 The Clarinet BBoard
|
Author: GBK
Date: 2003-02-17 00:57
I have been playing Gonzalez FOF reeds for well over a year, having said good-bye to the inconsistant and fussy nature of Vandoren reeds. I felt that I was spending more time on carpentry than actual playing, and it was becoming too much of a chore.
That being said, just for comparison (and to treat myself) I recently broke into my carefully hoarded stash of Morré reeds (all boxes originally purchased and dated by me in 1970/1971/1972), and at random pulled out 3 of them.
Memories of that fabulous cane and glorious response immediately came back and were really quite evident. I had honestly forgotten how superior these reeds really were. Everything about them - the dimensions, the cane quality, and the shape of the blank seems so perfect.
Perhaps others, (Greg Smith, Forest Aten, et al...) will add their impressions of a product which sadly is no more.
In the interim, I will affirm that Gonzalez FOF, while certainly not the same as Morrés in their prime, are making a concerned effort to replicate that wonderful feeling.
Has anyone ever done an in-depth analysis of why Morrés were so superior? Perhaps it would be great reading, and something the major reed companies need to see...GBK
|
|
Reply To Message
|
|
Author: GBK
Date: 2003-02-17 01:03
One addition...Most of my Morrés are the German 12.6 tip, 2½ strength...GBK
|
|
Reply To Message
|
|
Author: Benny
Date: 2003-02-17 03:47
Aren't Morres just V-12s? I know a guy who orders them in the mail (I forget where from at the moment). He says they are listed as Morre cut but they are V-12s. I don't know because I don't buy 'em, I prefer the black masters. I can tell you why black masters work so great (for me anyway). Because they are smaller than standard reeds they vibrate more, providing a wetter, more vibrant tone.
|
|
Reply To Message
|
|
Author: Gregory Smith
Date: 2003-02-17 03:53
Anyone can copy dimensions. The problem is knowing the source of material for the Morre reed cane. That is the problem IMO.
That cane source was never revealed as far as I know.
Gregory Smith
|
|
Reply To Message
|
|
Author: Forest Aten
Date: 2003-02-17 04:04
I used Morre reeds until 1971 when Vandoren offered a full size reed for the French mouthpiece. This they called a "German Cut" reed. This particular reed was not for the German mouthpiece (smaller). The blank was thicker and the cut of the reed similar to the Morre. The blank tapered at the reed end. A very good reed and cane quality was great. They stopped production of these reeds in the late 70's or early 80's as best I can remember. It may have been the model they used for the V12's. I didn't have to work on these reeds as much as I did the Morre and got a result as good. I was attending school at North Texas at the time and I enjoyed the fact that I didn't have to fuss as much with the cane. I say that.....but I really never had many problems with reeds. I still don't ... Many good reeds out there. FOF's, Zondas, Glotins...even V12's. All the reeds that I have played this year have been just great. Many choices.
Chris Runk, the bass clarinet player in the Dallas Sym. continues to use Morre bass reeds exclusivly. He has about 10 boxes remaining from his stockpile. He says that when these are done....he retires. hahahaha He doesn't use many reeds each year. The Morre was a very durable reed. Since Chris limits his bass playing exclusivly to the Sym. he will probably play forever.
Morre cane was very, very good.....
And talking about good cane....the older Olivieri cane was terrific. I have about 15 boxes of the old cane, cut with the older machines...from the late 70's....wow.
|
|
Reply To Message
|
|
Author: GBK
Date: 2003-02-17 04:48
Benny asked..."...Aren't Morres just V-12s?..."
No
Do a search on this board and read about the history and production of Morré reeds...GBK
|
|
Reply To Message
|
|
Author: Ken
Date: 2003-02-18 03:04
If there ever was a prime example of "ignorance is bliss" it was me being introduced to and later hooked on Morres all through high school. Looking back, I partly owe my entire playing career to them; their (rarely seen today) overall quality and out-of-the-box consistency was so high they only served to fuel my intense love, insane hours of practice and dedication to the horn. Today, all I have left from those days of joyous abandon is a single tattered, empty red box with a Mark's Music sticker on it.
|
|
Reply To Message
|
|
Author: Kat
Date: 2003-02-18 03:17
Ken, if you'd like a couple more (empty) boxes, I could send you a couple... I feel the same way you do about them...without 'em, I wouldn't be where I am today (with Legeres...ugh!)
But man, I wish we all knew where the cane came from!!!
LOL!
Katrina
who misses Morres too, even though she only played them for a relatively short time (1984-1989 or whenever they stopped making them)
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
