 The Clarinet BBoard
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Author: seabreeze
Date: 2018-11-22 01:18
A few people claim to have sighted a new animal roaming about in the clarinet woods. It bears the strange marking Reserve EVOLUTION clarinet mouthpiece, scrawled across its front side and appears to be some sort of mate to the new Reserve EVOLUTION reeds.
Has anyone seen or come close to this beast? Or is it all rumor?
Post Edited (2018-12-01 18:37)
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Author: seabreeze
Date: 2018-11-29 09:28
How is it different from the regular Reserve mouthpiece? Darker sound, greater projection, more refinement, better response, more consistent, more reed friendly, faster and cleaner articulation, greater flexibility, improved intonation, or what? Any idea when it will appear for sale on the market?
Post Edited (2018-11-29 18:12)
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Author: seabreeze
Date: 2018-12-22 09:55
On the ICA clarinet blog site more information on this mouthpiece just appeared. It will be released in two pitches (441 for Americans--the EV10--and 442 for Europeans--the EV10E) and will have a medium long facing open 1.08 mm at the tip. It seems to have been designed to compete with the Vandoren B40 lyre and have some of the performance characteristics of that mouthpiece. The EVOLUTION is expected to be available for purchase by January 18, 2019. Richie Hawley was instrumental in its design.
Post Edited (2018-12-24 18:01)
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Author: Tom Puwalski
Date: 2018-12-23 15:15
I’ve been beta testing this piece for the last 2 months and this is “Evolution” for clarinet mouthpieces. I don’t know about the B40 lyre thing I have two of those sitting on my desk and I have to use a drastically different reed to make that work the reeds I use on my custom XO are just a tad stiff on the Evo but still usable. All I know is for the first time in 50 years I can walk into the Music & Arts center and replace the rig I’m playing on for less than $4000
Tom Puwalski
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Author: kdk
Date: 2018-12-23 22:49
What has been done to customize your X0?
Karl
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Author: Tom Puwalski
Date: 2018-12-24 05:15
I had Merlin Petroff do the work on it and he worked primarily in the baffle area he did redo the facing, but I don't it was that much different than the original. On one of my last visits I took 3 identical XO facing mouthpiece. we kept one original, one he refaced, and one he did the Baffle work on. In original condition they all played and and sounded similar. The one with the facing change played mildly better but didn't sound all that different. The one with the Baffle work and the facing work sounded significantly better, and by that I mean warmer and more resonant.
Tom Puwalski
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Author: Ed
Date: 2018-12-24 05:29
I think that the Reserve mouthpiece has a good deal of potential. I think that some work in the baffle and chamber would be of great benefit. While it is playable as is, it always has felt to me as if it is a little constrained and not quite as free or resonant as it could be. Glad to hear your work on it has been a success.
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Author: Jordan Selburn
Date: 2019-01-02 20:42
This mouthpiece is now available for sale on the D'Addario website.
http://www.woodwinds.daddario.com/woodwindsProductDetail.Page?ActiveID=4683&productid=192&productname=Reserve_Evolution_Mouthpieces
Jordan
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Author: Paul Aviles
Date: 2019-01-03 02:21
Interesting that they only show the front of the mouthpiece. You can't see the rails, can't see the table, can't see the tip........interesting.
...............Paul Aviles
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Author: seabreeze
Date: 2019-01-13 23:22
Kessler Music now provides a few smidgens of tech data on how the Evolution model differs from the older Reserve model clarinet mouthpieces. See
http://kesslerandsons.com. Click on woodwinds and then clarinet mouthpieces for the info.
The basic changes seem to be these:
The baffle is lowered to produce a larger air column and increase projection and "nuance." This seems to have been done more in the higher pitch model than the lower pitch one.
The chamber is redesigned to accommodate a "larger throughput of air."
The window is slightly larger.
The exterior of the mouthpiece blank is enlarged to add mass and enrich the tone.
The facing is 1.08 mm and "medium long."
They add that "both the A = 440 and the A = 442 models can play in tune at A = 440, 441, or 442 but the A = 440 model has a slightly larger chamber diameter giving a slightly darker tone "similar to the Vandoren Series 13."
It would be great to hear Richie Hawley further elaborate on these differences.
I haven't tried the lower pitch model but I have tried one of the higher pitched ones. I say thumbs up on this model! The A = 442 Evolution has a very mature, flexible sound for me that holds the tone very well at all dynamic levels and allows a very rapid, musically attractive staccato and fluid legato. It doesn't have the rather constricted tightness of the earlier Reserve models and I find the resistance curve very reed friendly. It plays very well with reeds in the 3 to 4 strength range (Behn Aria, Vandoren V-21, Gonzales FOF.) The tone quality is a nice compromise between dark and vibrant and the altissimo is full and controllable--not pinched or shrill. Though I am used to mouthpieces with close facings (M13 lyre, M15) adapting to this facing has been quick and painless.
Players trying the mouthpiece out should do real music excerpts on it. Play Midsummer Night's Dream, Pines of Rome, Cappricio Espagnol, Peter and the Wolf, the Saint Saens Sonata, the Poulenc Sonata, etc. Don't just noodle!! This piece is made to play music and reveals what it can do best in real music phrases. On my clarinets (Buffet R13 1970 and Evette and Schaeffer K-Series) the Evolution sounds best paired with a Tosca barrel. Not sure why this is so, but the Tosca barrel really made it sing.
After some days trying it, let me add one caveat. It is not my favorite mouthpiece, because some others I own, a Fobes San Francisco CF for example and two Brad Behns, a Concept II and an Epic play with a more complex overtone "ping" (brighter sound?) that I prefer. But I appreciate the versatility of the Evolution and can easily see that many might find it just right for them.
Post Edited (2019-02-14 00:15)
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Author: Jordan Selburn
Date: 2019-01-15 09:48
I've had one for about a week now. My quick take is that it's very nice, quite responsive with a particularly rich sound in the low register but not as warm or liquid-sounding as my Wurlitzer in the clarion. I'll continue to evaluate it, but for now it's not my go-to choice.
Jordan
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Author: babrinka77
Date: 2019-01-15 11:49
Hello;
For those who tried this mouthpiece. Does it work ok with Legere reeds? if so, which strenght?.
thanks.
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Author: TomS
Date: 2019-03-09 17:20
I've had one of the Reserve Evolution MPs (440) for a few days. I like it too!
And it does play very well with Legere European Signature reeds, 3.25 to 3.50. Not so good with standard Signature reeds, iMHO.
Frankly, I think I'd like to see a slightly closer facing with this new MP ... I think it would be better suited for the Legeres.
.
Been bouncing between X0 and M13, M13 lyre and M15. Of these, I think the X0 was my favorite, until the Evolution MP.
The Evolution addresses some complaints that I have with the others: It has a bigger sound, more center and with better intonation with most barrels. There is some useful aggressiveness in the sound, but without being raucous, nasty and out of control.
The best feature, IMHO is the "hold" or compactness that the Evolution exhibits in the upper clarion and altissimo register ... if you play 1st or solo clarinet in a band, and constantly skipping around the top notes, this will help you out.
I did find some minor machining burrs in the sidewalls, near the crown, and I used a jewler's file to remove these, which only took a minute. Otherwise, for a production MP, the workmanship is very good.
I don't have the training or experience of other members of the board, but this MP does help this old man out, and I think it might help others as well.
My three cents ...
Tom
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Author: Merlin_Williams
Date: 2019-05-26 23:34
I just picked one of these mouthpieces up today. It seems to me that the tip of the mouthpiece fits Legere European Signatures better than the other D'Addario mouthpiece models. (For the record, I own an X05, X10, and X15E as well.)
I found it worked well with either a 3.0 or 3.25 Euro Sig for me.
Jupiter Canada Artist/Clinician
Stratford Shakespeare Festival musician
Woodwind Doubling Channel Creator on YouTube https://www.youtube.com/c/WoodwindDoubling
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Author: donald
Date: 2019-10-27 03:45
I found the previous Reserve/D'darrio mouthpieces to be quite promising but not quite to my liking, however when I had the chance to try one of the 1.08mm Evolution mouthpieces I was pleasantly surprised.
My wife and I currently play the M30D model, and I've had a chance to measure about 10 or 15 of these (and found quite consistent measurements, a big change from the Vandorens of the 80/s/90s). The Evolution had a very similar facing (probably why i liked it so much) and I would be able to perform on one of these with just slightly different reed selection.
My only hesitation is that there is a little more resistance built into the last few mm of the facing, the "roll to the tip" that you used to read about in Genussa advertising, and you have to work a little to get the sound going when articulating. This however also gives it a bit more hold/security when playing at higher dynamic range.
A good mouthpiece- very similar to the M30D, or to a 5RV Lyre with the facing lengthened a bit...
dn
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Author: TomS
Date: 2019-10-28 10:21
I've been playing my Backun Alpha a lot lately, seeing how much I can get out of it ... the Evolution works well on my R13, but I think I might want something different on the Alpha. Been playing an M13 (plain) with the Euro Signature. I suspect once you get all the adjustments/barrel/MP and reed dialed in on this clarinet, it's pretty special ... and I do a lot of outdoor playing, and need something tolerant and very lightweight ...
Tom
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Author: JTJC
Date: 2024-08-11 14:07
The D'Addario Reserve Evolution mouthpiece (EV10 version) has been out for a few years now (since 2019). It doesn't seem to draw much comment on the BB these days, unlike the Vandoren offerings, so I'm wondering how many people are using it.
I've had two of them (both EV10s) since their early days. One is bored to large bore (B&H 1010-type) the other standard French bore. I found the lays to be pretty much identical on the two, so I am able to swap reeds. Later, I also bought the marble version, which I'm not so keen on.
My original EV10s are getting a bit worn, so I've recently had five EV10s to trial over a period. They all had slightly wider rails than my ‘originals, particularly the tip rail. Also, the throat/side walls are narrower. The sound is duller and resistance stuffier. The lays on the new samples didn't measure as consistently one-to-another as the originals. I get the impression the mouthpiece design has been tweeked, or ‘improved’. Has anyone else found that?
It seems I won't be able to easily replace my worn EV10s, unless I get a mouthpiece technician to work on one of the new ones. That might bring benefits as the basic design might be improved by some hand finishing. Alternatively, can anyone suggest a mouthpiece with similar lay and characteristics to the Reserve Evolution?
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Author: Jimis4klar
Date: 2024-08-11 16:04
JTJC - Not exactly an answer to your question but marble or standard version responds easier? I have a marble version chosen between three of the same. It works better with V12 3.5 and also kinda with number 3 but highs are not so easy with number 3.
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Author: kdk
Date: 2024-08-11 17:20
JTJC wrote:
> My original EV10s are getting a bit worn, so I've recently had
> five EV10s to trial over a period. They all had slightly wider
> rails than my ‘originals, particularly the tip rail. Also,
> the throat/side walls are narrower. The sound is duller and
> resistance stuffier.
I'm curious - what kind of wear has there been on mouthpieces that are four years old?
My experience with narrow throats and side walls has been that they make the tone easier to focus rather than duller, but, of course, we could have different perceptions of the same thing. Thicker/wider rails can dull the sound and make response sluggish. The rail width can be adjusted by a good mouthpiece re-facer.
Karl
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Author: JTJC
Date: 2024-08-11 19:10
KDK
Re the wear. I see rail tilt. I've heard that when the shine that reed wear creates at the fulcrum, where the reed flexes, goes right across the rail, it's time for a reface/replace. Mine haven't gone quite that far yet. I think it was Ramón Wadkowski who advised it takes a pro about two years to wear a mouthpiece to the stage it needs his attention.
I don't think I'm careless with mouthpieces, but my EV10s seem to have worn more than I would have expected. Consequently, I'm not convinced the ebonite they're made from is that good, though I've heard it is. Perhaps the sonic and durability properties of ebonite aren't necessarily equally inherent in all ebonite.
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Author: sonicbang
Date: 2024-08-11 21:29
JTJC
There are two main types of facing wear, and they are equally strong.
1. The inner side of the rails is sanded down by the reed. The back of the reed develops a bump over only a few days of usage. The sides of the bump erode the inner edge of the rail and make the facing vertically uneven.
2. Nobody has a perfectly symmetrical face (teeth, muscles, jaw, etc.), and the uneven pressure on the reed makes one side of the facing wear more quickly than the other. The facing would lengthen with a symmetrical pressure too, but the asymmetrical nature of this effect makes it even worse. This influences the facing symmetry horizontally.
Mark
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Author: kdk
Date: 2024-08-11 23:55
sonicbang wrote:
> JTJC
>
> There are two main types of facing wear, and they are equally
> strong.
>
> 1. The inner side of the rails is sanded down by the reed.
>
What do you do about it?
> 2. Nobody has a perfectly symmetrical face (teeth, muscles,
> jaw, etc.), and the uneven pressure on the reed makes one side
> of the facing wear more quickly than the other. The facing
> would lengthen with a symmetrical pressure too, but the
> asymmetrical nature of this effect makes it even worse. This
> influences the facing symmetry horizontally.
Why does the facing lengthen? How long does it take for significant lengthening to develop? When I measure the length of even my oldest mouthpiece (with a glass gauge and a .0015" feeler), the feeler still stops where it has always stopped, exactly where its facing specs say it should.
These both seem like different issues from rail tilt that JTJC mentions. I had always understood that rail tilt took years to develop.
Karl
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Author: sonicbang
Date: 2024-08-12 01:33
Karl,
"> 1. The inner side of the rails is sanded down by the reed.
>
What do you do about it?"
Keep the back of your reeds as flat as possible. There are a couple of tools out there for this, one can also pay attention to storing them against a perfectly flat surface. But the phenomenon can't be avoided completely.
"Why does the facing lengthen?"
Because the reed acts as a natural abrasive and vibrates. The vibrating motion of an abrasive material against the mouthpiece eventually removes some material.
">I measure the length of even my oldest mouthpiece (with a glass gauge and a .0015" feeler), the feeler still stops where it has always stopped"
Where the 0.0015 feeler gauge (used by most people) stops, is definitely not the exact beginning of the facing curve. The issue is usually behind that point. If the asymmetry that developed is measurable with the .0015 gauge, the situation is already quite bad. Of course, there is no 0.00 feeler gauge, but a well-set-up depth gauge can detect this facing lengthening.
Rail tilt does take years to develop.
Mark
Post Edited (2024-08-12 02:26)
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Author: kdk
Date: 2024-08-12 06:06
sonicbang wrote:
> Karl,
>
> "> 1. The inner side of the rails is sanded down by the reed.
> >
> What do you do about it?"
>
> Keep the back of your reeds as flat as possible. There are a
> couple of tools out there for this,
Sorry - I wasn't clear. What do or can you do to repair the wear along the inner side of the rails once it happens?
Karl
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Author: sonicbang
Date: 2024-08-13 14:29
Karl,
>Sorry - I wasn't clear. What do or can you do to repair the wear along the inner >side of the rails once it happens?
First of all, I measure the facing curve. Then I flatten the table and redo the whole facing, restoring it to the original specs.
Mark
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Author: TomS
Date: 2024-08-25 19:48
After using several more polular MPs (BD5/BD5-13 and many other VD), I have moved back to the Evolution on my RCP576 clarinets.
Buffets sold. CSVR in my future.
With the Reserve Evolution reeds (#3, balanced with the ATG system), the sound has a centered warmth with no buzzy or harsh edge. Also, the intonation is improved above high C with this combo.
Not the best fan of the Reserve Classic reeds (I have to do more work on them), but they work better for me than the V12s.
I rotate between three Evolution MPs, two low pitch and one high pitch. The tip and side rail finish vary a bit, but all three play very similar in resistance and response.
I am curious about the new "marble" version ... some people report a darker sound. In the wind band, I don't want too dark or warm, I am after projection and response.
Tom
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Author: JTJC
Date: 2024-08-26 16:48
TomS
It's interesting to hear your experience of variable tip and rail sizes on Reserve Evolution mouthpieces, which are produced on CNC machines. I thought it was just me!
Given the accuracy achievable on CNC machined items its clear to me that the variations in lay we've experience have to be intentional, by one means or another.
Accuracy costs money. Perhaps setting up a CNC to the nth degree of accuracy for a relatively cheap item like a mouthpiece just isn't cost effective. The CNC settings used are just good enough for reasonable accuracy, and that's what we're experiencing. Perhaps I'm wrong about this.
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Author: TomS
Date: 2024-08-31 22:09
Well ... trust but verify. I think the CNC MPs need a close visual inspection after coming out of the machine to see if you have a dud or if the programming needs tweaking ... don't know what level of QC is used. They might offer a "hand selected and play tested" signature version for a little more money. The design seems to be sound, but it's the machining that might need watching ...
I'd like a slightly closer facing with the Evolution MP. I've pondered some adjustments by Behn or other skilled makers. Maybe a 1.03 mm tip. In a semi-pro Band, fast tonguing is the biggest challenge for me. At age 72, back working full-time and playing less and less, articulation is my hangup.
The reed table seems to be flat on the Evolution and therfore less sensitive of ligature topology ... I've found that the best responding ligature (this week) is the Rico ligature, which is inverted and had four dimples to hold the reed top and bottom. It's similar to the Scott, I think.
Tom
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Author: Ed
Date: 2024-09-01 02:43
Rather than have the evolution refaced, which might be pricey, there are other mouthpieces that might serve your needs at a lower price.
The Rico ligature you mention is a real sleeper. It allows the reed to really resonate with great response. The playing qualities are reminiscent of the old Vandoren Masters or the Bay ligature.
TomS- I may have a mouthpiece I can offer you a good deal on that is in the ballpark of that closer facing you mention.
Post Edited (2024-09-01 02:47)
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