 The Clarinet BBoard
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Author: Hiroshi
Date: 1999-03-17 05:53
I found Mr.Clark Forbes does manufacture intentionally unsymetric tip mouthpiece,whereas Mr.Tom Ridenour insists on the impornance of symmetry of tips.
What effects does unsymmetric tip mouthpiece have?
My little thought:right hand thumb rest supporting force may effect somewhat counter-clockwise(viewed from the player) pressure on the mouthpiece and may result in uneven pressure on the lips.A very slight reverese unbalance on mouthpiece may cancel this unbalance.
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Author: Daniel
Date: 1999-03-17 06:05
If that were the case, couldn't one just turn the mouthpiece slightly off center? Students are taught to line the table of the mouthpiece with the register key. Or to assemble the clarinet with all the joints lining up with the company logo lining up on each joint and the mouthpiece logo lining up with those. But if the imballance from the pressure of the thumb causes a problem, couldn't you just turn the mouthpiece so that the pressure from the thumb still turns the clarinet ever so slightly as it tries to do normally and not affect the mouthiece?
<shrug>
I don't play with the mouthpiece lined up, or even straight into my mouth. I just do it the best way that works for me.
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Author: Mark Charette
Date: 1999-03-17 12:01
In any case ... The unsymmetric mouthpieces do work and are made that way on purpose. There was discussion at the last ClarinetFest with internal mouthpiece pressure being non-linear and possibly the asyymetry compensates - but I wouldn't know for sure, and there <b>are</b> differing opinions.
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Author: Rick2
Date: 1999-03-17 14:46
I doubt that it has anything to do with non-linearity of pressures in the mouthpiece. That woudld be a major contributor to the white noise that drives the whole system. personally suspect that it was come upon by simple trial and error, but I have no idea what is being affected. However, Mr. Fobes is an advertiser here on sneezy so perhaps he'll be kind enough to drop into the BBS and educate us. I will send him an email to ask him.
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Author: Clark W Fobes
Date: 1999-03-17 17:30
Asymmetry in mouthpiece making has been around from
at least the time of the Franks Kaspar and probably ealier.
I have heard the theory regarding the "rotation" of the
mouthpiece due to pressure from the right hand, but i doubt
this is the origin of asymmetrical design.
I make both symmetrical and asymmetrical facings. I played
for many years on my 0M* facing, but currently I am playing
my "CF" facing which is symmetrical. With the same tip opening
an asymmetrical facing will have slightly more resistance
than a symmetrical facing. It also creates a nice array of
overtones that makes the sound more complex (To my ear).
The advantage of symmetrical facings seems to be most notice-
able in the connection between registers (easier). Symmetrical
facings are also ,generally, more free blowing. Some players
do not like this ease of playing and prefer the resistance
created by asymmetry.
Also, those of us who use asymmetrical facing generally
apply the asymmetry to the left rail ( as you look at the
window, tip up) and the asymmetry occurs over the length
of the facing and not just at the tip.
Both facings have problems when being applied by hand.
The asymmetry must present itself to the reed surface as
a skewed plane. That is, if the asymmetry is applied to the
side rail with out regard to making the tip rail as part
of a continuous plane the mouthpiece may squeak or at least
lack in response and legato.
Making a perfectly symmetrical facing is actually more
difficult than the asymmetrical style. Symmetry is dependent
upon a symmetrical starting point, (Table fulcrum) as
well as a very even stroke as one applies the facing.
Symmetrical facings are also more fussy when it comes to
having proper measurements for the facing curve.
All of that said, i think it is important to understand that
MUCH more of the characteristic of sound quality, response
and intonation is derived from the design of the chamber
and bore. The facing, chamber, and bore are all
interdependent and no facing can compensate for a poor
interior design.
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Author: Hiroshi
Date: 1999-03-18 01:41
I knew at least followings:
1)Mr.Fobes(Sorry for my misspelling your name) are reading this BBS!
2)My unsymmetry was wrong.
3)Rotation by R1 theory is not recognized as standard.
4)I would know when I play each mouthpiece,not by theory.
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Author: Hiroshi
Date: 1999-03-18 01:42
I knew at least followings:
1)Mr.Fobes(Sorry for my misspelling your name) are reading this BBS!
2)My spelling "unsymmetry" was wrong.
3)Rotation by R1 theory is not recognized as standard.
4)I would know when I play each mouthpiece,not by theory.
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Author: Rick2
Date: 1999-03-18 03:53
Hiroshi,
I sent an email to Mr. Fobes specifically asking him to respond to this question. I don't believe he follows the forum.
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Author: paul
Date: 1999-03-18 15:56
I tend to agree with Daniel on his point of using the clarinet's register key and proof marks as guides in assembling the horn, then making slight adjustments here and there to the player's preferences.
I personally make it a point to line everything up, then I put a very slight counterclockwise (looking straight down on the horn from reed to bell) turn on the mouthpiece.
It wouldn't surprise me if lots of players, from novices like me and up, do something to adjust the horn to their personal preference. It also wouldn't surprise me that lots of folks make the slight adjustments without even thinking about it.
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Author: Daniel
Date: 1999-03-18 18:46
paul wrote:
-------------------------------
I tend to agree with Daniel on his point of using the clarinet's register key and proof marks as guides in assembling the horn, then making slight adjustments here and there to the player's preferences.
I personally make it a point to line everything up, then I put a very slight counterclockwise (looking straight down on the horn from reed to bell) turn on the mouthpiece.
The only part of the horn i try to line up is the upper and lower joint. I don't bother with the bell or the barrel. Most of the playing i do i don't have to have an optimal sound so i haven't taken the time to rotate the barrel and find the location at which it sounds best. But i do know there are positions that it sounds not as good as others.
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Author: Hiroshi
Date: 1999-03-19 04:01
Paul:
I set the direction of barrel and mouth piece about 10 degrees counterclockwise.Seems suitable for my mouth.
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