 The Clarinet BBoard
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Author: xsagax
Date: 2003-04-27 04:48
i everyone~~
i'm really confusing right now...
i'm looking for new mouthpiece...but
there are 2kind of mouthpiece...different chamber/facing
one is zinner type and other one is Chedeville chamber
can you tell me difference between zinner and chedeville?also Kaspar
anybody using Clarke W Fobes mouthpiece?
which one is better u think? CF and CF+
hi i love you
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Author: Ed
Date: 2003-04-28 01:27
contact Clark regarding his mouthpieces. He is very helpful
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Author: Mark Charette
Date: 2003-05-04 16:23
Dear xsagax:
There's so much material in this BBoard already that you should start by searching. Your question is so broad as to be "simply" unanswerable.
Search for Zinner, then for Chedeville, then for Fobes. Contact Clark (like the other poster recommended).
It sounds right now as if you don't know quite which way you should be heading. You need some expert, personal, one-on-one advice as to which way you'd like to turn. In other words - work with a teacher who understands something about mouthpieces.
If you don't have a teacher - get one. Pronto. There's a lot we can help with on the BBoard, but that pre-supposes that you have some sort of map, and at the moment I'm not sure you know what country you'd like to visit
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Author: MbroSure
Date: 2003-05-04 18:10
I tried a few "custom" mouthpieces. A lot are from the same brand of blank (with just some different facings. There *seemed* to be no BIG difference in contour or on the inside.
The rails and window and baffle all look the same! Only the tip openning and the length and curve of the facing are changed...(to protect the innocent?)
There seems to be a lot of "facing" going on. But where are the new materials and internal workings and "from scratch" artistries? Does any one make there own molds or rubber or are most of them just facings plopped on a certain germanic blank?
Post Edited (2003-05-04 19:12)
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Author: jim lande
Date: 2003-05-05 00:54
Some folks may well do little more than shave the table, rails & tip. However, unless you have some pretty accurate measuring equipment -- say, to the thousandth of an inch -- you may not be able to detect differences inside the mpc. Very small differences give mouthpieces different playing characteristics.
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Author: MbroSure
Date: 2003-05-05 03:22
That is EXACTLY my point.....there are "custom" mouthpieces that are facings-- albeit well-executed ones-- placed on the same standard commercially available blank. Some are tweaked internally, but the windows and the beak contours are similar. These are made with utmost care and consistency but they are variations on a theme of a commercially available blank.
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Author: Grabnerwg
Date: 2003-05-06 14:49
I have said this before and I will say it again.
The facing is the EASIEST part of mouthpiece work,
The real tone of a mouthpiece depends on extremely minute adjustments to the width of the side rails, the width of the tip rail, the polish imparted to the rails, the contour of the upper baffle, the depth of the lower baffle, the width of the window very near the tip, the length of the window, and the contour of the "short wall" at the end of the window tapering into the chamber. Chamber dimensions can make differences in tone and intonation.
For example, many people rave about the old Kaspar mouthpieces. Both Kaspars worked with very "normal" facings. Any first year mouthpiece craftsman can duplicate these facings. However, very few have acheived the quality of the finest Kaspars. I believe that I have made maybe 10 mouthpieces (out of over 400) so far in my career that are as good as the best Kaspars.
None of these adjustments, unless made in the grossest possible way, are particularily visible to the naked eye.
Yes, the "facing" is important, that's where the reed vibrates. However, it's only ONE of a long list of adjustments available to the artist/craftsman.
C'mon, clarinetists! Wake up.
Walter Grabner
www.clarinetxpress.com
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Author: L. Omar Henderson
Date: 2003-05-06 17:28
One just has to sit for a while across, or next to a custom mouthpiece maker (at ClarinetFests past there are always feast and famine times for vendors and we do have a collective few hours to investigate and chat with fellow vendors) such as Woodwind.org sponsors - Gregory Smith, Jim Pyne, Clark Fobes and Walter Grabner, etc. to see that tweaking, adjusting, facing, voicing, and tuning a mouthpiece blank is an art form. My scientific curosity was peaked by prospect of going to a master class with Richard Hawkins showing the process and theory of mouthpiece craft. Despite my practiced (or imagined) observational skills I came away with an awe and appreciation of the combination of variables and interactions necessary to create a fine custom mouthpiece - and still not understanding how each one contributes to the whole. As Walter points out each of the adjustments affects other parameters and getting them all in harmony is either luck, a sacred gift, or a much practiced art form by talented individuals. Each artisan may alter one parameter to a different extent but compensates by changing other aspects to bring about the desired harmony of the finished mouthpiece. If making a good mouthpiece was as easy a buying a blank and applying a simple facing then there would be no need or demand for mouthpiece artisans. We choose different artisan's mouthpieces because of our own set of variables that we bring to playing the instrument - embouchure, reed, ligature, barrel, type of clarinet, etc..
The Doctor
Post Edited (2003-05-06 19:00)
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Author: Ed
Date: 2003-05-06 20:17
I agree COMPLETELY with what Walter says. Everett Matson once told me "anyone can put a facing on a mouthpiece". It is how all of those other elements work together that makes adifference.
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