 The Clarinet BBoard
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Author: SVClarinet09
Date: 2007-04-02 20:46
In recent weeks, Kathy Taylor of the Borealis Wind Quintet and I met to evaluate my playing and see which areas I could improve. After listening to me play and seeing of course, she came to the conclusion that I just need to stick to regular practice because I have good techniques. She did tell me though that I should try to change my Mouthpiece Setup because I had a nice tone but it wasn't as full as it should sound. I agree with her but part of it on that day was my reed. She recommended I tried a closed tip mouthpiece(mine is 1.20mm) just like my teacher. I switched to the more open mouthpiece from a closed one to master my control on mouthpieces and I can control this one real well. She recommended I switch to the Bonade ligature which for right now I made a small remedy by bending my Selmer ligature. She said my reed strength is fine (VD 3.5-4/Gonzalez 3.75) I'm considering the Selmer Paris HS* because it is closed tip and produces a tone I like and a good intonation pattern. I am leaning away from the M13/15 because they tend to be flat and I can't risk being any more flat that I am. Does the M30 do the same? She recommended this one to me. Is the HS* a good mouthpiece choice? I am a little short on cash right now as All State Band weekend is costing me around $300(money I was gonna use to by a handmade mouthpiece) so I can't afford the handmade mouthpiece I wanted to try.
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Author: claritoot26
Date: 2007-04-02 21:50
You could try the non-13 series Vandoren mouthpieces that don't lower the pitch as much. Don't know much about the M30, but have heard people sound good on it. A vendor should be able to tell you what Vandoren mouthpieces are non-13 series and don't lower the pitch. Don't know much about the Selmer HS* either, but haven't heard it mentioned much on this BBoard. I don't like the Bonade ligature much, they always seem too small for my mouthpieces' diameters. A good alternative that isn't too expensive is the Gigliotti plastic one. Try a bunch of different ones and see.
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Author: Chris Hill
Date: 2007-04-03 05:12
Does she have a suggestion? I would ask her to help you pick a mouthpiece, since she's the teacher you're working with.
Chris Hill
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Author: Bob Phillips
Date: 2007-04-03 16:28
My experience with the Selmer C* was awful. Your experience will differ.
The M30 is a strange animal. It has a really (rrrreeaalllllllyyy) long lay, and you will have to work to get enough of it in your mouth so that it will play well in the alti. There's plenty of reed a shakin' to get the lower two registers, and you will allow the mouthpiece to slip out. Then, you'll crack the first finger on your left hand, and the horn will just die --shut down.
The M30 can make nice sounds, and be responsive, though. It is made in normal and ..13 series. Try both if you decide to include the M30 in your trial set.
I'm having an M30/13 refaced by Lee Livengood just to see what one of his facings feels like on a Vandored 13 blank. And to compare it to my Livengood/Zinner.
Good recent insight from this BB. You new mouthpiece will only feel like the first time you play it the first time you play it. After that, you will become habituated to the new 'piece; and the process becomes one of work rather than revelation.
Bob Phillips
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Author: Ed
Date: 2007-04-03 19:17
Although the M30 has a long lay which will give it different characteristics, according to the Vandoren literature, it has a 115 tip which is hardly what most would consider closed and not much closer than the 120 that you are currently using.
If you are worried about the pitch of the M13/15 series, you might get a few on trial and get the one that is best. Some are quite good. I have played some M13 lyres that I have liked a lot as well
Good luck
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Author: stevesklar
Date: 2007-04-03 19:34
now granted i'm not a mpc expert but have recently been studying them and am learning more and more about them.
The Selmer C* is similar to the C85-115 - i have a C85 but have never tried the C*. I also have about 5 or 6 generations of the HS* mpcs.
The C85 works well with my large bore clarinets like a Noblet 45, Selmer CT, etc but not at all with a SML, Leblanc LL, Classic II, Buffet Festival, Eaton Itl.
Whereas the HS*s I have - a couple work well with the big bore ones mentioned (intonation-wise) and the others work well with the smaller bores mentioned (intonation-wise).
Intonation-wise, my mpcs are either spot on (for the most part) from altissimo E all the way down, or a couple registers are evenly off maybe up to 5 cents.
The HS* overall always tends to give the clarinets good tone centered, & woody tone. Though intonation-wise you have to find a particular one for you instrument. I don't know if it is a different generation type mpc or just that particular one.
I haven't gotten around to experimenting with the various Woodwinds I have (though I use my K9 for the CT), Vandys or other makes.
I have tried a Grabner K11 and K14 and didn't find enough of a difference to spend the extra money compared to the HS* and other mpcs I have. But, I also know that my HS*s tables are very flat and rails are very even. I've been checking the mpcs on my mpc refacing kit - not "fixing" them, just studying them.
The SML mpc i have is the most similar to the K11 and maybe, to me, slightly better in overall tone. But then, other days, they all sound the same - it's enough to make you go insane.
Steve
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