 The Clarinet BBoard
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Author: ned
Date: 2010-06-29 04:17
There have been many a post from concerned correspondents regarding this vexed topic.
I'd just like to add my two bob's worth, as a thought occurred to me yesterday as I was practicing - the issue just popped in to my head, uninvited, as it were.
I was practicing in front of mirror, to retrain my muscle memory with regard to a rarely used phrase, as I have some jazz work coming up shortly.In the process I was reminded that my tone was noticeably different from this position where the sound was reflected back to me. It's not a huge revelation I suppose, and I have been aware of it for a long time, but it made me ponder nonetheless.
To truly test this though, I have decided to enlist help from other folk, who will listen to me from a position next to me and also in front of my playing position, to determine whether the two sounds are indeed the same or different, as the case may be.
I will endeavour to obtain at least two opinions, one from a non-musician and one from a clarinet playing friend. Should I conduct these as blindfold tests?
They may actually hear no difference, as they will not be holding the instrument themselves, of course, and will not be affected by any peripheral resonance. This may indeed be a factor.
I may also record myself with microphone placed in these positions, but I suppose another person would be required to offer an objective assessment.
I'll report my findings in due course. In the meantime does anyone out there, with any knowledge of acoustic sound production, have any suggestions?
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Author: Bob Phillips
Date: 2010-07-01 02:34
I have a favored place in my house where my tone sounds (to me) just wonderful. Everyplace else I go sounds disappointing. I've only recently been moving my practice sessions from my "comfort zone," and this has caused me to be more aware of my sound.
I usually set my Zomm H2 recorder close at hand, making it easier to push its buttons.
You've encouraged me to move the recorder (and its microphones) to different locations.
GREAT! It takes a long time to review my practice session recordings!
Bob Phillips
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Author: William
Date: 2010-07-01 02:48
I mostly rely on audience or collegue feed-back--and so far, it's all been positive, even with my switch from cane to synthetic. Actually, no one ever notices when I switch equipement as I always try for the same tambre that I try to project. I work harder to play in tune than a "quality" sound. So, as long as people keep telling me I sound good, that's good enough for me.
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Author: Bob Bernardo
Date: 2010-07-01 03:27
Sounds a bit weird, but it does work pretty well. It seems like 100 years ago Gennusa turned on 2 alarm clocks at his house, during those summer lessons. The old type that just buzzes and drive you nuts. It is sorta like a symphony playing.
Well the interesting part of this exercise is to play while the clocks are buzzing away. This does some weird things, not just driving you crazy, but it lets you know if your sound is projecting, playing in tune, and your actual sound quality. This will help you decide if the mouthpiece is working best for you, as well as your reed setup.
Then when I went to perform I knew what I sounded like.
These clocks can still be found at your local drug store. They are white. Get a receipt in case the ring tone is wrong.
If you record yourself playing, even with the alarm blasting you will know what you sound like. This is a really good way of knowing if that $800 Chedeville cuts through the orchestra or if you can get by with another brand.
Even after the 1970's with my studies at Peabody, I still use the clocks when I'm testing something new.
You may find your sound to be too buzzy, playing flat, all sorts of interesting findings may pop up.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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