 The Clarinet BBoard
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Author: ihagan15
Date: 2010-08-01 18:20
I'm an american clarinetist, but I prefer the German sound by far. Since I learned the Boehm system, it would be rather annoying and difficult to relearn in the Öhler system. I am currently in the market for a new mouthpiece and ligature, and wouldn't mind using a different reed if it produced a darker, more centered sound. Any suggestions as to which reed/ligature/mouthpiece combo would work best for me?
Also, though I can't afford it at this time, I would be open to buying a new barrel. I currently play on the Selmer Signet, with a Yamaha 4c mouthpiece (I know, it's a piece of crap), and a Rovner Dark ligature.
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Author: MarlboroughMan
Date: 2010-08-01 19:27
Others might be able to tell you what mouthpieces and barrels can help you approximate a darker German bore sound. I found all such solutions to be temporary and ultimately frustrating.
For me, nothing would do but to play a real German bore instrument. You might be happy to discover that one need not learn Oehler system to get the sound you're looking for: Wurlitzer has made Reform-Boehm instruments for over sixty years. These horns unite the German bore with Boehm fingering system.
I personally switched from French instruments to a set of vintage Fritz Wurlitzer clarinets and regard it as the best decision I ever made as a player.
[Full Disclosure: I work for Wurlitzer Clarinets America]
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
Post Edited (2010-08-01 19:34)
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Author: Bob Barnhart ★2017
Date: 2010-08-01 21:02
Hagan,
I too think highly of the "German sound", mostly in terms of players such as Karl Leister, Dieter Klocker, Michelle Zukovosky and more recently Wenzel Fuchs. As a recent post has discussed, the "German sound" varies greatly with the player. Even on similar Oehler instruments and mouthpieces/reeds, such players can sound quite different from one another.
I too would love to have a pair of Wurlitzers but I expect the cost will continue to be prohibitive as this level of expense is hard to justify for a part-time professional.
Over the years I have tried a fair number of mouthpieces, barrels, reeds, etc. in order to get the kind of sound I'm looking for on "French" instruments. After many years of experimenting, I have joined the ranks of those who believe that the most influential component of your sound is...you. Certainly your physical characteristics are a significant part of this, but your concept of sound is also a powerful influence.
Having said that, you can make equipment changes that will help you to influence your sound in the desired direction. Of the equipment I've tried, the Vandoren M30 gets closest to the "German sound". When I record myself with various combinations of mouthpieces/reeds (trying to keep the "feel", response, intonation similar), I find this mouthpiece helps me come closer to my ideal sound. Vandoren is now making "German" versions of the M30/B40 (M30D/B40D respectively) mouthpiece for the Reform-Boehm clarinets that also work with French instruments and may be more "German" sounding, although I haven't been able to try them yet.
I still find that the Vandoren V12s give the best sound for me, although I have also had good results with the Xilema reeds (http://www.redwinejazz.com/Reeds.htm). Some experimentation in adjusting your reeds will be well worth the effort as the reed can have a huge effect on your sound. A great technique was described to me by Ben Armato, former principal clarinet of the Met and one of the masters of reed-making/adjustment techniques. He relayed that he would cover part of the reed's vamp with electrical tape to minimize the adverse effects that hours of playing can have on your lower lip. I found that applying a small patch of electrical tape can dramatically darken your sound. However, you have to experiment with the size/shape/location of the patch to make sure that you don't adversely affect response.
I've also tried a variety of ligatures. Having played in Germany during my Junior year in College, I acquired and learned to use string ligatures. Although I think these really are best, they are awkward to use on non-German mouthpieces. I find that the Rovner "Light" ligature gives the closest "feel" to string--free and vibrant. However, the Rovner "Mark-III" ligature gives a slightly darker sound. I would expect other "fabric" ligatures (e.g., the "BG" L6 standard) or the Vandoren leather ligature might yield similar results.
Finally, a couple of years ago, I switched to Yamaha CSGs (Hamilton plated). These are great instruments. I was attracted to them because of their "hybrid" French/German bore. They don't sound exactly like the Reform-Boehm clarinets, but they have a very nice warm sound and great flexibility. I feel that they provide a canvas on which I can produce a variety of sounds.
I hope this helps and good luck in your efforts to realize "your" sound.
Bob Barnhart
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Author: Simon Aldrich
Date: 2010-08-01 21:04
I agree with what Eric wrote. From what I witness in scores of students every year, efforts to darken the sound of a French bore instrument to that of a German bore instrument never work. The person who does not like the inherent qualities of French bore (or thinks he doesn't) always ends up battling those intrinsic qualities he doesn't like (ring, focus, "brightness"; those qualities for which professionals strive).
An irony is that often the student who is trying to darken and "Germanize" his sound is playing a French instrument, French mouthpiece, French reeds and a French ligature (not to mention French repertoire).
If what you want is a German sound, I suggest starting with an instrument that produces a German sound and go from there. In my opinion and experience, you will not have success starting with a French instrument, then attenuating that instrument's inherent sound by applying darkening, deadening layers, in hope of making it sound German. (To my mind it is like taking a big-sounding folk/rock acoustic guitar and stuffing it with foam to make it sound like a gut- or nylon-string classical guitar. It is barking up the wrong tree.)
As a workman might say, "Use the right tool for the job".
------------------------------------------------
Simon Aldrich
Clarinet Faculty - McGill University
Principal Clarinet - Orchestre Metropolitain de Montreal
Principal Clarinet - Orchestre de l'Opera de Montreal
Artistic Director - Jeffery Summer Concerts
Clarinet - Nouvel Ensemble Moderne
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Author: skygardener
Date: 2010-08-01 21:53
[Disclaimer- I make and sell mouthpieces]
Although the German instrument is different in some ways to the French designs, the largest difference is from the mouthpiece and the reed design. Also, the tradition of a string ligature is influential to the sound. Many (perhaps most) contemporary German clarinetists no longer use string ligatures and their sound has changed in a small way because of it.
If you find a mouthpiece maker that can adjust a "French" mouthpiece to accept German cut reeds, you will be much closer to your goal of a German sound. A good adjustment of the chamber will also assist in that direction.
Although you may attempt getting a German mouthpiece and reeds, and using it on your French clarinet, I caution you against it. The sound will be markedly closer to your goal, but the pitch will be horrible. It was something I was trying for over a year during college... great learning experience, but not something I would recommend.
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Author: Ed Palanker
Date: 2010-08-01 22:34
Well not to put a crimp into this discussion but I'd like someone to tell me what the "American" sound actually is. Is it Frank Cohen, Ricardo Morales, Stanley Drucker, Larry Coombs, or any number of other players I can mention that all sound different from each other. I could probably name a dozen different American players in major orchestra's or soloists that don't sound like each other, which one has the "American" sound? I think I know what people think is a German sound but I hear different sounds when I hear various German players so what is a German sound? There are some Americans, that in my opinion, get much darker sounds than any German player I've heard and I've heard some recordings that the German soloist sounded brighter than a great many American players I've heard. I've never played on a German bore instrument so what I'm going to say is not based on experience but I think the mouthpiece - reed combination and how you work your oral cavity will have a lot more to do with getting a "darker" sound than what instrument you play. The barrel and ligature can make a difference but relatively little by comparison. And remember, in most cases a person sounds like themselves after a while no matter what they change to. The reason is that one gravitates back to their comfort zone after a certain period of time, depending on the person of course. Once you make a change in instruments or equipment you have to actually work at changing your tone and you have to keep at it for a very long time until that tone becomes your comfort level. ESP http://eddiesclarinet.com
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Author: Iceland clarinet
Date: 2010-08-01 23:20
When my teacher studied in Amsterdam he had a good success with a set of Buffet R-13 clarinet,Viotto mouthpiece with rails,string ligature and Vandoren Black master reeds. With this combination he could get some gigs there but not without it since he lived there for 5 years after finishing his Bb studies with George Pieterson and 3 years after he finished his bass clarinet studies with Harry Sparnaay.
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Author: MarlboroughMan
Date: 2010-08-01 23:45
The mouthpiece/reed combination is indeed important for all clarinets, but it takes on a less central relationship to the instrument when playing a German bore.
To put it simply, with a French clarinet, you play into the resistence of the mouthpiece much more, while with a German clarinet, you play into the resistence of the horn. The mouthpiece/reed combination becomes of secondary importance.
You'll find this reflected in the angle that German clarinets are generally held--out from the body more--so that air flow is directed much more down the horn rather than deflected through the mouthpiece. This takes some adjustment for players who are used to French set-up, as I was.
As for "dark" etc, some people describe the German bore sound in different ways. In my own search for the right sound for me, I tended to think in terms of getting a properly "held" spherical sound, a bouyant sound, a sound that could "float" at pianissimo and could play at full power without distortion. I tended to find these qualities (at least as I experienced them) in the sounds of Wurlitzer players such as Sabine Meyer, Karl Leister, George Pieterson.
I think when people say the "dark German" sound, they have something quite real in mind. There's no use shooting down all such descriptions--these can be helpful guideposts. It remains for each player, as listener, to discover whether these perceived aural guideposts have been precise enough to direct them to their proper equipment--meaning, the equipment that helps them realize the sound they wanted. In my case, the consistent attraction to the sounds of certain players led directly to a realization that they all played Wurlitzers.
I don't tend to think of mine as a 'German' sound. I'm an American, with a very American concept of playing. But it was a German bore and mouthpiece set-up that helped me realize the sound I had always wanted--on all the repertoire, not just the Germanic repertoire. But if you want that sound that you only hear German players get--however you might decribe it in words--chances are you're gonna need the horns they play on.
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Bill Patry
Date: 2010-08-02 01:05
I think we all have an ideal sound, for us, in our heads, and then we try to match it as best we can, with an instrument, barrels, mouthpieces and reeds. The ideal sound is usually based on hearing someone else's sound that we like, and many people like the sound of German players, accepting Ed's point that not all German players sound alike no more than all American players sound exactly alike even on the same horn, a point brought home to me cruelly when I got a recording of Liquid Ebony by John Parrette. John was playing on a Morrie Backun Bb Legacy that he later sold to me. When I told my eight year old daughter that the clarinet on the recording was the one I was playing she informed me that the clarinet on the recording sounded very different.
I too like the sound of German players, and found the Wurlitzer Reform-Boehm clarinets amazing. I have a new Wurlitzer A clarinet that is stunning to me, and is the first clarinet that I have played on which I can make my idealized sound. And that sound is different from when I play my other French-based clarinets, all of which I love too. (I have Morrie Backun's LeBlanc Legacies, a set of Luis Rossi, and Guy Chadash's). I have my favorites among them, for different things.
So I understand what ihagan15 is getting at (as Eric pointed out, the ideal is a real sound), and if his or her idealized sound is what I think it may be, then the Wurlitzer Reform-Boehms may be the ticket. I haven't tried the Schwenk & Seggelke or other German horns, so there may be others that would do it too.
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Author: DavidBlumberg
Date: 2010-08-02 15:05
The Air concept is different for the "Dark German Sound" - warm air vs cold air. The German Wurlitzer concept is with "warm air".
I'm not going to argue if "cold air" is a myth or not, just like I won't argue if the materials make a difference, but according to Michele Zukovsky talking with Wurlitzer, his concept is "warm air" for the dark german sound.
http://www.SkypeClarinetLessons.com
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Author: BobD
Date: 2010-08-02 15:37
Off hand I can't imagine how you can expect to get a darker sound from a Signet.
Or a mouthpiece that you consider a piece of crap. In my opinion you can't get to where you want to be from where you are.
Bob Draznik
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Author: David Spiegelthal ★2017
Date: 2010-08-02 15:38
Perhaps this is an anomaly, but my own Oehler system clarinet (an F. Arthur Uebel) sounds no different to me than my Boehm-system clarinets when I play it with a French-style mouthpiece -- it only sounds different when I use a German-style mouthpiece. And even with one of those, I wouldn't characterize the sound as "dark", rather it sounds a bit bright but with a fairly limited dynamic range.
But what do I know. I must be blowing tepid air through the instrument, or something.
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Author: Bob Barnhart ★2017
Date: 2010-08-02 15:55
Just as pasta is intrinsic to the "Italian sound", I think you must eat a couple of "brats" before you can get the proper "Warm air" of the (arguably 'meatier') "German sound".
Bob Barnhart
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Author: Paul Aviles
Date: 2010-08-02 16:02
Lot of good stuff hear. The truth is in the mix of above information whether we would ever be able to agree or not (definition of "dark sound" aside).
David Spiegelthal was able to confirm some of the others' contentions about the German sound production being related very closely to the smaller size of the mouthpiece and reed combo rather than the clarinet itself (internal pitch considerations aside as well).
Then there is the "voicing issue" which has bothered me for years as well. In Jack Brymer's book, "The Clarinet," he mentions the use of the Germanic "OOOO" sound for that sound's production. This is one way to achieve a slower column of air (less direct than "EEEEE" sound) and the resultant "warmer air." Warm air being what you produce when blowing on your hands upon coming back inside after being out in the frigid cold Winter's air. A far cry from what you do when you blow on a hot cup of coffee to cool it off. These are of course only ways at getting at a description that might be useful in replicating what the specific player in question is doing to achieve his/her sound.
I don't know if Leister or Meyer would ever describe their air column as starting out in an oral cavity shaped for "OOOOO," or as warm air though.
What we haven't touched yet is the German style of phrasing that also is part of the German sound. Most examples can be said to be "hyper controlled," or even "anal retentive." I had a German friend that said, "If you want to play like a German, you have to iron creases in the front of your blue jeans." There is definately something to that as well.
................Paul Aviles
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Author: srattle
Date: 2010-08-02 17:40
I have come across people here in germany talking about warm air, but never the "OOOOO" sound.
Most people in germany seem to teach an "ÖÖÖÖ" sound, with umlaut, with is basically exactly the same as "EEEE" but where the airstream is a little more focused down than straight forward.
(to be able to say Ö, start with and E sound, and then change your mouth to O while keeping the E with your tongue)
What I imagine the concept of 'warm air' is, has more to do with where the air comes from, and less how the air comes out. I notice that when I blow out (onto my hand) with proper support, the air is a little warmer than when I blow with my chest.
I think this is what they are talking about. Basically to try to pull air from the lowest part of your body, where maybe it's the warmest? not sure, but almost every player I've come across here plays with a high tongue, and quite fast air.
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Author: skygardener
Date: 2010-08-02 18:13
In addition to the instrument, mouthpiece and reed, the "German sound" is based on the German conception of sound. Chiefly, the way that speaking German trains one's mouth to move is important- as srattle mentions.
If the OP attempts to practice a few German phrases (maybe from youtube) and keep his mouth in that position when he plays the clarinet, there will be a noticeable change in tone.
I learned this when a teacher had me recite a French sentence to get the French sound- I was able to get that sound very quickly after than little exercise.
Also, holding the clarinet higher will assist in getting a sound that is more "German" as this is a common feature of their playing.
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Author: Ed Palanker
Date: 2010-08-02 19:06
Does everyone even agree on what a "dark" sound is? I don't think so. I don't think of most German sounds as being dark but I certainly like many of their sounds. I won't even attempt to use a word to describe what I think it is. I had a student once many years ago tell me that Anthony Gigilotti, he was going to Curtis that year to study with him, got a dark sound and I got a bright sound, I told him that I thought it was the opposite. The other two teachers at the summer music festival I was teaching at at the time laughed when I told them what he said and was in full agreement with me. It all came about when I told him that I thought he needed to "darken" up his sound and gave him a few suggestions how to do that. At least at that time it didn't help. I guess that was because he thought bright was really the new dark. Great player though. ESP
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Author: Old Geezer
Date: 2010-08-02 19:18
The "dark german sound" is best characterized as dank.
The idea of blowing "warm air" through a clarinet is best characterised as "hot air" in every sense of the word.
Clarinet Redux
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Author: MarlboroughMan
Date: 2010-08-02 19:44
Ed Palanker,
I tend to agree with you that Gigliotti had a bright sound, and I agree with you that the terms we use are sometimes rather nebulous.
But having said this, I do think it makes sense to live with commonly accepted descriptions, unless they are just egregiously wrong-headed, and that isn't the case here. I never hear people say "spread", "flaccid", "bright", or "buzzy" in typical relation to "German" sound, and this must mean something--maybe not everything, but something. Some of the adjectives I used in an earlier post on this thread to describe the Wurlitzer sound are not the ones I hear most often used: so be it. The fact remains that a vaste number of clarinetists over the years have associated the words "dark" "rich", etc, with typical German-bore sound.
Now, people in other countries wear blue jeans. Many Americans do not. But that doesn't stop most of the world from culturally associating "blue jeans" with "American style". Do we really have to quibble every time someone does the same sort of thing in the clarinet world?
Synaesthetic terms are incredibly useful when honing one's skills on an instrument at a high level: perhaps they are essential. And while the word "dark" is perhaps over-used, it doesn't seem to be going away. There seems, in fact, to be a sort of rough consensus as to what it means (personal anacdotes, which we all have, aside).
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Alseg
Date: 2010-08-02 20:07
(Disclaimer....I make and sell barrels)
I offer this only as anexample of how "dark sound" can vary between individuals.
I am frequently asked to create a barrel which will [help to]* produce a "dark sound."
Most of the time, after a good bit of information is exchanged, my efforts are appreciated on the initial offering.
Sometimes the recipient sends back a "too bright" barrel. I may re-test it and find that indeed it has accrued some extra high overtones; but, often as not, the barrel plays according to design.
What to do next? Well, sometimes the definition of "dark" winds up being Old Geezer's "dank" (see above). Other times, it might include "unfocused." On other occasions, the recipient is delighted with a barrel that I would call "resonant."
And oh yes.....all of this has to be with perfect intonation.
I reckon that this is why Ketel One was created. Cheers
*I added the "help to" just to keep it honest. Unfortunately, the request often does not include these magic words.
Also, I agree with Ed. AMG did not have a "dark" sound. By way of definition, I would say Dieter Klocker's sound exemplifies "dark."
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
Post Edited (2010-08-02 20:13)
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Author: ihagan15
Date: 2010-08-02 20:31
First, I would like to thank everyone for their overwhelmingly helpful responses.
What I have gathered is that the best solution would be a German clarinet. As I am a high school student, I can't presently afford a terribly expense clarinet. Are there any affordable (<$1500) German clarinets? I have ordered the Vandoren Deutschland mouthpiece and German style leather ligature. I have been playing on Vandoren Blackmasters for a while now. Also, I speak fluent German, (that's where my family is from), so I should be able to figure out the altered embouchure.
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Author: David Spiegelthal ★2017
Date: 2010-08-03 01:49
Amati German-system clarinets are probably reasonably priced and should be of decent quality:
http://www.amati.cz/produkty/bb-clarinets-german/
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Author: kdk ★2017
Date: 2010-08-03 01:55
But, of course, the real point as far as this discussion is concerned is that, whatever anyone else thought or still thinks, Anthony Gigliotti himself described his sound as "dark." Yet other competent clarinetists called (and still call) it "bright." The terms "bright" and "dark" are useless so long as those who are using them haven't established some level of agreement among themselves about what they mean.
Karl
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Author: Lam
Date: 2010-08-03 05:41
To ihagen15,
I would suggest purchasing a student model clarinet from Meisterwerkstatt like Leitner & Kraus or Dietz, these student model clarinet are actually of professional qualities (workmanship, materials etc.), only with less keywork. you won't regret for purchasing these "student" model clarinet.
By the way, did black master work well with your german facing mouthpiece (as i suppose it works for longer facing viennese mouthpiece)
Post Edited (2010-08-03 05:47)
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Author: justme
Date: 2010-08-03 07:18
I believe that what he wants is a German bore but one that uses a Boehm system, something like the wurlitzer.
So he doesn't want a German clarinet that uses the Oehler system, keep that in mind when listing German clarinets for him...
Take Care
Justme
"A critic is like a eunuch: he knows exactly how it ought to be done."
CLARINET, n.
An instrument of torture operated by a person with cotton in his ears. There are two instruments that are worse than a clarinet -- two clarinets
Post Edited (2010-08-03 12:02)
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Author: chris moffatt
Date: 2010-08-04 00:59
According to Stephen Fox the tone of a clarinet has more to do with the shape of the bore, (conical, polycylindrical or straight(ish) cylinder) than with the actual dimension of the bore. French horns tend to conical or polycylindrical while german horns tend to the straight cylinder. That said the dimensions of my B&H 926 are not much different from the dimensions of my Oehler and Albert horns - measured at top & bottom of top stack and bottom of lower stack. I also checked my selmer and a martin freres and they were both dimensionally similar to one another and different from the B&H, Oehler and Albert - very noticeably in the amount of flare on the lower stack.
I opine that eh search for a "darker" more "german" tone could easily turn into a lifelong quest and a severe case of G.A.S. I think if it were me, I'd try mouthpieces first or maybe scrounge an old B&H 926 or 1010 or an old large bore Albert for a trial blow or two before buying a new horn that might not give you what you want.
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Author: Paul Aviles
Date: 2010-08-04 17:04
Dear ihagan15
Since you speak German I would strongly suggest you try Thomas Reichle in Berlin:
thomas.reichle@holzblaeser.com
He MAY have a decent used horn that doesn't cost your first born.
As for mouthpieces, I had issues with the Vandoren German/Austrian mouthpieces in that (as of 1997.....my last look at the problem) these do NOT have the right size tenon for actual German or Viennese clarinets (they are too short and too narrow - made for American/French standards). This always struck me as odd since Vandoren White Master reeds where redesigned to correct size and cut by Karl Leister himself in the mid '80s.
If you get an actual German horn (inevitably pitched at 445 by the way), the mouthpieces to look at would be Wurlitzer, Vioto and Zinner to name a few.
Zinner used to be available in the US through "International Clarinet Suppliers" in Evanston. They are billed as German Blanks but they are indeed finished mouthpieces with various tip openning up to 1.05 mm (if I remember correcly).
And I would submit some new adjectives to describe the Geman sound:
Light, Lyrical, Creamy, Over-tone Rich (in person that is), Compact, NON Eduard Brunner Like (who plays more like AMG).
................Paul Aviles
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Author: Caroline Smale
Date: 2010-08-04 19:04
One significant aspect of the typical german clarinet bore is that it is more nearly cylindrical for a much longer percentage of its length than a typical Boehm system and in particular its lower flare starts very much further down the bore.
(The Buffet Tosca tries to mimic this in some respect).
Another factor is tonehole size, shape and spacing.
However I agree with others that the mouthpiece and reed factor is hugely important in deciding the tonal characteristic.
When I put my Vandoren crystal on a customer's Scwhenk & Segglke instruments the sound was very different from playing them with the original long lay and close German mouthpieces.
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Author: Paul Aviles
Date: 2010-08-04 20:19
As in above post from Dr. Segal , AMG = Anthony Gigliotti
..........................Paul Aviles
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Author: Bob Bernardo
Date: 2010-08-07 01:27
I was designing a German clarinet reed at Rico and we had Michele Zukovsky test some reeds. Her sound is very nice, but I have to say I like mine better. We all have a certain quality we want to gain in a mouthpiece. I'm not putting Michele down in any way. I'm sure tons of people like her sound. She deserves to be the solo clarinetist with the LA Phil. Her sound was not dark, nor was it bright, it was simply, "Her sound." In my opinion, it was not a German sound nor a French sound. It is a very clean well balanced German mouthpiece. I measured it and the facing was a shade longer than French mouthpiece facings, with a tip opening around 1.01mm's or so. The mouthpiece is also on the narrow side, meaning the distance between the rails. She is also a wonderful friendly person and easy to get to know and talk with. She likes the thicker blanks, such as the Van. V12's, but those are too wide. I really can't remember what reed she was using, maybe something from Germany, maybe she reworks French reeds, or makes her own, I can't remember.
I also heard Sabine Meyer play at USC when Mitchell Lurie was still teaching. Her sound was on the darker side, but I wouldn't consider it real dark.
Knowing all of this I think a custom mouthpiece, with the baffle, the bore, and chamber of the mouthpiece adjusted, you can probably get really close to that darker sound you are looking for; without making major changes such as using German clarinets and a German mouthpiece.
Hope this helps you rethink the exact sound you are looking for.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
Post Edited (2010-08-07 01:44)
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Author: Bob Bernardo
Date: 2010-08-07 01:38
There is also the American sound. Maybe we should talk about that in another thread.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: MarlboroughMan
Date: 2010-08-07 02:50
Michele Zukovsky's reeds are hand made for her by Stephen Bates, retired Bass Clarinetist of the Kennedy Center Opera Orchestra. From what I understand this has been the case for many years now.
His reeds are excellent, and are about the same basic size as a White Master; in other words they fit a German mouthpiece such as a standard Wurlitzer or Zinner/Pieterson.
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: skygardener
Date: 2010-08-07 04:52
As the OP mentioned, he bought a "german" mouthpiece by Vandoren, How is it?
To be honest, that is what I was using in college with little success. I did get a more German-esque sound, but the pitch was not good. As those mouthpiece are designed to go on German clarinets it is not a surprise.
Someone mentioned the mouthpieces from German makers that are designed for French system. That is another option I hadn't thought of.
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