 The Clarinet BBoard
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Author: saxlite
Date: 2007-03-18 22:58
Would appreciate suggestions as to mouthpieces suitable for big bore horns- namely Selmer Centered Tones - I normally play the Larry Combs LC3 on my small bore Selmer 10S II, but it doesn't seem to work as well on my old CT.
Thanks.
Jerry
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Author: FDF
Date: 2007-03-18 23:23
I play a Selmer CT and switched from a Woodwind C7 to a Selmer C* last summer; works great for me. Still like the Woodwind, too.
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Author: seafaris
Date: 2007-03-19 01:18
I play a Dynamic H and Fobes 4L mouthpiece. Nice fat sound.
...Jim
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Author: JJAlbrecht
Date: 2007-03-19 01:37
Peter Eaton also makes mouthpieces for large-bore clarinets, such as his own horns. Check out his site.
Jeff
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Author: Ken Shaw ★2017
Date: 2007-03-19 11:25
Lelia -
Speaking of Big Bores, how are Shadow C and Dickie V doing?
Post Edited (2007-03-19 11:25)
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Author: Bill
Date: 2007-03-19 19:56
CTs play best (well, I mean "really good") with the oval-stamp Selmer mpcs. MHO is that Selmers always play best with their own mouthpieces. Not the case with Buffets, for example. My understanding is that Semer "Recitals" don't play "correctly" without their C85 mpcs. or such.
Bill.
Bill Fogle
Ellsworth, Maine
(formerly Washington, DC)
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Author: Don Berger
Date: 2007-03-19 20:24
Re: your "above", Bill F, sounds good. I just looked in my CT case to see what my most recent my choices were. A Kell [perhaps sized for the big B & H's] and a Lakey, slightly opened by me, I believe. I usually choose on the basis of matching mp-exit and barrel-entrance bores. Both are of the "jazz" character AFAI can judge. PM thots. Don
Thanx, Mark, Don
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Author: Vytas
Date: 2007-03-19 22:06
Bill,
I've measured countless Selmer Oval mouthpieces and noticed that exit bores varies greatly (from 14.92 mm to 15.14mm). The bigger exit bore plays better with CT.
Vytas Krass
Clarinet Repair
Professional clarinet technician
Custom clarinet mouthpiece maker
Former professional clarinet player
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Author: Dano
Date: 2007-03-19 22:46
I have been playing a Runyon 7 and it plays very well. In tune and with a nice, big, fat, woody tone. I also like my John Pierce Jazz mp. A little lounder than I want but a nice mp for my C.T.
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Author: SVClarinet09
Date: 2007-03-19 23:46
Bill wrote:
> My understanding is that Semer "Recitals" don't play "correctly" without their C85 mpcs. or such.
I seem to agree. Whenever i play my Omega with a different mouthpiece...the intonation isn't as strong. I'm sure if I could get a nice handmade mouthpiece like the C85, itd be better.
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Author: FDF
Date: 2007-03-20 16:27
Out of curiosity, I compared my Woodwind C7 to my Selmer C*. The C7 is a classic large bore mouthpiece. The bore opening on both mouthpieces were the same, but there are other notable differences.
TABLE: The C7 is flat, ½” below the wind-cut and narrows to 7/16 at the bore base. The C* is narrows from a ½” to 5/16”.
RAILS: The C7 rails flair out and become thinner near the tip, while the C* rails are straighter and thicker. The C* tip opening is 7/8” compared to the ½’ tip opening of the C7.
PALATE: The C7 has a smooth and slightly concave roof that looks like a slide for sound. The C* has an abrupt narrowing curvature that appears like a chute into the bore.
WALLS: The C7 has wide walls, while the C* curvature narrows the walls. This apparently gives the C* more intensity and focus, compared to the flexibility and spread of the C7.
WIND-CUT: The C7 cut into the bore entry is very uneven! The length of the cut is 1 ¼”. The C* cut into the bore entry has an edge that is slightly uneven. The length of the cut is 1 3/16”.
CONCLUSION: For me, the most startling difference was the cut into the bore on both instruments. A smooth unobstructed entrance would seem most desirable. For me, at my time of life, I find the C* easier to play to get the same full sound I can achieve with the C7. As I continue to search for the “perfect” mouthpiece I will look for narrower rails and a smoother cut into entry with a narrow, curving chute into the bore.
NOTE: I only have a tape-measure at the moment, so my measurements are not absolutely precise.
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Author: Cindyr
Date: 2007-03-20 18:18
Does the above advice apply also to Series 9 clarinets? Mine currently plays flat, so I asked for some advice about a new mouthpiece last week. Not looking for anything very expensive or hard to find. I was encouraged to try to find a different reed/mouthpiece combo, rather than search right away for a new barrell.
I compared my Series 9 barrell to a barrell from another clarinet player's Series 9, mine appears to be a hair longer.
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Author: stevesklar
Date: 2007-03-21 03:22
FDF,
I have a small collection of Woodwind mpcs - K, G and "original series" series, but no C series.
FWIF, an old woodwind brochure defines this for their resistance curves
C - widely use by dance musicians who double on saxophones
K - used mostly by symphony men
B - developed especially for students
G - most flexible all round facing for dance and symphony players
N - known for its extremely free blowing characteristics
but it doesn't go on to describe the internal differences. I'm actually in the middle of an analysis of my Selmers and Woodwinds - comparing them all.
For Selmer I have table HS*, oval HS*, 3rd/4th/5th gen HS*, 4/5th gen HS**, C85 102/115/120s and a couple other i can't recall. Woodwinds K5, K7, K9, G5* G7, 2x orig series. I also have other mpcs such as SML, Buffet, OBriens, etc.
loads 'o fun
My fav mpc is my K9 mpc. seems to be really good with big bore instruments like my CT and Noblet45/Normandy 4s. It doesn't work well at all with my Leblanc LL or Classic though. The C85120 works well with a Buffet RC though. My 3rd gen HS* worked great on an Eaton international/ LL & Classic - looking for a similar HS**.
==========
Stephen Sklar
My YouTube Channel of Clarinet Information
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Author: FDF
Date: 2007-03-21 18:00
Steve Sklar,
Thanks for the info. I copied it for future reference and I'm sure it will help a great deal. The idea that the C series was for dance musicians who doubled applied to me when I bought that mpc 50 years ago.
Thanks,
Forest
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Author: stevesklar
Date: 2007-03-21 23:28
Cindy,
different mpcs have different volumes, thus may play sharp, intune or flat - assuming all other variables are equal. thus my reasoning to understand their internal designs and external designs more.
when I overhaul/repad/fix ppls clarinets I always try to get info about their mpcs (if not included) and the type of player they are- embouchure-wise. So I can properly understand the tuning characteristics I need for setup (assuming it can be tweaked to their style).
Thus the reason for all the mpcs. Selmer sets, Woodwind Sets, Vandy sets, etc. a wide variety to try and get the best tone from clarinets. seems to be a neverending goal
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Author: Cindyr
Date: 2007-03-22 00:35
Well, that helps explain it. I'm just not sure how to go about trying different mouthpieces, they are pretty expensive if you have to buy every one you try. I've learned a lot about resources from this board, but a lot of the technical stuff is beyond me.
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Author: stevesklar
Date: 2007-03-22 01:35
forgot to mention too, that reed strength seems to play a factor. I did a test last year - documented on this board when i went from 3-1/2 to 4 reeds down to 2-1/2. All my clarinets went flat across the board. went back to 4s and everything was fine again. Tried to shorten a mpc, which kinda worked - helped intonation on some notes but not all.
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Author: Lelia Loban ★2017
Date: 2007-03-22 11:58
Ken Shaw asked,
>>Speaking of Big Bores, how are Shadow C and Dickie V doing?>>
Shadow Cat, now nearly 21 and still ruling the house with a firm paw, is mad at me for spending too many days in the Library of Congress lately (that's why I'm so late in answering this message, too), instead of sitting at my computer and providing her with a lap. Her disgust is somewhat mitigated by the fortunate discovery that the long list of toxic cat foods from Menu Foods doesn't include anything she eats. As for Dick Vigorous, he's
Hey, how ya doin, squeakers?! This is Dick Vigorous, biggest boss rat of the neighborhood, atcha in person, or I guess atcha in rat-son. Lelia won't mind if I borrow her brain an her fingers fer a sec, huh? She don't practice clarinet on library days. Phooey! I wanna hear them squeaks! Big bore, snall bore, who cares--any mouthpiece that squeaks, that's the good one.
Talkin big bores: Low tones is big bores. Gettin some real good squeaks outta no. 3 in Stravinsky's 3 Pieces lately, though. By human standards I guess she can't play that piece worth a split reed, but it's my kinda noise, yeeeeehaaaaa.! That old cat, she don't even know I'm up here inna attic where I can listen, cause the minute she sees that clarinet case, down the stairs she stomps. Good riddance. Ya don't want no squeak-haters in yer audience. Us rats is yer biggest fans an ya oughta make us more welcome. Them pet food places, they make rat food, ya know, fer them precious little stupid white lab rats. I wouldn't mind gettin me some nice rat food. Although prob'ly rootin through the garbage is more fun. Squeak on, squeak on!
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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