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Re: Greg Smith Profiler/Shaper

Author: Gregory Smith ★2017
Date: 2007-04-14 04:37

RR -

My first inclination would be toward the Kaspar mouthpiece since that is the mouthpiece for which it was developed. The Cheds of that day didn't have the tonal flexibility, color, or amplitude of vibration to exploit the wonderful, shapely sound that the Kaspar/Morre/Bonade/Buffet/Moennig set up allowed one to produce.

However, the modern day Chedeville style being made in newer incarnations are prime candidates for a Morre "style" reed - hence the overwhelming popularity of the V12 since it came out immediately after Karl Firstl destroyed his machines so that no one would discover his secrets.

One has to keep in mind that reeds and mouthpieces, etc, are all undergoing a constant evolution so that they meet modern day needs insofar as tonal concepts and power are concerned. Morre's were far ahead of their time and as mentioned in one of the posts in the provided link above, the V12 would never have been thought of until the demise of the Morre.

It's easy to forget the thin and wide, flat-looking, denser-caned reeds of yesteryear that did not provide the depth or tonal weight that the thicker blank/softer cane reeds do today. It's also easy to forget that the very notion that there was a "golden era" for mouthpieces is true insofar as it goes. The fascination with duplication to the nth degree of mouthpieces of the past does not fully take into account the demands of clarinetistry as it has evolved since the first half of the 20th century.

I speak with top orchestral wind instrumentalists everyday whether it be in the Chicago Symphony or with my friends and colleagues in other top orchestras around the world. This principle is practically universal to all of the wind instruments. And clarinet equipment is no exception.

Gregory Smith

http://www.gregory-smith.com

Post Edited (2007-04-14 04:48)

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