 The Clarinet BBoard
|
Author: Drenkier_1
Date: 2005-06-09 05:12
I have done an experimented with mouthpieces. Two Kaspars (Cissero, & Chicago) and a Bettoney. I find that reeds have become a major issue for some of these mouthpieces so I went out and bought 2 boxes of Vandoren V-12's ( one 3 1/2, the other 4). I basically did this experiment scientifically, here were my results
I believed that the Kaspar (Cissero) would most likely have a greater response than the other 2 mouthpieces.
Kaspar #1 (Cicero)
Reed 1(3.5)- Pretty Soft
Reed 2(3.5)- Just Right!
Reed 3 (3.5)- Soft
Reed 4(3.5)- HARD!
Reed 5(3.5)- A little Hard: kind of stuffy
Reed 6(4)- HARD
Reed 7(4)- Sort of Hard
Reed 8(4)- SOFT
Reed 9(4)- HARD
Reed 10(4)- Just Right!
Kaspar #2(Chicago)
Reed 1(3.5)- SOFT
Reed 2(3.5)- SOFT
Reed 3 (3.5)- SOFT
Reed 4(3.5)- HARD
Reed 5(3.5)- SOFT
Reed 6(4)-HARD
Reed 7(4)- HARD
Reed 8(4)-Sort of Soft
Reed 9(4)- HARD
Reed 10(4)-HARD
Bettoney
Reed 1(3.5)-HARD
Reed 2(3.5)-Just Right
Reed 3 (3.5)-HARD
Reed 4(3.5)-SOFT
Reed 5(3.5)-HARD
Reed 6(4)-HARD
Reed 7(4)-HARD
Reed 8(4)-HARD
Reed 9(4)-HARD
Reed 10(4)-HARD
This was a very vague experiment. It looks like my old Kaspar may of been a better choice. Hmm, Oh well. My conclusion would be that I should look at maybe trying diffrent Reed Brands since Vandorens seem to be inconsistent. I don't know. Feel free to give any opinions on my experiment.
Kevin Collins
Post Edited (2005-06-09 14:47)
|
|
Reply To Message
|
|
Author: Hank Lehrer
Date: 2005-06-09 10:59
Kevin,
Interesting but you have some bias/research design problems that may not be easy to overcome at your stage but perhaps a few suggestions might help a little.
The MPs: You need to use a MP and not know what it is (blind selection). Call it A, B, or C and be sure that you have no way of knowing which MP it is.
Reeds: Place a mark on the bottom that you can not see while playing and then select from a pile where you have a random chance of getting any reed. Play and then place in a pile that is hard, soft, or whatever. Have someone else record what MP and what reed was played. You need to get into a double blind experimental situation where any reed and any MP can be selected.
Consider a control MP selected by someone else that will be one of those that is tried. Repeat the same test several times and see what your results look like then.
Report the new and improved results, please.
HRL
Post Edited (2005-06-09 11:52)
|
|
Reply To Message
|
|
Author: BobD
Date: 2005-06-09 11:44
Kevin....congrats on one of the most scientific experiments reported here.
If only you had worn a chicken foot around your neck during the process then everyone would have known your tongue was in your cheek and not on the reeds.
Bob Draznik
|
|
Reply To Message
|
|
Author: msloss
Date: 2005-06-09 12:09
The reeds also change as you play them. You could blow on a reed, take it off, rewet it, put it back on the same mouthpiece, and it will behave differently. Also, the reeds will change shape to conform to the facing of the mouthpiece, particularly if the ligature is tight.
About the best thing you could do to compensate would be to take a statistically large enough sample of reeds to be able to say that your batting average with new reeds on one mouthpiece was significantly higher than on another. That is probably a 30-box exercise for 3 mouthpieces, and then you have to account for changes in temperature/humidity across the time period of the experiment.
Or, you could just play on the mouthpiece that has the best sound, is the most responsive, and generally seems to take reeds well, and not sweat the details. Saves on the anti-depressants in the long run.
|
|
Reply To Message
|
|
Author: GBK
Date: 2005-06-09 13:59
It's probably that time again to repeat the advice from Daniel Bonade:
"Go out in a rowboat with a box of mouthpieces, put a blindfold on...."
(Well, you know the rest) ...GBK
|
|
Reply To Message
|
|
Author: William
Date: 2005-06-09 14:21
Also, William Stubbins--legendary U. of Michigan Preofessor of Clarinet--often said (screamed at his students, actually), "PLAY THE REED, don't let the reed play you".
Of course, we all know that for optimum performance (like when recording the defining CD of your life), it is good to have the most responsive and resonant reed that works best for your mouthpiece. But there are times when "that" reed is not available and you just have to "make do" with the one that is. So, learn to deal with those small imperections of reed performance and avoid the necessity always having to have a top drawer reed in order to sound good. I do know that when my embouchure is in top condition and I can play for hours without tiring, I can change reeds that have a variety of hardnesses and response, and maintain the same sound by varying certain physical performance techniques. The fact that V12s are inconsistant is really, no big deal.
BTW, my main mouthpiece is an old Chicago Kaspar #14. Can't comment on any Ciceros as I only have a Greg Smith copy--on a Zinner blank--for comparison.
(Greg Smiths mouthpieces are excellant--I own Cicero and Chedeville models. I just prefer my old "Windy")
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
