 The Clarinet BBoard
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Author: Morrigan
Date: 2002-09-28 00:48
I was reading up here on people asking about mouthpieces and found many of you have many mouthpieces in which you use and shuffle around on. All I have is a Larry Combs LC1, have had for almost 3 years now, and have no intention of changing. In fact, I love it and my teacher doesn't want me to change either, he says I'm lucky to have found my best suited mouthpiece so young! Before my Larry came into my life, I used a Selmer C85/120 after trying several Vandorens, and I now really don't like them.
I love it: it has great tone, great resistance, respone, feel, and if I try anything else (Even the Greg Smith's) I just go straight back to my Larry like "I love you! I would never leave you!" and it's true!
However, it seems that people play on many types, and wondering if this is standard practise for a professional? Is there anything to say that I will have to be doing this one day? Obviously my Larry won't last forever, but, I could always obtain more in future.
What's everyone's thoughts?
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Author: Kat
Date: 2002-09-28 04:19
I do play on two. Not simultaneously, though...
One is (currently) my old Borbeck 13 (I think it's a 13 at least...). I use that when I play classical stuff, with a V12 #3 reed. I also use it for the less "wacky" folk music I play. If it's from anywhere North and West of the line running from Albania to Bulgaria, I use the Borbeck.
South and east of the line from Albania to Bulgaria, I use a Vandy 5JB with a #2 regular Vandoren. This setup enables me to produce the correct sound for the music.
As much as people say to play the reed, etc., there is NO way I can get the right sound for either type of music on the other's setup. Ya just can't get a good "wobble" off a Borbeck!
Katrina
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Author: d dow
Date: 2002-09-28 12:48
I own a great deal of hard rubber and yet don't sell any tires!
my tendency as of late is to see it best for students to settle on one facing, and get results more from working hard at technique then thinking mouthpieces are the answer to technique...however, a good mouthpiece enables a player to do things musically they otherwise could not do.
Among the blaymans, kaspars, opppermans and vandorens I really enjoy out of the lot the Kanter A facing which I use orchestrally..
the interesting part of the story is I ordered this in the mid 80s with out really knowing how good they were-- and to buy something of similar quality new today would be pretty expensive.
I suspect you are on the LC3 which is the better of the two designs in this series, I believe the other is the LC1/ or something to that effect.
Alot of people tend not to wait and settle too quick on something but if the mouthpiece offers feel and tone then hey you got something!
I do have two Kanter A facings and the other is a back up....
If you try to get another go with the idea of trying quite few out and look for something that matches the qualities you like in the current facing you are using now.
You may want to explore the concept of having someone make a copy of the one you have now if you can afford it later on....
Best wishes
DD
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Author: John Gibson
Date: 2002-09-28 23:45
Selmer crystal #3....Pomarico diamond crystal....OLD wooden Buffet....all 3 are the BEST MPCs I have ever played.....all 3 different.....I HOPE THEY ALL LAST LONGER THAN I DO.....
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Author: Metalclarinetgigman
Date: 2002-09-29 01:53
"have, by the way, a shoebox collection of used mouthpieces" Ron B said, within reach I also have a box with about ten old mouthpieces in, like many of us I was looking for the perfect horn, mouthpiece combination, I came to the conclusion that it does not exist, you have to settle for a happy compromise, I was fortunate, a fellow clarinet player gave me a mouthpiece because he could not handle it, I had at last got what I wanted without paying for it, I have been using this Vandoren 5JB, with Vandoran V12 reeds, on a Semlmer Centeredtone for about five years and I love it, although I must admit that at the moment I am playing Selmer metal clarinet, but with the same M/P reed combination. I play that in a seven piece dixieland band, it is bright and clear, and cuts through the cacophony but for small group work when I am playing solo clarinet with no other horns I use the Centeredtone.
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Author: Sylvain
Date: 2002-09-30 16:49
Dear Morrigan,
You are one lucky clarinet player!
Most of us have tried so many mouthpieces and never really found the holy grail. I think it's because we spend too much time trying than making one work really well.
A lot of professional players out there own many many mouthpieces and keep buying more! A mouthpiece is relatively inexpensive and if you like to experiment then why not?
However, if you are happy with what you have then I see no reason to change. Have a backup moutpiece just in case something terrible happens to the one you have and you'll be set for a long time.
I personally still haven't found something that I feel 100% comfortable with and that sounds like I want, but I settled for 90% comfort and a nice sound. My wallet is tellng me not to experiment anymore ;->
Best,
-Sylvain
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Author: Wes
Date: 2002-10-01 06:05
Even today, I play on a Mitchell Lurie M3 mouthpiece that I bought from him when he sold them from his home in WLA in the middle 50's. The facing has been touched up, of course. The second mouthpiece I carry is a Van Doren 5RV purchased in 1950 from Harry Gee when we played in the U of M orchestra. Somehow, they both still play great.
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Author: Scott
Date: 2002-11-26 17:25
Fun thread to respond to!
My "evolution" has gone something like this:
1. Out of the box in the clarinet case in 5th grade
2. Sumner Hard Rubber Mouthpiece in JHS/HS
3. Vandoren B45/M13 in College
4. David Hite in College
5. Anthony Gigliotti in College
(lots of experimentation and change in college!)
*6. FOUND a Kaspar Mouthpiece in my first year of teaching in an
old clarinet case of a student of mine.
7. Gregory Smith in Graduate School
8 & Forever, until I find anything as awesome:
THE GREG SMITH MOUTHPIECE!
Greg's mouthpiece for me gives me the best dynamic contrast, intonation, and articulation of any mouthpiece I have ever played, including my old Kaspar. The tone is awesome, also.
The time he worked with me in his studio in Evanston, Illinois, also, assisting me with finding "just the right" mouthpiece and Chadash barrel was not only helpful, but memorable as well: he was "off" to Ravinia for a Chicago Symphony Concert right after our session.
A gracious and talented artist!
Best wishes,
Scott
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