 The Clarinet BBoard
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Author: ito
Date: 2010-03-14 08:26
Just want to know what if the bore size of the mouthpiece actually is not the same as the bore size of the clarinet,for example a smaller bore instead or bigger bore size than the clarinet too?what will be the result of the sound of intonation when this happen?thanks
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Author: Ed Palanker
Date: 2010-03-14 16:17
A barrel is an extension of the mouthpiece but somehow players don't choose a barrel by the measurements of those bores. We usually just try them and choose the one that sounds and feels the best but also plays the best in tune. There are many variations in the bores of barrels and mouthpieces. Just see how it plays, and check with a tuner. I'm not saying that measurements are not important just that how it plays and tunes is of prime importance. ESP http://eddiesclarinet.com
ESP eddiesclarinet.com
Post Edited (2010-03-14 17:42)
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Author: Alseg
Date: 2010-03-14 16:56
The bore of the mouthpiece may be narrower than the barrel inlet. It might also be wider. It depends on the mouthpiece. Some tables are available on this website.
Likewise, the exit bore of the barrel is typically narrower than the inlet to the upper joint, especially when dealing with the custom ones.
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
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Author: Brad Behn
Date: 2010-03-14 18:43
As internal volume increases, pitch lowers.
The more conical the bore, the wider the twelfths, but sound changes as well; as more conically flared bores can create a wonderful access to the center of the sound while still maintaining flexibility and warmth. As bore length increases pitch also lowers and depth of sound increases. Sometimes with bores too long or too large, a washed-out quality ensues which both slows resonance, and makes the overall feel less yielding to player’s musical input. (This is most common when the chamber is too large for the bore).
More cylindrically oriented bores can have wonderful tuning ratios as long as the exit isn’t too large, and if made with smaller chambers the best of both worlds can ensue; flexibility to easily follow player’s musical input, fast and reliable resonance, body of sound, focal point clearly defined.
Bottom line, with larger bores, a smaller chamber is typical, and with smaller bores a larger chamber is typical. The degree of conical versus cylindrical voicing is in the concept of the maker. I prefer more cylindrical and somewhat longer bores mated to smaller tone chambers so I get excellent intonation and body of sound from the bore, and resonance voicing from the chamber.
An additional thing to consider (which is rarely discussed) is chamber length. We often talk about bore reaming and bore size but chamber length is of crucial importance as well. For instance if one reams a bore in a way that drills the bore’s length deeper, it will therefore make the chamber shorter. So the resultant change of how the mouthpiece plays would then be from the bore’s longer length (greater volume) in combination with the chamber’s shorter length.
Generally longer chambers create stability and allow the player to use a softer reed to achieve flexibility, and shorter chambers create more flexibility and perhaps quicker resonance.
Please also consider that the dimension of the bore’s exit is often the only number people discuss but that is only one measurement in an approximate 50mm tube. Frankly the bore’s voice is a result of the entire tube. The bore’s voicing is much more important than if the exit measures .595 or .585. The multicylindrical-multiconical nature of the bore’s voicing can say a lot about how the bore’s concept was envisioned.
All that said I tend to prefer bores that are a bit longer than typical (Zinner or Vandoren as example of standard), that are more cylindrically voiced than standard, and that come in a range of about .585-.592 at the exit.
I have often reamed out bores for English instruments and those are much larger and have a different concept behind them. So please do not use the above information as an ideal for the English school. What I am referring to above is for French instruments.
Brad Behn
http://www.clarinetmouthpiece.com
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Author: ito
Date: 2010-03-15 01:28
Hi Brad Behn,i am thinking of getting a pomarico ruby mellow mouthpiece for my england made boosey and hawkes imperial 926,that is why i am currently having difficulties of choose whether to go for it or not..look forward for your reply here..thanks
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Author: Brad Behn
Date: 2010-03-15 04:56
Hello Ito,
I am sorry but I have no experience with the Pomarico ruby mellow mouthpiece so I simply can not advise you. However Pomarico generally makes glass mouthpieces and although I can reface glass I do not have the ability to alter the bore design of glass mouthpieces. So if your mouthpiece in question is glass I would suggest getting it on trial to see if it works for you and your clarinets before you commit to its purchase.
Brad Behn
http://www.clarinetmouthpiece.com
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