 The Clarinet BBoard
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Author: Carmen Izzo
Date: 2001-10-01 03:37
WEll, im in the market for a new mouthpiece. And IVe been refferenced to the richard hawkins line of mouthpieces. The newer model i have found to be very resistant, and produces a sound that is too dark for my taste. But for those who play on the older line, what can you guys tell me. All i remember from playing on one was that it was very open, and produced a big sound. Thoughts. Good Clarineting!
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Author: Mark Charette
Date: 2001-10-01 04:35
I've never heard a Hawkins mouthpiece that I would consider to have a "big sound", but perhaps your idea of a "big sound" and mine differ. It's more what I would consider a chamber music mouthpiece, not an orchestral mouthpiece. However, that being said, it's used by orchestral players.
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Author: Brenda Siewert
Date: 2001-10-01 14:59
If you're in the market for a great new mouthpiece and you want to work with someone who will help you find the one you really need, you should try Gregory Smith's mouthpieces. Send him an email (he's a sponsor) and tell him your set-up (clarinet, style, etc.) and see what he recommends from his arsenal of mouthpieces. I think his are just about tops and he's great to work with. He'll work with you until you find what you want. So, although you're going to spend form $175.00 to $200.00, it won't be wasted money.
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Author: Ed
Date: 2001-10-01 16:14
Don't overlook Clark Fobes mouthpieces. He is a Sneezy sponsor and makes top notch stuff.
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Author: Ashley
Date: 2001-10-02 03:32
I use a older model Hawkins and know Richard pretty well. I highly recommend them...although depending on what mouthpiece you're playing on now, it could be a big transition, but a worthy one. Richard's a very good guy and I definitely think--since you're a student of Julie's--that you should try to get one of those. Be sure to try several, as each mouthpiece is different--you cannot judge the whole brand by one or two.
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Author: Carmen Izzo
Date: 2001-10-02 04:05
Yeah, i really see where you are coming from Ashley. I tried three of the Model "B" mouthpieces, each one had different characteristics. And the other day I was complaining about the LC3 I own, and yet when i played my good friend and former instructor's, magic happened .Sometimes it saddens me of the inconsistency of non-custom mouthpieces. has anyone played on a Stowell-Schneider? Thoughts?
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Author: Mark Charette
Date: 2001-10-02 05:13
Carmen,
You just mentioned the inconsistency of custom models! Did you think mass-produced would be better?
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Author: James Garcia
Date: 2001-10-02 17:44
I have played on hawkins as long as i remember. I have just recently like with in the last year bought a B series mouthpiece and im not at satified with it as i am with the lower model. But i don't think its meant to be considered a lower and higher model. Each of the mouthpieces are made to play differently. Find the one that fits for you. I do have to admit, im having trouble finding a hawkins that isn't as resistant but for anyone who likes them and wants a less resistant hawkins, Richard would costomize mouthpieces. I firmly believe that the hawkins mouthpiece is one of the best (if not the best) mouthpiece on the market. Like i have said, get the RIGHT hawkins for you. Email him if you would like, i believe the email address is hawkinsRG@aol.com.
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Author: Katfish
Date: 2001-10-02 20:52
I play a stowell wells snieder mouthpiece and l like it very much. Good luck finding one , they stopped making them in 1957.
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Author: GBK
Date: 2001-10-03 04:37
...and folks, the final score, just in, is Mark - 1, Carmen - 0
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Author: Jack Kissinger
Date: 2001-10-03 16:28
Mark,
With all due respect, I think you should go back and reread Carmen's message. He lamented the inconsistencies of NON-custom mouthpieces. ;^)
Carmen,
Before an untimely stroke apparently ended his playing career, I heard Bob Coleman warming up for a St. Louis Symphony concert one day. I was up in the nosebleed section of Powell Hall, he was on the stage noodling around in the chalumeau register, not trying to play particularly loudly. Many other orchestra members were also warming up at the same time, yet his tone projected beautifully and clearly through all the surrounding noise. I was later told by a clarinetist who has performed as a sub and temporary member of the symphony that he played on a Wells. (Wells was the mouthpiece maker in the Stowell, Wells, Schneider partnership. After the partnership broke up, he continued making mouthpieces on his own, I believe for quite a few years. In his day, he was considered a first-rate mouthpiece maker.)
I have a Stowell-Wells-Schneider C3 and I had a chance to try a B2 or B3 for about a week a few years ago. In both cases, I didn't care much for the mouthpieces when I tried them on my (1960's) R13. The best way I can describe the way they felt was like the governor they used to put on drivers' ed cars so that they couldn't exceed a certain speed. One would push down on the accelerator and nothing happened. I felt like the mouthpiece was a governor on my air flow. Recently, however, I picked up a Selmer Series 9 and for that clarinet, the C3 has become the designated mouthpiece. I suspect, now, that it was probably made originally for a larger bore instrument, particularly since large bore Selmers were so popular in the 50's and 60's.
These mouthpieces turn up on eBay every once in awhile, often from Dave Tuttle who claims to have known Wells very well. They usually go for around $75.
Best regards,
jnk
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Author: William
Date: 2001-10-03 22:06
Bernie Portnoy--prominent clarinetist and mouthpiece maker--told me that no matter what mouthpiece a clarinetist uses, he will eventually gravitate toward the sound concept that is "recorded" in his mind. During a recent clinic, Larry Combs said about the same thing when discussing his Hawkins mpc. He said that one notices a difference for about a week, and then goes right back to his "same old sound." I have noticed that about my symphony collegue, who has gone--during the past year--from Morgan to Hawkins to Glenn Bowen custom. No matter what she uses, she still produces the same great sound. She percieves big changes in her sound, but most everyone sitting around her hears differently. Bottom line, rather than the search for the Holy Grail of mouthpieces for ones sound, perhaps one should simply find one with good response and tuning characteristics (I also recommend Greg Smiths mpcs) and try to make do with their own unique and individual sounds as dictated by their physical makeup and sound concept. I'm certain that if it were just the mouthpiece, Selmer or some manufactuer would have figured the accoustics all out and you would be able to buy the mouthpiece "sound" of your choice--McClain, Combs, Marcellous, Goodman, Anker Bilk, etc. Imagine.................. Good Clarineting!
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