 The Clarinet BBoard
|
Author: Dan
Date: 2003-01-07 13:55
I'm thinking about trying out a couple of Pete Fountain mpcs. I've read where his mpc produces a full, bright sound. If you know of anything better, I would appreciate hearing about it.
Thanks.
Dan
|
|
Reply To Message
|
|
Author: William
Date: 2003-01-07 14:31
My good friend Chuck Hedges (a jazz clarinetist who is, at the very least, comparable in talent to Pete) uses an O'Brian crystal mpc with a Legere reed. I heard him last Friday night at a Milwaukee, WI resturant and his sound was just great. Their were many other area clarinetists in the audience (which Chuck took time to introduce) as well as local great mouthpiece maker Emile Anello. Chuck say's, of O'Brians, "you've got to find the right one." He also said that he once gave away a Kaspar--"didn't like it." Bottom line is: just because it says "Pete Fountain" or "O'
Brian"--you've still got to find the right one (and the reed). Chuck is happy with his--and so is his audience.
In an interview in the Clarinetist, Pete said--of his "big" sound--"I have the best sound engineer in the business." He also said that he uses a "classical" style facing on his mpc, but the main message was that, while other people look to equipement to duplicate his sound, his secrete is "his sound engineer."
Some other interesting asides: During a reheasrsal for an appearance with our local symphony orchestra, Pete gave each of the orchestras clarinetists a token gift--a box of VanDoran 1.5 reeds (autographed, of course). Pete's personality is as "big" as his sound. (When Benny played with the symphony, he was "just in and out", so to speak--remembered as a "nice old gentleman"--but no personality)
|
|
Reply To Message
|
|
Author: Dan
Date: 2003-01-07 14:56
Hi William, thanks for the input. Yes, I've heard about Pete's "sound engineer". Actually, come to think of it, the last time I heard Pete play in person was quite a few years ago on Long Island, NY. Maybe his "sound engineer" was asleep at the wheel because I thought his sound was very hard with not much depth to it. I was quite amazed at how different he sounded.
As to the O'Brian, I guess the only place left to buy them is on eBay.
Thanks for the story about Pete's visit to your symphony. Another little story I heard about Pete many years ago was that he used to like to "take a boat load of kids out for a joy ride." His son is also a clarinetist but, (wisely?), he plays in a local symphony.
Thanks again.
Dan
|
|
Reply To Message
|
|
Author: GBK
Date: 2003-01-07 16:07
At one time Vandoren was producing very high quality crystal mouthpieces. In the early 70's, I was fortunate to find a superb pair, after trying more than two dozen. Their A3 facing was the most open.
While on eBay, scouting out the O'Briens, look for any old Vandoren crystals as well.
As I've written many times before, crystal mouthpieces are extremely variable within the same facing. The odds of finding a very fine old Vandoren (O'Brien or Pomarico) are slim, but not impossible.
If you do find one that is workable, there are people (some of our sponsors and "regulars") who could reface a crystal mouthpiece for you...GBK
|
|
Reply To Message
|
|
Author: brenda siewert
Date: 2003-01-07 20:39
I had a Pete Fountain crystal mouthpiece for a while and finally sold it on eBay. I got really tired of the feeling in my mouth and also the lack of flexibility I had with my tone when using it. I went back to my hard rubber mouthpiece and got a slightly larger opening and everything was back on track.
If you want a good one that isn't crystal you might look up Woodwind and Brasswind's Buddy DeFranco models. I've never tried one, but have heard good things about them.
The O'Brien crystals have never sounded good to me. Fountains are better at about the same price.
|
|
Reply To Message
|
|
Author: super20dan
Date: 2003-01-07 23:12
another vote for the obrian.i used one for 20+ years and it sounded great and was a great jazz mpc. mine was a 4* .i owned several 3* and O.B models and a 5 &5* but the 4* was a perfect fit for me. i retired it for fear of breaking it.(a very real possibility) .i have to agree w/brenda that there are better rubber jazz mpcs out there. brillhart tonalin and vandoren 5jb and runyon makes some good jazz models too. if you must play xystal .... always carry a spare mpc w/you cause you never know when you are going to break yours.
|
|
Reply To Message
|
|
Author: RS
Date: 2003-01-08 01:30
The Ralph Morgan "J" series mouthpieces are very nice hard rubber pieces. Very free-blowing, even the more open facings. I have only played one crystal piece (Pomarico), and while it had a good sound I thought it was a little too resistant considering it's tip opening. But that may have nothing to do with the material it was made from. I would like to have a good crystal piece because of the stability but I wouldn't want to have to go on on long search to find the right one. Probably a little easier to find a satisfactory rubber piece.
|
|
Reply To Message
|
|
Author: John Elison
Date: 2003-01-08 13:37
I’ve played a Vandoren A3 for more than 25 years and I guess I got a good one because I just love it. It worries me, though, that if something happens to it I will need to find a replacement. Consequently, I have been searching for another crystal during the past couple of months and I must have spent more than $300 on duds. One of the worst I recently tried was the Pete Fountain model. Fortunately, I was able to sell it on eBay for what I paid, and I sold a new Pomarico Diamond for nearly what I paid. I find the Mitchell Lurie L2 at least playable so I am keeping it for the time being and I’ve got a Vandoren A2 coming in the mail from an eBay purchase. I’d like to get a couple more Vandoren A3’s because the one I presently have is absolutely phenomenal for me. Perhaps the A2 will play similarly but allow a stronger reed. I play a standard Vandoren 2½ on my A3. Anyway, my vote for the best jazz mouthpiece is the Vandoren A3.
With regard to Pete Fountain’s “fat” tone, I think the instrument he plays might have something to do with it, too. I played a Pete Fountain Model 1610 for the past 27 years and it seemed to produce that “fat” tone for me. However, I recently switched to a Leblanc Model 1187 LL that I bought on eBay a couple of months ago I actually like the LL better. It also produces a fat tone, but with a more pleasant sounding upper clarion and altissimo register.
Best regards,
John Elison
|
|
Reply To Message
|
|
Author: Brenda Siewert
Date: 2003-01-08 14:37
Ditto to superdan. I've broken a couple of crystal mouthpieces. They won't take the licks (no pun intended) the hard rubber ones will take--if it bounces it's gone.
|
|
Reply To Message
|
|
Author: Dan
Date: 2003-01-08 18:12
My thanks to all who shared some very valuable info. I, too, have the "breaking" fear. I dropped a mpc a few days ago and I thought to myself...Now, if that were crystal...
I intend to look into the above mentioned hard rubber mpcs as well as the Runyons.
To John: I've heard from others on the BB that the LL is on the "resistant" side. Since you made the switch and didn't mention any resistance differences, I can only imagine that yours is as free blowing as the 1610. I think I'll do a little more investigating into the LL.
Again, my thanks to everyone.
Dan
|
|
Reply To Message
|
|
Author: RS
Date: 2003-01-08 19:31
A have a LL. Very free-blowing horn. Has a medium bore: 14.80 mm I think.
|
|
Reply To Message
|
|
Author: Ken
Date: 2003-01-08 20:46
I'd like to experiment with a (Fountain, Obrian and Leblanc LL). While you guys are recommending different brands I'd be grateful for a more "specific" opinion (if you know first-hand) on what tips/facings/models of these THREE would be the closest to, and make for a smoother transition going from a "Pomarico (medium open) Ruby", regular R-13 and on hard 3 1/2s? thx, KEN
|
|
Reply To Message
|
|
Author: John Elison
Date: 2003-01-08 21:50
Hi Dan,
I think my LL may have had slightly more resistance than my Pete Fountain model when I got it a couple of months ago, but I liked it immediately. I sent the Pete Fountain model off to Peter Spriggs for a complete overhaul and continued to play the LL. When I got the Pete Fountain model back, it played very nicely, but I still liked the LL better. So, I sold the Pete Fountain model on eBay.
To me, the LL plays fairly freely, with just enough resistance for good control and nice tone quality. It also seems to play just as loud as my old Pete Fountain model. I think I'll keep it for a while.
The most important thing is having the right mouthpiece. For me it's a Vandoren A3.
Best regards,
John Elison
|
|
Reply To Message
|
|
Author: super20dan
Date: 2003-01-08 23:18
the last clarinet to be used with my 4* obrien was my leblanc LL .it was a great combo . i love jazz clarinet but have never played a pete foutian (mabey some day). therunyon model to get is the custom . its made from a synth.material (not rubber) and produces tremendous volume and is bright sounding .its not for legit playing but can be tammed enough for legit playing like community band but not symph.work.its best for big band and dixie-combo playing. if you want to really standout get it in red! finding one is not easy as few carry them .
|
|
Reply To Message
|
|
Author: Brenda Siewert
Date: 2003-01-09 15:15
Dan, I also like the LL better than the Pete Fountain. I've owned both and found the tone and flexibility on the LL to be superior. The Fountain was a bit too "free" for most things. My LL was not stuffy and really played great!
|
|
Reply To Message
|
|
Author: Birch
Date: 2003-01-11 03:52
I have spent many years looking for a good 'jazz' crystal mouthpiece. My friend Tony Scott (who used to play with Chalie Parker and Bill Evans and that whole New York scene) had a guy in Italy make him a couple nice ones. The only thing that really maters about a mouthpiece if you want to play jazz is that it is VERY wide open. Only then can you get a huge, loud, fat sound, regardless of whether the sound guy is totally incompetant (which is usually the case for clarinettists), or if you a able to play accoustically.
Remember, these guys playing back in the jazz era didn't have the advantage (curse?) of microphones. Benny, at his hight, was playing with a wide open mouthpiece and very hard reeds, or so he told my friend Tony. Tony can cave your skull in with sheer volume in a large room, thus obtaining, by far, the biggest, fattest clarinet tone I have ever come across (except Naftule Brandwein, but that's a different story.)
Presently, I am using a Selmer H mouthpiece. The tip opening is 1.60 (I forget what the unit is), which is the widest I've been able to find being made currently. I bought a Meyer 7 the other day for a friend (I don't know how old it was) that played great. I've been thinking about getting Pomorico to make a wide open crystal mouthpiece for me (their diamond facing just doesn't cut it.)
But my Selmer H works excellently, and relaibly allows me a big, fat, kick-ass tone.
Crystal kicks ass. By the way, I have broken both a nice crystal mouthpiece, and a hard rubber Kaspar mouthpiece. The hard rubber mouthpiece actually broke more easily than the crystal, but I was able to repair it by glueing in a piece of black plastic mouthpiece cap with epoxy and then sanding it down to shape. Epoxy deosn't stick to crystal so well.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
