 The Clarinet BBoard
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Author: Ursa
Date: 2011-05-04 20:27
Esteemed colleagues:
I've found a setup that works excellent for me for big band/jazz: a vintage Brilhart Tonalin mouthpiece, 4 facing marked on the table, with a Rico Plasticover 2.5 reed, and a Rovner Dark ligature.
The problem is, the dang Plasticovers lose their coating over the course of a night's work, and I'd like to find an alternative.
The cane reeds I've tried so far (Rico, Rico Royal, Mitchell Lurie, and Vandoren Traditional) quickly waterlog on me, so they're out for big band use. My collection of standard-type Legeres that I use for classical playing does not work with the Brilhart, and the Fibracells I have seem to lose their springiness after about 45 minutes of hard playing.
Can anyone suggest an alternative that's worth trying for extended play at high dynamics?
Cheers,
Ursa
Ridenour Lyrique 576BC
Conn Pan American 58N
Noblet Normandy Première Modèle with Backun MoBa grenadilla barrel
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Author: William
Date: 2011-05-05 15:43
I began using the new Forestone clarinet reeds in May, 2009--for a performance of "Peter & the Wolf"--and liked them so much that I have also started using them on my alto and tenor saxophones. The big "plus" for me on sax is that they can sit idle on the stand and, since they never need moistening, they are always ready to play as soon as I pick the sax up. This is especially good for doubling gigs--combo, big band & theatre pits, ect. Forestone reeds are consistant, never need conditioning or "breaking in", play consistantly in all registers with a full, rich sound and will keep on playing indefinately. After a year of use, I have still to wear on out.
FWIW, my set ups are: Selmer BA alto w/Hollywood Gregory or Selmer "jazz" metal C* mpcies; Selmer VI tenor w/Guardala "studio" mpc. Winslow ligs. Also, my sop clarinets are 1960's R13's w/Chicago Kaspar #14 mpc.
Forestones allow me to play the music without having to worry about playing the reed.
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Author: Bob Phillips
Date: 2011-05-05 18:14
My experience with the Forestone clarinet reeds has been somewhat positive, but I'm back to playing cane.
Compared to most of the cane reeds, the Forestone numbering system is quite soft. I play ~3.5 in cane and need a 4.5 or 5 Forestone --so you might want to start experimenting at the upper end of their hardness scale.
Bob Phillips
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Author: William
Date: 2011-05-06 14:19
Bob--I agree that the Forestones run a bit softer in relation to the cane reeds. I used to use V12, 3.5 but find that the F4.5 is what I now need. My mouthpiece (Chicago Kaspar #14) is the same.
However, the sax reeds seem to run harder, at least, the ones I received a year ago. Ex--on my tenor Guardala "studio", I was blowing medium strength reeds of various brands (whatever worked, lol). However, the Forestone #2 or 2.5 is the strength that works best now. Same for alto--softer, not harder.....
Nevertheless, Forestone is continuing to refine their reeds to our pro needs and the newer reeds may have changed strengths to make reed selection a little easier. Like with the cane reed, you really have to be willing to try different reeds until you find what works best. But when you do find the right Forestone strength, you can be assured that all future reeds will be consistant and play about the same. Can't say that about cane.......
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Author: Arnoldstang
Date: 2011-05-06 15:59
Given that it's loud playing I would clip the Fibracell after they start to weaken and do a bit on the thick tip with the ATG. I have used the ATG on with these reeds with success. Alternatively just start with a harder Fibracell than you normally use and break it in.
Freelance woodwind performer
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Author: Ursa
Date: 2011-05-06 16:27
Thank you all for your suggestions and observations.
Regarding the Fibracells--I was wondering if the Fibracells could be clipped and sanded as with a cane reed; based on Arnoldstang's experiences they can indeed be worked on. Will definitely give that a try...
I'll be giving the Forestones an audition in the near future.
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