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Mpc question: re facings, etc

Author: ving
Date: 2005-10-07 14:54

Hello,

I am wondering if anyone can clear up some questions regarding facings and length. I am a doubler currently using a FObes 4L, and it is a good one--quite free blowing. Anyhow, for my teaching and classical practice I am looking to get into something with a slightly more centered sound and smaller opening. THe 4L is great for louder pit situations when you have to play out, but its a little open. I have tried a 2L and didn't find it enough of an improvement, in fact sound it less comfortable than the 4L--stuffier I would say. HOw does the facing length play into this? I know the 4L and the 2 L are a longer facing, perhaps trying a med facing would work well? I have been focused on the tip opening only, but maybe there are other factors at work Maybe the particular 2L I played wasn't as free-blowing as I would like. I would like to continue to use slightly softer reeds as on the 4L--I know if I went to the CF plus facing I would need to step up the reed strength and I think I like the flexibility of the 4L partially due to its acceptance of reeds around the 3 strength area. (Concert Select 3,s, V12 3,s or Mitchel Lurie Prem. 3 1/2's). MAny thanks in advance...

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Re: Mpc question: re facings, etc

Author: redwine
Date: 2005-10-07 15:09

Hello,

In my work refacing and working with people looking for new mouthpieces, I find that people that play longer facings when trying a new mouthpiece do not like shorter facings and vice versa. Changing the length of your facing for different situations would require a change in concept of embouchure. I would say that to try a shorter facing may be what you are looking for, but you will have to devote some serious time to changing the "feel" of your embouchure. You probably won't like the new length right away.

I play classical and jazz about 50/50 and use the same mouthpiece for all applications. Perhpaps you got a "clunker" in the more close mouthpiece. Perhaps you should try to look for something in between the two facings and use that for everything. Of course, when trying your more close facing, if you used the same reeds that work with the more open, that could have been your problem.

Ben Redwine, DMA
owner, RJ Music Group
Assistant Professor, The Catholic University of America
Selmer Paris artist
www.rjmusicgroup.com
www.redwinejazz.com
www.reedwizard.com

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