 The Clarinet BBoard
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Author: contragirl
Date: 2004-03-09 05:20
I have been looking for a working reed for over a week, and out of 10, i can't find 1! I have one reed I have been using for a couple weeks, but it's gotten really soft and I need to find a replacement.
I play on a M13 Lyre, and I just got a Gigliotti P34. Is that a big change? Also, should it matter what kind of ligature I use? And what reeds work best on it?
My reed problem is happening on both mpcs, so I don't think it's the mpc. Stupid reeds.
--Contragirl
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Author: GBK
Date: 2004-03-09 05:33
Sorry to be so blunt, but dealing with reed issues is part of being a clarinetist. In the real world, conductors don't care about your reed problems - they want results.
Thus, you have four choices:
1. Learn to break in and adjust reeds to your personal needs.
2. Change reed brands to see if any are more compatible to your mouthpiece/embouchure.
3. Use a synthetic reed.
4. Learn to play the flute. ...GBK
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Author: LeWhite
Date: 2004-03-09 07:02
Sorry to be so unsupportive but the fact of the matter is, you just need to practise. Find a reed that at least works, rotate several that at least work, and soon enough you might not ever care so long as you can PLAY!
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Author: EEBaum
Date: 2004-03-09 07:16
Yes, it's quite easy to blame the reed. I'm quite good at that.
Then I heard one of our saxophone teachers, who would occasionally double on clarinet years ago, play a clarinet without warming up and barely wetting the reed, to demonstrate different aspects of airstream, etc.
I can still blame the reed, but never with as much conviction as I used to.
-Alex
www.mostlydifferent.com
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Author: graham
Date: 2004-03-09 07:59
On the other hand it is not at all uncommon to buy a box of favourite brand reeds and find they are all out of whack. A bad box. In that situation the biggest danger is getting a complex about the whole subject, starting to question ligature, mouthpiece, your practice regime etc, when a new box would put you straight. Buy a new box and move on.
But if that does not work consider whether running two mouthpieces at the same time is causing problems. In essence I think this is a good idea, since, if you can make a good sound on more than one mouthpiece, crossing over with ease, the chances are your technique is sound. But if you are unused to doing that, then the consequences can be a degree of confusion.
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Author: bnanno
Date: 2004-03-09 11:00
Well I can sympathise with your frustration as my daughter often got to this stage a few months ago, when she was playing long enough in between weekly classes so that the reed would go soft, break, or whatever between classes. Then she seemed to spend more time choosing reeds than practising, which wasn't helpful as she really didn't know how to tell a reed that would eventually work to one that was hopeless...
Took the problem to her teacher who lent her book on breaking in reeds (this one was in Spanish by Spanish authors, but I am sure there are many available in English)...she learnt some tips on choosing and preparing reeds;
Also changed to a better quality reed (=more expensive) recommended by her teacher (from Vandoren Blue box to Vandoren V12s)...
An anecdote: the first V12s I went to buy were 5 in a box that was open (I later learnt that this shop picked out the "best" and sold them at an even higher price to the local band, and I had been sold the remains (OK, I am never going to this shop again...), but we prepared them nevertheless, and all of them worked, and a couple of them were really outstanding!!!!
So, just be patient, and learn your reeds...
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Author: Hank Lehrer
Date: 2004-03-09 12:23
Hi CG,
I can be sympathetic and perhaps not so blunt as GBK. The real question is, now that it is known that reeds are probably the culprit, what to do.
You've probably seen me and others comment over the last several months about the ATG Reed System (I have no interest in any of Tom Ridenour's company or products). I have left reed problems behind.
Over the past 6 months, I have been working and re-working the same dozen plus reeds using the ATG, a reed clipper, and about 10 - 15 minutes each session. I have many, many boxes of new VD and La Voz (OK, I'm probably the only person on the BB that uses then) reeds that I have not opened. I have not needed to.
The reeds I work with are La Voz, VD, some Concert Grands, and even a couple of really old Mitchell Laurie's. I'm not saying that I do not have reed problems, I just now know what to do about them.
HRL
PS I hope that Tom will be demonstrating the ATG at Clarinet Fest. Then you can see how it works.
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Author: sfalexi
Date: 2004-03-09 12:37
Also, there are certain reed brands out there that have a track record of being very consistent and very good "out of the box" players. As GBK mentioned, try switching brands. I have no clue what brand you currently use, but some of the better brands "out of the box" that I've read about in old posts (do some searching on them if you might want to learn about them) are Gonzalez FOFs, Zondas, Mozart reeds, Rico Grand Concert Selects, and probably a few others. But those four stick out in my mind as some of the more consistent ones. That way you may not have to worry so much about adjusting them.
And feel free to search on the ATG system as mentioned above. Pretty much everyone that's tried it has liked it so far (and that goes for certain reed brands too)
Alexi
US Army Japan Band
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Author: BobD
Date: 2004-03-09 12:38
Aha, maybe your trimming knife is blunt....LOL. Probably just buy another box of reeds and try them. I'm having good luck with the Gonzales lately....not the new version.
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Author: saxlite
Date: 2004-03-09 14:04
Just another "thumbs up" for the Ridenour ATG sysem- just got mine yesterday and in 30 minutes (after watching the DVD) turned 6 mediocre reeds into good players. Money well spent!!
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Author: Ken Shaw ★2017
Date: 2004-03-09 14:23
CG -
If the weather has changed where you are, you can expect your reeds to act up. In particular, you need to check for warping along the bottom. Get a sheet of 400 or 600 grit wet-or-dry (black coat) sandpaper, put it on a flat surface (preferably plate glass) and polish the bottom to a mirror smoothness. You'll probably find that the middle gets shiny before the sides, which means that the reed has been leaking.
The reed has to be thoroughly soaked before you begin, both to remove any wrinkling in the tip and to raise any fibers that your sanding will remove.
Put your fingers over the bark and press hard area is completely shiny. Then press lightly over the vamp (and barely at all at the tip). Before you begin, look at the end of the butt to find whether it is thicker at one side. The sanding will let you even this out somewhat.
You need to do this more than once as the reed breaks in. In particular, reeds will often swell down into the window area along the edge of the rails and the table, and this will cause leaks with even the slightest repositioning of the reed.
The sanding operation will make the reed thinner and therefore softer, so you need to start with reeds one strength harder than you normally use.
Occasionally, a reed will warp into an arc from butt to tip. If this happens (and as a way to revive a failing reed), take off a thick shaving from the last 1/8" or so at the end of the butt.
Best regards.
Ken Shaw
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Author: William
Date: 2004-03-09 14:23
If you re a "conventional" embouchure person--top teeth on the beak--try using double lip at the start of your next practice or reed search. The brief encounter with the DL may "reboot" your usual embouchure into using more upper lip pressure and less tooth "bite". This little adjustment may cause your new reed problems to go away, and may improve your sound as well. Along with other advice already given, trying a little double lip may be worth a shot.
Ultimately, however, we all need to play the reed and not allow the reed to play us. The audience does not understand the pain we clarinetists go through to achieve musical excellance--nor do they care. All they care is if it is pretty or not. And we have to "stand and deliver" against all odds. Our only hope is to learn to cope (through practice and experiance) with those little arundo donex demons--or learn to play trombone.
Good luch with your next box of *whatever(s)* and hang in there--we all feel your pain.
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Author: msloss
Date: 2004-03-09 15:00
If you've had luck with your mouthpieces in the past, it very well may be the reeds, or the weather, or any number of other factors.
A few tips on adjusting reeds for the P34 -- if you are using Vandies (V12s are appropriate) or FOFs, I have found because of the geometry of the rails on the P/P34 that taking a little wood off the edges back from the tip makes them much more responsive. Unless the tip is uneven, you probably don't need to touch it at all on that 'piece.
A little side story -- I came in to a lesson with Gigliotti with multiple reed cases full of reeds that all didn't respond as desired for one reason or another. He had me give him my worst reed, which after about 15 seconds with reed rush played great for him on my setup.
I highly recommend taking all your rejects and practicing with a knife, rush or sandpaper and learn how different adjustments affect the reed. Better yet, sit with somebody who can show you all the tricks. I can usually get 9 out of 10 to play with a little touchup, and maybe 2 of 10 that I would perform on. If you aren't going to use them anyway, might as well futz with them and see if you can at least get a good practice reed out of it.
And don't be afraid to crack another box if you aren't getting anywhere. Good reeds don't cost $1.50/each, they cost $15/each because you have to discard nine to get that special one.
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Author: paulwl
Date: 2004-03-09 15:17
Lots of good advice here. Especially Hank's tip about polishing and sanding. I picked up something similar from the info sent with Alexander reeds and now do it regularly when a reed won't quite respond.
After going over the Ridenour system info on Tom's website, I have to say the specifics are a little skimpy: many promises, no details. People are evidently getting results, but the salesmanship doesn't inspire the same confidence (proprietary magic-in-a-box; DVD not sold separately).
Finally, what does it say that the least constructive (and perhaps most flame-worthy) response came from a moderator of the board?
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Author: Jack Kissinger
Date: 2004-03-09 15:29
The P34 and the M13Lyre appear to be fairly similar. Both have pretty much the same (very close) tip opening though the P34 has a little shorter facing length. I would expect reeds to feel a little stiffer on the P34 but probably not much. IMO, the ligature shouldn't make alot of difference. If you are using a Rovner, though, it might be time to clean and relubricate the threads.
What kind and strength reed are you using? What problem(s) are you having -- do they feel too stiff, too soft, are they airy, buzzy, all of the above, none of the above? Different problems have different solutions.
Don't give up!
Best regards,
jnk
Post Edited (2004-03-09 15:30)
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Author: msloss
Date: 2004-03-09 15:33
Actually, GBK's response was probably the most professionally direct and on-point, which is why I myself addressed his points #1 and 2. I had referenced in a prior thread that Clark Brody had admonished me in a lesson some years ago that nobody cared about my reed problems. Everyone has the same challenges and my job was to deal with it. He taught me how to make and adjust reeds, and then expected me to show up prepared.
It is harsh, but it is also reality. Hence my own recommendation to get out the knife and learn how to use it.
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Author: GBK
Date: 2004-03-09 15:48
paulwl wrote:
> Finally, what does it say that the least constructive (and
> perhaps most flame-worthy) response came from a moderator of
> the board?
Least constructive? Sometimes the truth is difficult to hear.
Learning to properly adjust and prepare your reeds is a required clarinet skill. It is as important (if not more so) than correct embouchure, tonguing and finger technique. If you are constantly having reed problems it's about time to re-examine and perfect your reed prep skills.
I have little patience (or sympathy) for those that complain about their reeds. In the real world, conductors and fellow musicians won't either. Get used to it.
Learning successful reed prep and adjusting techniques is not difficult. The information is certainly available. There are hundreds of useful threads to be found just on this bulletin board. Books and printed guides abound.
Double reed players are constantly making and adjusting their reeds and are far less vocal about reed issues. They have all learned from very early on that it is an integral part to being successful. Don't talk about your reed problems with an oboist, because you won't get any sympathy...
Clarinetists, on the other hand, are the most vocal group when it comes to reed problems. Why? I often think they use complaining as an excuse to cover for their poor preparation.
Take 15 minutes at each practice session, either before or after you play, and invest that time in working on your reeds. The dividends, satisfaction and security in being prepared for any situation is well worth the effort...GBK
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Author: contragirl
Date: 2004-03-09 16:59
I used VanDoren traditionals #4, and have been playing well on one reed. But I am relying on this one reed too much so I am trying to move on. The reeds I have been using aren't getting the right vibration. You know that feeling that the reed is vibrating the way you want it, and you know it's "right." So, with the bad reeds, it's airy, stiff, and weak; they don't feel right. That's the only way I can describe it, I guess.
I have no reed knife. :( Only my reed rush. I've been meaning to buy one.
My director pitied me and my reed problems while playing alto clarinet. :P So I just used a Legere, and everything was fine. Then he just pitied me for being out of tune. lol
I'm wondering if the ATG machine is the same thing one guy at my school has been talking about. He was gonna buy a bunch of these machines, and sell them to us for cheaper. He was gonna say to not send the DVDs, and he was going to show us how to use them himself. It was gonna be cool. Maybe he still will? Who nose.
The weather is all kinds of funky here! Last week, it was a beautiful 70-80 degrees outside, and sunny! Past few days have been 40-50 degrees some sun, surprise rain and some thunder storms... last night it sleeted. All in a matter of days. So... yeah, the weather has gone to crap.
I can get the Rue Le Pic #4 (VD 56) to play great out of the box, from the one I tried. But from my experience and what people have been telling me, you can play it great for a while, but it goes fluffy very quick. Waaahh...
It's been annoying me more lately cuz my articulation wasn't all that great to begin with, and my reeds are just making it worse. Now you know why I prefer bigger clarinets to the little ones. hehe
Thanks guys,
ContraContraContraGirl
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Author: Topher
Date: 2004-03-09 21:04
One possibility is if you relied on one reed for too long of a time, it wore down, and your embochure wore down with it. The only way to correct this is to get a few reeds of a softer strength and redevelop your embochure. Or, you can sand down one of your current reeds to a softer strength if you don't want to buy the softer reeds. I can't really tell you what the proper life of a reed is, because I don't know it. You just have to learn to "feel" when the reed is ready to be removed from circulation. As my teacher always tells me, never fall in love with a reed, they don't make good wives (or husbands).
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Author: paulwl
Date: 2004-03-09 21:16
As in so many things, the Axiom of the "Six P's" applies well to reeds:
Proper Preparation Prevents P*ss Poor Performance.
The key, obviously, is learning how to prepare reeds. This is, as you may have gathered, not brain surgery. if you have a few dozen expendables lying around (and most do), it's fairly quick to learn. (I myself picked up valuable pointers from Larry Teal's _Art of Saxophone Playing_.)
The thing to remember is to keep the reed regimen fairly simple. There's a temptation to become compulsive about it and not leave well enough alone...concocting preposterous numbering or color coding systems, rotating reeds around the room in various containers like fine cigars, etc. etc. It can become a distraction from playing. Keeping it to 15 min/day ought to prevent that.
Of course nobody enjoys chronic reed whiners. Neither do most of us waste psychic energy putting them in their place. If "professional directness" means stating common-sense truths in a way that makes them sting like a 29c Bic razor, then some professionals I know have a lot to learn.
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Author: mr_goodman
Date: 2004-03-09 21:31
i would like to know if nobody uses vandoren reeds anymore, i don't have any complain about them, i use the v12, 3.1/2... of course i'ts natural to find bad reeds in the 10 reed boxes, but there's a solution: maybe you can learn how to make your own reeds like my teacher.
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Author: BSL
Date: 2004-03-10 02:09
Giggliotti designed his ligature to work on his mouthpieces. I'd highly reccomend it, or the inverted Bonade ligature. The inverted Bonade MIGHT be a brighter sound. If you puchase one, be sure the rails are the same height, and perfectly parrallel to each other, and try to find one that is not bent out of shape. I'd also use some clear tape or material to protect the mouthpiece from being gouged where it tightens. I would reccomend these two ligatures with the P34.
Make sure the table of the mouthpiece is not warped, and the rails look similar to each other. I use Giggliotti equipment, the P facing and the A1, and must say, if you get one of his good ones, you'll love it.
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Author: sfalexi
Date: 2004-03-10 02:19
Is it just me? Or is a vandoren traditional #4 probably a little hard for those mouthpieces? As for the ATG, it's not really a "machine" persay, but simply a plastic block with sandpaper that sticks to both sides. The money I paid for it really isn't justified in the materials, but rather in the DVD and book and knowledge of how to use them. I think of it as about the same cost as a lesson on how to adjust reeds, but you can watch that lesson over and over, and fast forward/rewind to things that you may forget or missed.
Alexi
US Army Japan Band
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Author: Jack Kissinger
Date: 2004-03-10 03:17
Vandoren's recommended reeds for the M13 Lyre include 3.5 - 4 strength regulars ....however
Contragirl, you may already know this but Vandoren is very up-front about the fact that each box of their reeds (deliberately) contains a variety of strengths, e.g., a box of 4's will generally range from around 3.6 to 4.4 (at least). If your "one good reed" is from the current box you're working on, it wouldn't surprise me if it turned out to be one of the lighter ones. "Stiff" and "airy" often indicate a reed that's too hard for the mouthpiece. My recommendation would be that you buy a box of regular 3.5's and see if they don't work better for you. Keep the 4's. If they are too hard, you can sand them down and mix one in every now and then, perhaps as a practice reed, until you have used them up.
I think I know what you mean by "weak" but I could be wrong so take my speculations here with a grain of salt. If by "weak" you mean "pinched" or "small" sound, not particularly free-blowing, it may be that you would be happier with a somewhat more open mouthpiece and perhaps an even lighter reed. You really should discuss this face-to-face with a good teacher, though.
I agree that the ability to make reeds work is an important skill. IMHO, however, starting with the right strength makes that task alot easier.
Best regards,
jnk
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Author: chuck
Date: 2004-03-10 03:31
Paulwl says: "some professionals I know have a lot to learn". Regrettably, it is the non-professional who has more to learn. Anyone who thinks that he can get five good reeds out of a new box of ten is kidding himself . . they are all good reeds. Some just need a little encouragement, i.e., reed rush, sandpaper, a blade. David Pino, in his tome on clarinet playing, probably put it best in advising that a new store bought reed is not a finished product. Learning how to bring a new reed to playable condition is incumbent upon all of us. Chuck
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Author: bnanno
Date: 2004-03-10 10:07
Contragirl,
How long have you been using this reed? I know the life of a reed varies, but I know that at the moment my daughter goes through a box of 10 in about 3 months (although her teacher gifts her a reed from time to time as well), I think that on average a reed lasts her about 2-3 weeks at most in peak condition. So check out the post on this page that talks about this and the fact that you may have been using one reed for too long.
Mr. Goodman, still use Vandorens, have switched from traditional to V12, strength 3 at the moment. Thats what the teacher recommends to all students.
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Author: bkmorton
Date: 2004-03-10 10:33
I had the same problem because of the change in the weather. I practice 2 hours a day and I still experience the wavy tip of the clarinet reed. I just put it away and wait until the next day. My teacher told me that PUTTING THE REEDS IN A ZIP LOCK BAG WILL HELP THE REEDS STAY MORE CONTROLED WITH THE HUMIDITY.
The other thing that may be good for you to do is try a harder or softer reed on the NEW mouthpiece. The facing maybe closer and that would mean you would need a harder reed. This will maybe keep the reed from being out of wack also.
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Author: graham
Date: 2004-03-10 14:27
You could get the impression from some of these posts that all or most professionals have a reed treatment regime. I am not so sure that is the case. Colin Bradbury, formerly a key figure in British clarinet playing, said that he did not fiddle about with reeds. If the reed did not play well for him, he moved on to another one. I have the feeling that many other top players may take that line as well.
I assumed from Contragirl's post that she did not normally have reed problems, but had them with this particular box. That would suggest that there was something wrong with that box. This could well be something that no amount of treatment might fix. The last box of Glotin's I bought were great. With effort I could probably make all the reeds work on one or other of my mouthpieces. The box before that was bad. There was an obvious difference. It is worth, to my mind, spending the extra money to buy a new box rather than create a complex about one's own playing based on the questionable assumption that all reeds are good, if only the player knew how to play/treat them.
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Author: contragirl
Date: 2004-03-10 15:08
Yeah, I never had a problem this bad finding a reed. I mean, sometimes I would have a couple not work for me, but I couldn't fine ONE that would work quite right.
My old reed (which is almost a month now) is still in good shape, but as I said before, I think it has gotten too soft and I had relied on it too much. But I found a few potentially good reeds, as I posted in my new post. :P
Oh, and here's an update about our weather:
Last week, we had sunny hot spring days, around 70-80 degrees. Great weather!
This week, nights are freezing temperatures and this morning it was snowing!! SNOW!!
The weather is messing with me...
--Contragirl
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Author: paulwl
Date: 2004-03-13 01:24
(graham) >> You could get the impression from some of these posts that all or most professionals have a reed treatment regime. I am not so sure that is the case. Colin Bradbury, formerly a key figure in British clarinet playing, said that he did not fiddle about with reeds. If the reed did not play well for him, he moved on to another one. I have the feeling that many other top players may take that line as well. <<
Couldn't be. Too simple.
>> I assumed from Contragirl's post that she did not normally have reed problems, but had them with this particular box. <<
That's strange...Others assumed she was a chronic complainer and needed a dose of "reality." Funny how different people assume different things.
>> It is worth, to my mind, spending the extra money to buy a new box rather than create a complex about one's own playing based on the questionable assumption that all reeds are good, if only the player knew how to play/treat them. <<
A lot of great musicians have had complexes. Who's to say it didn't help keep them artistically honest? As for the ones who crack under the strain, it's commonly thought that they just didn't have What It Takes.
The axiom is: "An artist never blames his tools." A logical assumption from that could be: "An artist always blames herself."
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Author: contragirl
Date: 2004-03-13 03:07
So you're saying... for example (this is a real life scenario):
This week, while playing bass clarinet, I got the worst sounds and did nothing but squeek. That must have been my fault? And I should blame myself? My friend, who is one of the best musicians in the school, who uses it in orchestra said he couldn't play any of his parts on this bass either. Then I give it to my tech friend who finds that it is actually broken and a crack had reopened. I can't blame the instrument for my bad sound, so I have to blame myself? When I used another bass, my sound was great. *shrug* Could have been the EQ?
My poor 37. :(
Rarely have I complained about a bad reed or two for a long period of time. But a whole lot is a bit ridiculous. After conversations with other clarinetists in the school, there has been a good reed famine amongst us all. The weather definately had to be the culprit, cuz now my reeds are fine.
I am on my last box, though, and I need to get some new ones.
Oh, and I sit by oboes and they continuously whine about their reeds. :-P We, the low clarinet section, make fun of them and their reed knifing in the middle of rehearsal. hehehe
-CG
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Author: sfalexi
Date: 2004-03-13 04:56
Quote:
Rarely have I complained about a bad reed or two for a long period of time. But a whole lot is a bit ridiculous. After conversations with other clarinetists in the school, there has been a good reed famine amongst us all. The weather definately had to be the culprit, cuz now my reeds are fine. Quote:
All the better reason to have a legere reed in your case! Just as a backup for cases like this! (or any other synthetic that you like for that matter)
As for learning to adjust reeds, CG, it's something that may seem daunting at first, but with practice (just like every other aspect of clarinetting) becomes easier and easier to do. I am a novice at adjusting reeds, and use very simple methods with the ATG system. I don't have any reed rush, knife, measuring tools, just a block and sandpaper, a piece of glass, and some very fine grit surface (paper, or I personally use the Doctor's Ultra Lite Thirsty Reed Pad). And now I just spend five minutes a day breaking in and adjusting reeds.
At first, I had to figure out this and that, however like anything else, a few weeks of 'doing' and you can do it better, and faster, and it becomes almost second nature. I can't see the harm in learning how to make slight adjustments. I don't think I'll ever MAKE my own reeds, but I'm confident now to adjust reeds to my liking.
Alexi
US Army Japan Band
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Author: BSL
Date: 2004-03-13 15:18
With regards to reed adjusting, a good source of instruction on this matter can be found in CLARINETIST'S COMPENDIUM written by Daniel Bonade, published by Leblanc Educational Publications.
Another good source can be found in DANIEL BONADE: A FOUNDER OF THE AMERICAN STYLE OF CLARINET PLAYING. Written by Carol Anne Kycia, and published by Captiva Publishing. Here Clark Brody, Neal Doran, William Klinger, Russel Landgrabe, Leon Lester, Mitchell Lurie, and virtually anyone else who studied with Bonade comments on this topic and how Bonade worked his reeds.
I wouldn't reccomend using dust or dirt to plug the pores of the reed, like Bonade did:).
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Author: GBK
Date: 2004-03-13 16:26
BSL wrote:
> Another good source can be found in DANIEL BONADE: A FOUNDER OF
> THE AMERICAN STYLE OF CLARINET PLAYING. Written by Carol Anne
> Kycia, and published by Captiva Publishing.
The Kycia book (which actually was her dissertation) on Bonade is unfortunately poorly written and still in desperate need of a good editing as the researched material, although invaluable, is often repeated. The format of the book is clumsy and awkward
At this time, despite the flaws, it still is the best comprehensive summary of the life, the teaching, and the playing of Daniel Bonade ...GBK
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Author: paulwl
Date: 2004-03-13 16:34
(contragirl) >> So you're saying... for example (this is a real life scenario):
This week, while playing bass clarinet, I got the worst sounds and did nothing but squeek. That must have been my fault? And I should blame myself? My friend, who is one of the best musicians in the school, who uses it in orchestra said he couldn't play any of his parts on this bass either. Then I give it to my tech friend who finds that it is actually broken and a crack had reopened. I can't blame the instrument for my bad sound, so I have to blame myself? <<
Of course not. I was basically just being heavily sarcastic...taking what some people on the board say to its logical, but absurd, conclusion.
People will always argue about the perfectibility of reeds, but no one should tell you you are making "excuses" if you have a cracked clarinet.
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Author: contragirl
Date: 2004-03-13 18:10
Ah! I was taking your post as YOU being that "some people," as you say. :P Cuz I completely agree. It is annoying when someone has serious problems with EQ, and another person, in a huffy-up-tight way, says "well, maybe it's the player and not the instrument."
And that seemed to be something that was drilled in us at an early age, so you do start to question "well, maybe it is me." And of course, I have low self esteem as it is; I don't need to be having problems with playing!
But I have come to the point in my life where I realize what aspects of my playing suck, and what I do well. So, when I'm plunking along on what used to be a good bass, good reed, good set-up, etc and it suddenly doesn't cooperate the next day.
Playing bass got me some nasty looks from my comrades in the clarinet choir. It wasn't my fault! I get second opinions to support my suspections, anyway. lol
Sarcasm is now realized. And I agree with you whole heartedly.
Contragirl... must be the player. :(
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Author: Synonymous Botch
Date: 2004-03-13 19:38
Get at least one Legere as a backup.
They are very consistent, when humidity changes.
You may not get the last scintilla of response that good cane provides, but it will provide a benchmark for discerning where the problem lies.
If you think playing cane on a clarinet is a chore; go talk to the oboes!
********
Take GBK's advice seriously.
He's one of the few playing professionals that still visit this BBS.
********
The rest of us are not likely to provide much more than sympathy.
Sympathy, and a dollafiddy will get you a cup of coffee.
GOOD advice, even when scathing, is priceless.
FWIW - I switched to Rigotti Gold cane and have never noticed a bad one out of the box. I think the Vandy V12s sound better, but are more like a fine sportscar - they require continual maintenance or break down...
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Author: D Dow
Date: 2004-03-13 20:13
Find a professional player who will teach you how to properly adjust reeds..
Books are great, but sometimes learning from someone who knows what balancing and adjusting reeds can do to help you play better is the only way to go!
David Dow
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Author: paulwl
Date: 2004-03-13 23:05
(S. Botch) >> Take GBK's advice seriously [...]
The rest of us are not likely to provide much more than sympathy.
Sympathy, and a dollafiddy will get you a cup of coffee.
GOOD advice, even when scathing, is priceless. <<
Even when not. When scathing, take the good advice and stuff the attitude.
I've gotten good advice from quite a few people here, and it is not incompatible with empathy. (Empathy is what most of us seek - been there, done that, here's my .02. Sympathy - cluck cluck, oh you poor dollink - isn't as useful, you're right.)
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Author: D Dow
Date: 2004-03-13 23:39
Remember one thing ...you have to adapt the reed to the facing...
Principal Clarinet
Symphony NB
David Dow
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Author: Taxijazz
Date: 2004-03-15 10:19
You might not believe this but I used the same reed off and on for 6 years, an amazing reed because I actually played with it for a month and a half without taking it off of the mouthpiece, put it in a box and two months later used it for another month. This went on because I couldn't find another reed like it. OK, playing clarinet makes some people go insane.
Vandorens, as wonderful as they are a minute after I put one on the clarinet die on me rather quickly--I'd go through a whole box in less than a week. The reed that endured by contrast took 45 minutes to break in, and a lot of very old reeds are like that-- Black Line; Super-O-Phone; Chiron; Beau Ideal, and a few other vintage reeds are mostly what I use if I can. Oh, and I know a lot of people will critisize me for this, but they didn't practice 10 hours a day on them day after day, so think what you want about old reeds--In fact they are hard enough to find that you might as well not believe it. There are some Maccaferris on ebay offered by Maccafferris grandson, and they aren't my favorite old reed, but worth a try.
Comparing Vandoren I found Rico Royals to last longer but there is also a little more variation in the box--There always has been variation intentionally so that there would be something in the box that would appeal to a different player. If you want reeds that are more consistent you might try Alexander Classics. The 'Classic' is similar to a Vandoren in character, but a better reed. For something very different, and I have the impression from your description of the problem, you might like to try a Zonda reed. Another contemporary reed to try if you can find them is the Vintage Australian. I don't use Vandoren reeds at all anymore except the 'White Master' for Eb clarinet--It's great for that. Even still I prefer old Brilharts for my Eb.
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Author: LeWhite
Date: 2004-03-15 10:33
Vintage reeds can be found basically anywhere here in Australia. Make friends with someone here (from Australia) and I'm sure they could send you as many as you desire.
PS> That's not a hint, please don't ask me to send some.
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Author: BSL
Date: 2004-03-16 02:50
GBK-
I'm sorry you don't like the book. When I speak to her sources, they say she is pretty close to the money. That's why I trust it.
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Author: GBK
Date: 2004-03-16 02:58
BSL wrote:
> GBK-
>
> I'm sorry you don't like the book. When I speak to her
> sources, they say she is pretty close to the money. That's why
> I trust it.
Reread my posting...I have no problem with the material presented.
The format and writing style is clumsy and repetitive.
Shannon Thompson's dissertation on the Philadelphia School of Clarinet Playing (which contains a great deal of information on Bonade) is written much clearer and more carefully ..GBK
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Author: BSL
Date: 2004-03-17 00:16
My apologies, I misunderstood you. Thankyou for the reply, and I'll eat mud now.
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The Clarinet Pages
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