 The Clarinet BBoard
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Author: DrewSorensenMusic
Date: 2012-01-06 12:02
What is the deal with Theo's prices?111111
4400, Rediculous. $775 for a tenor sax mouthpiece is outragious, you can get a vintage Link for less than that! And he has the gall to put "Free Shipping!!!" Like he's doing you a service, and you didn't just mortgage your house for one of his mouthpieces.
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Author: Ed
Date: 2012-01-06 12:35
I have no association with Wanne and have never played any of his mouthpieces. I do know that he is well regarded in the sax world.
There are plenty of expensive mouthpieces out there these days, both for clarinet and sax. I recall that one of the first boutique makers was Dave Guardala. When his pieces first came out, the prices were considered crazy by many, and today mouthpieces in that range are fairly common.
Post Edited (2012-04-14 03:22)
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Author: DrewSorensenMusic
Date: 2012-01-06 13:23
I mean, maybe I don't know, but his are at the top of the price list for sure. I play a Guardala Studio Tenor for stage shows and a Vandoren T15 for pit orchestras, but I bought the Guardala when they switched manufacturers and dropped the price to an affordable $250. Some may say it's not the same, but I'm quite pleased with it. Wouldn't switch for anything. I used Theo back when he lived near Philadelphia and was just a mouthpiece tech, not a manufacturer. He was resonable, put a baffle in a Brilhart Alto for me, and was good for me at the time.
Others' opinions may differ. If the price for clarinet mouthpiece came down to around $225 and $275 for Tenor, I'd try them. We are still in a recession.
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Author: Mark Charette
Date: 2012-01-06 14:31
Why does anyone rant about prices for designer mouthpieces? Its not as if they're required accoutrements of the trade. If they sell, they sell. If not, it's no skin off my back.
I don't buy fine watches for similar reasons - though I might appreciate the artistry involved my phone keeps great time. Those that can afford keep Patek Phillippe in business, not me, and I see no reason to complain about their exorbitant prices.
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Author: DrewSorensenMusic
Date: 2012-01-06 15:26
Yea, I guess it's like complaining about the price of gas. You need it to get from A to B, and you have no control over it. Granted there's a lot of other fantastic mouthpiece makers that are at an acceptable price level.
Maybe Theo will look at a thread like this, and if enough people agree, he might rethink the market value of his trade. I would try his mouthpiece if it were under $300 (Tenor) or under $250 (Clarinet). He is a good mouthpiece technician. Not $800 good, but very good.
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Author: Ed
Date: 2012-01-06 16:29
Yeah, I am hoping that if I complain on enough blogs, Porsche will drop their prices!
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Author: NBeaty
Date: 2012-01-06 19:44
You have to examine price in regards to the product itself.
Porsche charges a hefty price, but they're FANTASTIC cars that COST A LOT to make. I can't afford one either, but it doesn't mean they aren't great and worth what they're charging.
You can see the Behn threads for the same discussion on price.
Considering Backun charges 375 for a zinner that costs 45\blank, 400 for a blank that is produced by the finisher is not bad at all.
I've never tried the mouthpieces and don't know Wanne very well, but complaining about price is getting old...
At the end of the day, most people use a zinner or babbitt blank and just charge what the market allows them to charge.
The reaction a 400 dollar mouthpiece should get is, "What makes this mouthpiece special compared to customized zinners that are around 200?".
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Author: DrewSorensenMusic
Date: 2012-01-06 22:12
You all are comparing a musical instrument (something that is for the people) to an elitist machine (something that accentuates class structures and social imbalance). Music should be available to everyone. And the ability to make music should be available to everyone. By charging $800 you turn the saxophone into an elitist instrument, separating those that perform the music from those that could ultimately enjoy. Most people won't put up with this elitist bull, so they go on to choose other forms of art and culture to spend their money. Theo could be considered the catalyst for this thinking. Good art is dying, this is one of the causes.
(Now see everyone post how wrong I am, but think, if it were more affordable to play good music, would people me more music savvy?)
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Author: Paul Aviles
Date: 2012-01-06 22:31
If Theo can kill the saxophone I'll vote for him in the Republican primary.
.............Paul Aviles
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Author: Mark Charette
Date: 2012-01-06 23:12
DrewSorensenMusic wrote:
> (Now see everyone post how wrong I am, but think, if it were
> more affordable to play good music, would people me more music
> savvy?)
Thank you for your post. Now I can blame my lack of ability on the violin and less-than-mediocre piano playing on the high price of of Stradivariuses and Bosendorfers.
Not.
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Author: srattle
Date: 2012-01-06 23:18
DrewSorensenMusic:
I totally agree that music should be able to be enjoyed by everyone. Clarinet and Sax are some of the easiest, and cheapest instruments to acquire, and it's easy to find something decent for cheap.
We have mouthpiece makers like Vandoren and many other companies that you can get a professional piece for under $100. Try finding a professional bow or head-joint for under that. A lot of percussionists spend more than that per pair of sticks.
I find it really hard to believe that anyone would have a problem with someone selling a premium product. Every piece of merchandise has a premium product.
It's like saying: everyone needs water, therefore perrier should be prohibited.
I could also say, most people drive, but to keep it cheap they should only make honda civics. They drive pretty well, and are relatively affordable.
Premium products are not for the masses, and shouldn't be. If someone wants something amazing, more often than not they will have to shell out some serious green for it. It's just the way the world works.
Let's count ourselves lucky that basically no clarinetist ever has to mortgage their house to buy an instrument necessary to move on in their carrier and end it there.
disclaimer: I am by no ways connected to Theo Wanne, nor have I ever tried this product. I just think that pushing for people to make better equipment is important, and if they cost a little more for it, then bring it on. I would pay 1000s for a perfect reed that would last me years (and sadly I haven't found it yet)
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Author: donald
Date: 2012-01-06 23:27
"Yea, I guess it's like complaining about the price of gas. You need it to get from A to B, and you have no control over it."
then....
"Granted there's a lot of other fantastic mouthpiece makers that are at an acceptable price level."
which makes it... NOT like the price of gas. Smarten up laddie.
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Author: DrewSorensenMusic
Date: 2012-01-06 23:46
I'm very surprised I hear so many people defending overspending for a product worth $150 less than its retail. Have we all forgotten being in college, working just to get by month to month, no savings to spend on exorbinantly priced equipment? Playing for no pay after spending 10 hours practice, just to gain experience. How a common jazz wage is $35 a night. How good musicians are forced to work jobs outside of music to get by, so they can play their talent and passion.
To Paul, the Republican party could use a good candidate, but as a Democrat, I'm glad they have not.
To Mark, I'm sorry you're not happy with your violin playing. I'm sure you're violin playing would have been better if you had access to good equipment. If a student starts on a vito or a yamaha, which one is most likely to succeed?
(Also, and this is possibly the worst time to ask this, are you interested in Bansuri flute fingerings? I really enjoy that fingering thread. I can offer what I have if it's an interest.)
To srattle, yes I am a doubler, but more importantly, I'm a Alto sax player, tenor sax player, soprano sax player, Bb clarinet player, flute player, and piccolo player. I know how much good equipment costs, and I settle for nothing less than professional. I am not lucky. I financially have to compete with people that can only play one instrument. Maybe that's why I am upset by his prices.
I don't know if it's important how well I play. If it is:
http://www.youtube.com/user/DrewSorensenMusic
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Author: Mark Charette
Date: 2012-01-06 23:59
DrewSorensenMusic wrote:
> To Mark, I'm sorry you're not happy with your violin playing.
> I'm sure you're violin playing would have been better if you
> had access to good equipment. If a student starts on a vito or
> a yamaha, which one is most likely to succeed?
You most certainly missed the point. I don't play violin ...
As to who succeeds playing a Vito or Yamaha ... WHO CARES? They are both serviceable instruments, as ar a number of $50 and less mouthpieces. No one is REQUIRED to spend a lot of money on the instrument to enjoy music - I dare say that very few people have even learned how to play an nexpensive recorder with any fluency, yet I heard a student at NEC play a Baroque concerto for elementary school students using be of heir so-called toy instruments. I could go on and on ...
A thousand dollar mouthpiece is not required to make music. That ne exists is irrelevant to making music. I neither defend or deny the existence, it just so far out of my sphere of relevancy as to be absurd to argue about.
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Author: Ed
Date: 2012-01-07 00:05
I never understand these discussions, whether about various mouthpiece makers, custom clarinets, equipment, reeds, etc.
Nobody is required to buy anything. There are plenty of pros with major careers who play basic clarinets or saxes with relatively inexpensive stock mouthpieces. There is a wealth of good stuff out there that will not break the bank. Heck, I have played some Fobes Debuts that blow away some expensive custom mouthpieces I have tried.
It is all about playing what you are comfortable with and learning to make music.
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Author: Dan Shusta
Date: 2012-01-07 00:11
Drew, would you send me a personal email. Your email address isn't listed. I'd like to find out more about the clarinet, mpc, and reed used in the videos. Thanks.
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Author: TheoWanne
Date: 2012-01-07 00:43
Dear DrewSorensenMusic, I hear you:)
I would love to charge significantly less for our product. A dream of mine is to provide the quality of product we manufacture at student pricing, and I think everyday about how to accomplish that.....every single day:) So, in a way, I fully agree with you.
I got started in this business by refacing and modifying current production and vintage mouthpieces. I would have customers sit with me while I modified their mouthpiece. Not until their faces lit up, they got totally excited, and felt like they found the sound they had always been looking for, did I feel complete.
Seeing people excited about their music is what inspires me. I went into production to share to a larger audience the designs I came up with that excited people the most.
My goal was to produce the best version of each design that I could come up with on my best day....consistently!!!!!! Hand work, working with inconsistent blanks, and working with just 'wrong' blanks to start with was just not consistent or reliable. So I decided, that no matter what it took, to make the best and most inspiring product in history.
That costs money....a lot of money. I had to make every blank from scratch. I had to create a completely new way of manufacturing that had never been done before, and do all the research and development to 'better' designs.
Our first mouthpieces sold for $775 and between R&D, programming, and tooling, we we actually took a huge loss on them. They cost us way more to manufacture than we sold them for. My intention was never to build the most expensive mouthpiece, it was to deliver an unequaled experience of play to the musician.
Our clarinet mouthpieces uses incredibly high quality rubber, innovative machining techniques never done before, had tons of labor intensive R&D, and needs very expensive machinery to even make in the first place. We are not taking someone else's molded bank and adding finishing touches. We are completely machining from scratch in ways no one has ever done before for incredible consistency and so we are not limited by anyone else's design. Also we CAD designed and manufactured our premium ligature, which comes with the mouthpiece too. Other manufacturers do not offer that.
Again, my intention is just to make the best product in the world, consistently and accurately. That is all. Honestly, considering what we go through to make our mouthpieces, all the patents, new manufacturing techniques, etc. our product is quite the bargain.....considering what goes into them:)
Almost daily I get emails, letters, etc. from people saying how they used to practice 2 hours a day and now practice 4 because they feel so much more in love with their instrument; Hew the finally feel they have found their voice, etc. This is why I do what I do.
That said, I want to give EVERYONE that experience. That is my goal. I realize our prices inhibit that. It saddens me greatly actually. And because of that I have been working hard at finding ways to make consistent, high quality, unlimited design, mouthpieces at a very affordable price. That would make me VERY happy. And I plan on succeeding some day....I am certainly putting enough thought and love into the idea to succeed.
It is just that making a product that assists the musician in finding the maximum amount of magic in their playing as possible, is my number one goal. My second is price. I hope and pray to be a success at both one day soon:)
Sincerely, Theo Wanne
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Author: donald
Date: 2012-01-07 00:48
If this were facebook i would "like" the last posting from Ed. I've heard plenty of top players on "stock" mouthpieces (Carbonare and Michael Collins come immediately to mind) and performers/students in the lower income bracket have many suitable, and excellent, options.
DrewSorensenMusic appears not to be able to understand the postings debating his statements- which leads me to suspect that either English is his 2nd language or that he is a younger person. I was once involved in debate like this on another forum where a particularly annoying poster making silly (and slightly racist) statements turned out to be 10 years old, and we all felt very guilty for ganging up on her!
dn
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Author: DrewSorensenMusic
Date: 2012-01-07 01:17
No, thank you donald, I am 28, so you can gang up on me as much as you want. Born and bread in the USA. But thank you, how very offensive of you to say I don't speak the language or am a child.  I can understand when an argument is agreesively going in my direction, but I'd like to diffuse it before it gets any further than an obnioxious, petty nusaince. *cough* excuse me. 
Sorry Theo, let me separate this post from the one to you. This particular post isn't really in the best interest of the thread or topic. Just trying to get a rise.
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Author: djphay
Date: 2012-01-07 01:20
I'm surprised the cost issue of certain products keeps cropping up in this board. Yes, some equipment retails for a high price, but I totally agree with the point Ed makes: it is not necessary to buy only those high-priced products in order to sound good. If that were so, every Buffet professional would play on Toscas as opposed to Prestiges.
Think of how may great soloists and pros play on "stock" products (Michael Collins and Paul Meyer play on vandoren mouthpieces, Sharon Kam still plays the R13s she got as a teenager, the list will go on and on no doubt with many American examples too). And it may well be that the most expensive mouthpiece isn't in fact suited to your playing style: take for example my own testing of Eb mouthpieces last year. The most expensive model I tried was the MoBa, but I didn't like the sound I made with it. It ended up being a toss between a Lomax model and a Zinner that was just about the cheapest option available.
So yes, some products might be expensive, but I don't think it is right to say that having such products available obstructs those who cannot afford those products from still sounding great. We are fortunate as clarinettists (professional or amateur, as I am) to have relatively inexpensive instruments and kit when compared to any other instrument in the wind section (and that includes amateur orchestras too). That isn't even going into Theo Wanne's response about what his costs have been to produce his mouthpiece.
Anyway, I'm off to keep working at trying to sound half as good on my expensive mouthpieces as a local professional using a bog standard vandoren... ;-)
David
Rank amateur
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Author: DrewSorensenMusic
Date: 2012-01-07 01:36
To Theo,
I'm not going to lie, when I wrote those first two words, well, I still can't believe I'm writing them. That you would come to our board and write as you did, it really says a lot about your character. I have indeed have used your mouthpieces in the past. I was helped by Tony Salicandro from Haddonfield, NJ, and you may have lived in or near Philadelphia at the time. Even if you didn't live near me, and I just didn't know it, you were a great resource to us. Was sad to see you go, but we all follow our own path.
Now you're back making mouthpieces, and that's great. I'm sorry that it's tainted by this pricing talk. I know you have a good heart and are doing everything you can to make your hard work accessible to everyone. To be fair, I don't know anything about manufacturing, so I hope you forgive me when I see the large gap between retail prices and get a bit edgy. If it's any consolation, I feel the same way about other current makers of equally high price. I do hope you achieve your goal of making these pieces accessible to everyone, and I do hope that you have a successful career at it, financially and morally. You're design is the most beautiful I've seen of a mouthpiece, and while we know that it's too expensive for me to try, I've performed on your work in the past and was quite fond of it. (A Brilhart with a wedge).
I don't know what else to say, what you consider success is the same outcome I wish to happen, so I hope you achieve it. I apologise if I've offended you. I highly respect you.
Sincerely,
Drew
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Author: donald
Date: 2012-01-07 01:37
I'm sorry you are offended Drew, but you don't appear to be able to understand the comments that people are directing at your debate (or at least you don't reflect that in your replies) so what are we supposed to think?
Thank you Theo for your erudite explanation for your pricing etc.
dn
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Author: Buster
Date: 2012-01-07 02:35
Drew,
I know not why but you now seem to be doing a 180 from your previous statements??? ........however
1.) Yes, you can get a vintage link for less than what Mr. Wanne is charging.
How many vintage Otto-Link's have you tried? Regardless of the era, many of them are quite less than satisfactory. The facings often need much work as they are often asymmetrical; let alone have quite irrational curves. Then with the floor raising, wall scooping that is often done to change the tonal shape and TUNING you're talking about a $300-600 mouthpiece that will need $100-150 dollars of work.
That's assuming the fact that you find a decent example of an old Link to start with. Of course you can always re-sell the less than desirable mouthpiece you bought (with a clear conscience?) to an unsuspecting student entranced by the mystique surrounding these old mouthpieces- with them thinking it is THE answer.
2.) $800's good?.... if it aides you than yes, but no one is forcing you to even go in that direction to begin with.
and have you seen what original Guardalas are going for (not the newer ones)?! Or the old Hollywood Dukoffs
3.) My friend went through a collection of 25 old Gregory alto mouthpieces. He found one that was insanely good, another that was extremely good, and 23 that were not. He paid $500 for one, and $400 for the other and was extremely happy.
Point is, you can go on the great vintage mouthpiece search and try a hundred examples to find one that is great- expending a lot of money and time in the process. Or you can try a newer mouthpiece, intelligently designed and manufactured with extremely precise equipment and perhaps avoid the long voyage. You are not just paying for "the mouthpiece", you are also paying for the knowledge and skill of the maker; and you can value that or not. ...the path you take is your choice.
Or you can choose to avoid all of that and go the Vandoren/Zinner route, which is no less valid.
4.) I won my orchestral job (my actual profession) playing on a vintage clarinet mouthpiece. Did I win because of that? No! Some heard me play on that particular set-up, loved how it sounded, until they tried it. They looked at me in wonderment as to why I would play on such a mouthpiece. Then others tried it, and immediately understood why I did. 6 of one, half-a-dozen of the other.
Am I Super-human and thus able to play this mouthpiece?: NO! The fact is that often these older mouthpieces take much more finesse and attention to control (not as user friendly as a Zinner or Vandoren), and have flaws. Those flaws are what I like because I can exploit them to have a greater palette to draw from.
But the idea that keeping this equipment out of the hands of students being detrimental to their development/possibilities, thus making them quit, is ridiculous. I would not give a vintage mouthpiece to a less-advanced student for the reasons I stated above- that would be detrimental to their development.
I have had most of my students on the level of mouthpiece that you seem to think is "flawed" (because of price?) to aid their development- and to keep them from quitting ?-| And I have refaced some to help with their difficulties at times.
5. ) Conversely, I have many Kaspars, old Cheds etc... that I could sell for a princely sum solely based on the name stamped on them. But I will not do it because I know some are less than acceptable and would feel guilty charging so much for them; even though I know the student E-Bay community would gobble them up.
Perhaps, Mr. wanne's $400 dollar clarinet mouthpiece, which may only be truly appreciated by an accomplished clarinetist, is a far better path to take than buying 40 XXXXXs in search of "the one." You have much more control over what you are getting.
----------------------------
I don't know Mr. Wanne, nor have I played on his equipment- nor am I pandering. However I applaud what he is doing.
The cost of R&D is insanely high, thus the prices- and again you are paying for knowledge. Perhaps in time, when money is re-cooped, prices will fall. Until then no one is forced to pay for his mouthpieces as if they are the only option.
and FWIW.... I have a friend playing in a "Big 5" orchestra on a Vandoren. "They" have an excellent Henri Chedeville, but defer to the $95 Vandoren as it is more consistent with reeds; and user-friendly.
and I know someone that paid over $4000 for a bass clarinet mouthpiece solely based on name, and they do not possess the chops to utilize it.
now I have to go do some more painting in Lescaux
-Jason
Post Edited (2012-01-07 02:43)
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Author: DrewSorensenMusic
Date: 2012-01-07 03:04
Jason,
I appreciate your opinion. You have a wealth of knowledge, moreso than myself, although I do try hard. You are well spoken. You bring up a lot of good points, but I just cannot debate all these things, so lets just say I don't believe I've changed my opinion. I think $800 is too much for a mouthpiece. I hope Theo finds a way to spread his music economically. He seems to support many communities that share what they can. (See http://www.theowanne.com/inspiration/charities[/url#]) Though it may not seem like it, there are others that also believe this price is too high. Especially young people. You've had jobs, and maybe you forget what its like to have no control because of the hinderance of money, but with Theo's mouthpieces, that predicament exists. I feel this, it seems like Theo feels this. I don't know what else to say on the subject.
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Author: mihalis
Date: 2012-01-07 03:41
If you have the money buy it, but an expensive mouthpiece is not
necessary.
See this:
http://www.youtube.com/watch?v=wnv0DAR_gWA
Mike.
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Author: NBeaty
Date: 2012-01-07 04:22
I applaud Theo Wanne for coming on here and defending his work.
If you don't want to spend 400, 800, 1000 or more on a mouthpiece, then don't. No problem, not even a discussion necessary. If you're curious why they cost so much, listen to Theo Wanne or Brad Behn to understand their expenses. The information is there for the taking.
Personal attacks on the bboard that is meant for communicating ideas and help? We're all better than this... I hope this is not the way you would talk to the clarinetist next to you in orchestra.
Everyone is entitled to their opinion, but no one is entitled to be rude or offensive if they want their opnion to be understood and respected.
If the only response to expensive mouthpieces is to instigate some sort of class warfare, that's just very dissapointing. The clarinet community should be much better than this.
Personally, I feel I have a lot to offer the clarinet community and this bboard. I also know there are countless professionals who have come and gone from this bboard because of threads like this. So many intelligent and experienced people who thought, "Why would I want to be a member of this community?".
It is threads like this that are the spoiled milk put in a fresh cup of coffee. Everyone has something to offer and this is a great place to communicate those thoughts and ideas to other clarinet enthusiasts. Let's try to remember that.
Respect, respect, respect. That's all I would ask.
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Author: NBeaty
Date: 2012-01-07 04:24
RE: Theo Wanne
I'm looking forward to hearing about the actual product from people who have tried it, as should have been the purpose of this thread.
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Author: Buster
Date: 2012-01-07 04:34
Drew,
I did have 2 jobs, but that did not give me unlimited funds. And I have been out of work for some 3 years- unable to play for a year or so of that time period for some health issues; that also costs money. Trust me, I do understand monetary difficulties.
Also, I am not that old (33), so my younger years are not too foggy either. I can remember scraping by: teaching privately, gigging, working in the Law School kitchen at 5am; along with 4-8 hours of ensemble work (between orchestra, chamber orchestra, big band, combo work, wind quintet etc...), finding practice time wherever possible- let alone sleep! ....surviving on Top-Ramen, Kraft Mac-n-Cheese and Pop-Tarts. (Cinnamon Frosted- can't beat'em.)
I even turned down an offer for an Off-Broadway tour in under-grad, which was quite difficult considering my financial constraints at the time. (and avoiding crawling back to my parents for money.)
The point of all of that is not to ask for pity, but to say that I understand your view point regarding money.
------------------------
Perhaps I was a bit too vague in my points:
*One doesn't need an $800 dollar mouthpiece to play at an extremely high level.
*I do agree that $800 is a high price to pay: I will not say it is too high as I have never played on his work.
*Though I have clarinet mouthpieces that I could sell for 3x's more than Mr. Wanne's work solely based on their "famous" name, I never said I paid that much for them. In fact, the Kaspar I won my job on was given to me, with no hesitation, by an extremely kind person that later would not take it back. (And later, I even gave a good Ched to a very good student because she deserved it- and that fact alone was worth more than the money I could have sold it for. -Circle of life.)
*Most of the old expensive clarinet mouthpieces I have, I found cheaply or traded for. They are not the end all be all as they sit, you have to play them!!!; and they take much more finesse than the average student possesses. I don't know what your current set-up is, but you may even hate them and wonder why some people drool over them. And that is not a statement meant to degrade your playing; I don't know your work and prefer to judge people here based on what they say. But this "elitist" equipment is not the answer to all that ails, or even necessary in many cases.
*Perhaps younger players (younger than yourself) are not fully developed enough to benefit from these expensive mouthpieces. In fact, they may be inhibited as they are not fully formed enough to perform on these expensive mouthpieces.
*You play on a new Guardala. I am happy you found something that you are comfortable on- regardless of the price tag. Thankfully you were not forced to pay out the *#* to obtain it. I am currently playing an old Woodwind Meliphone Steel Ebonite on my tenor that is not worth a king's ransom, and I wouldn't trade it. (Dropped my Link and bent the hell out of the tip.)
*My friend WON the job in the "Big 5" orchestra playing on a Vandoren.
None of these things bothered me however.
------------------------------------
It was rather your statements:
Quote:
"Ridiculous. $775 for a tenor sax mouthpiece is outragious, you can get a vintage Link for less than that! And he has the gall to put "Free Shipping!!!" Like he's doing you a service, and you didn't just mortgage your house for one of his mouthpieces."
"He is a good mouthpiece technician. Not $800 good, but very good."
"By charging $800 you turn the saxophone into an elitist instrument, separating those that perform the music from those that could ultimately enjoy. Most people won't put up with this elitist bull, so they go on to choose other forms of art and culture to spend their money. Theo could be considered the catalyst for this thinking. Good art is dying, this is one of the causes."
Well, that seemed a bit out of place and incendiary, particularly without even having tried Mr. Wanne's current work. .....only to see you sort of turn-around, recant, and frankly cozy up a bit by suddenly respecting him after he humbly replied to your posts.
Now I have had to go "hat in hand" and apologize to people before in my youthful vigor; but might I suggest a bit more tact could be applied when posting in the future. Particularly when the target is seemingly not around to answer. Though thankfully he was.
Respectfully- Jason
Post Edited (2012-01-07 04:37)
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Author: oca
Date: 2012-01-07 07:28
Theo, where do you draw your inspiration for making these mouthpieces?
Was there a particular flaw that you saw in many that needed to be fixed, or was this mouthpiece something totally new?
Just curious, if people can make blanks and sell them for about $50 dollars with their share of profit in mind, why can't these mouthpieces be sold for less as the middleman is cut out? If this machinery is truely remarkable, it is definitely effecient.
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Author: DrewSorensenMusic
Date: 2012-01-07 13:29
Yes Jason, I've read your quotes of me, and can see how it can be offensive. Maybe I watch too much TV. I really don't have terrible intentions at heart, just being descriptive is all.
Let me restate that I have worked with Theo in the past, and the pricetag was a normal $250 for his personal work. Maybe there's a bit of, "Back in my day we gasoline was 83 cents a gallon, and we walked 5 miles in the snow to get it" kinda mentality.
I'm sorry if this post is tainted by price. It is clear that we still cannot find someone that has played on one of Theo's mouthpieces, no matter what the reason may be.
I still take a positive away from this thread, that Theo was kind enough to take some time to read a respond to this thread. I never imagined that our board would attract such attention, and I am happy to have a little more insight to Theo's direction.
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Author: Ed
Date: 2012-01-07 14:48
Quote:
It is clear that we still cannot find someone that has played on one of Theo's mouthpieces, no matter what the reason may be.
I believe that they are a new item. Tim Price is the only person I know of that has played them. He raved about it, FWIW.
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Author: jim lande
Date: 2012-04-13 17:24
I am interested in the Wanne because I just heard Eddie Baccus jr in a club setting. I couldn't believe the tone & power he was getting out of his tenor. Of course, he might sound terrific playing junk.
I'm not sure how I would feel about having a tenor mouthpiece that costs more than my sax. I'm playing a $400 Buescher Truetone from eBay. But then, I sometimes use Grabner or Fobes mouthpieces on metal clarinets that cost me under $200. $700 might not sound so high by comparison if you were playing $5000 Mark 6.
One reason there are so many mouthpieces on eBay is because a lot of reed players keep looking for that perfect mouthpiece for their mouth and level of skill. If they really find it, then it is worth the price. But too bad if they find it on the ninth try.
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Author: stanzoot
Date: 2016-10-12 04:13
I played a Van Doren 5JB for many years in my Jazz groups but then managed to get a Theo Wanne Giaia #9 m'piece second hand from a dealer in New York.
I find it to be a very free blowing piece , more suited to doubling than the 5JB. The side rails and tip rail are very narrow so accurate reed alignment is crucial.
My fellow musos have described the sound as bigger and rounder than the 5JB but not as focused.
I'm finding it a little difficult in the upper altissimo ( F,G,A) but then I haven't been playing it long enough to really judge it objectively up there.
It has a facing length about the same as the 5JB and the tip is a little more open but it seems to take the same reed strength, I guess because of its' free blowing nature.
I like both pieces so will continue to experiment.
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Author: Wes
Date: 2016-10-12 22:44
In my brief encounter with Mr. Wanne, I found him to be a very interesting and genuine person. He was interested in information about Glen Johnston, the legendary mouthpiece and woodwind expert, who I spent time with.
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Author: ving
Date: 2020-02-14 20:25
Old thread, but wanted to mention Theo has discontinued this great cl mouthpiece unfortunately. I’ll bet not enough people bought them, but I did! I’ve got a great 3* and a 4. Super mouthpieces for my needs as a doubler in pit orchestras and jazz big band reading stuff.
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Author: Mrdi
Date: 2020-10-11 22:17
Only ONE person says they've played Clarinet Mouthpiece – Theo Wanne.
Would like some feedback on use of the clarinet Theo.
Reed strength, etc.
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Author: LFabian
Date: 2020-10-13 15:35
If this is the Gaia clarinet models, I have the 2 and the 4. They are being rotated around in community bands. They are very efficient and easy blowing. Harder reeds are better for me on the 2. Ligature slips often when changing mouthpieces. I developed a technique for that problem. I wonder how these could possibly be improved if they use their own blanks.
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Author: ving
Date: 2022-06-17 17:38
I wanted to follow up, I’m still playing and enjoying my original Gaia cl mpcs. Using the 4 exclusively now, either with reserve classic 3 1/2 or rue lepic Vandoren 3 1/2, which I work on somewhat. With Rovner versa or versa x lig. Theo has reintroduced the Gaia cl along with a darker model (Ambika) and brighter (Durga). These appear to be thin profile mpc bodies with rubber o rings rather than cork. I am curious to try these. Obviously the Wanne cl mpcs have flown under the radar in the clarinet world, but they really deserve some attention particularly from doublers like me who need a flexible and freeblowing mpc that can work well in a variety of commercial settings.
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Author: ving
Date: 2022-06-23 17:55
I’ll refrain from debating price points set by Theo, but I’ll just mention I picked up both clarinet mpcs I have on close out at a reasonable price. (Same with a couple of alto mpcs).
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Author: LFabian
Date: 2022-06-25 07:21
I have the Ambika. It is not an everyday mouthpiece nor a mouthpiece to use in adult community bands. Mainly because it is meant to be heard by itself. It is a primadonna. Strong and efficient and resonant sound. This replaces the Gaia 2 which is discontinued. The smallish pipe needs a small swab to clean it. I believe the ligature was made for it because I can't find ligatures to fit its skinny barrel. I prefer wood reeds over plastic with it. A molded mouthpiece cover is sold separately.
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The Clarinet Pages
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