what you are after. It shouldn't be too hard....especially if you are settled on a reed brand and strength. As long as the Fobes baffle gives you enough presence of sound refacing might be an alternative. If you stray away from Fobes.....there are lots of people finishing Zinner mouthpieces. I assume you are playing the Zinner model. As I look at the Fobes webpage I see they have a asymmetrical model. That may allow you play a lighter reed.
Freelance woodwind performer
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Author: Hiroshi
Date: 2006-03-18 15:48
Chamber design rather than tip opening may be more important to obtain loudness.
I have never bought a clarinet mouthpiece for Jazz, but now I am interested in Peter Ponzol's clarinet mouthpiece for Jazz.
He says in his URL "Designed for Jazz, Big Band and the many doublers who have trouble to find the right feel".
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