 The Clarinet BBoard
|
Author: Micke Isotalo ★2017
Date: 2012-08-06 12:25
You who are playing these clarinets, what mouthpieces, reeds, ligatures, barrels and possible other accessories have you tried – and what’s your current choice? Has anyone tried the Backun barrels for German bore, and if so, how did they perform compared to the original ones – both concerning sound and intonation?
I play on a model 187 set from 2002 and right now the setup I prefer on the Bb is a Viotto N1+2 mouthpiece, Foglietta E* #3 reeds, the Wurlitzer string-ligature and the original Wurlitzer barrels. The Viotto mp is partly a compromise, since although I prefer its sound in the low and high registers (= below and above the staff) the Wurlitzer N1 with Foglietta E* #3 reeds and the Vandoren Traditional ligature (the string-like one) sounds better in the middle register (= within the staff).
On the A my current preferred setup is a Zinner M3R mouthpiece, Foglietta E* #3 reeds, the Vandoren Traditional ligature, and the original Wurlitzer barrels. Also the Zinner is a compromise with some good qualities in the low and middle registers, but in the high register my preference would be the Viotto N1+2 with Foglietta E* #3 reeds, the BG L7SR "Super Revelation"-ligature (the one with a gold plated resonator) and without any added mouthpiece cushion between the upper surface of the mouthpiece and the ligature (on the Bb such a cushion together with the same ligature and mouthpiece improves the sound, but does the opposite on the A …).
Recently I did a quite thorough comparison of the following mouthpieces:
• Wurlitzer N1
• Wurlitzer 3WZ (for French cut reeds)
• Vandoren M30D (also for French cut reeds and a German bore)
• Zinner M3R (nowadays called 3MR, originally designed for Yamaha’s Reform-Boehm models)
• Viotto N1+2
Other mouthpieces I have tried before are Wurlitzer M4, M5+, K4, and Vandoren VD2 (for German cut reeds) – which I however ruled out from this recent comparison.
The reeds included in this comparison were:
• Foglietta E* #3 and #2,5
• Foglietta C* #3
• Vandoren White Master #3
• Vandoren Black Master #3
• Vandoren Rue le Pic #3
• Vandoren V12 #3
• Vandoren Traditional
• Schwenk & Seggelke French cut #3
The ligatures were:
• Wurlitzer string
• Vandoren Traditional
• BG L7SR "Super Revelation" (with a gold plated resonator). This one both with and without a mouthpiece cushion between the upper surface of the mouthpiece and the ligature.
• BG Traditional (whole metal and gold plated), also with and without a mouthpiece cushion between the mouthpiece and ligature).
I didn’t include barrels this time, but about a year ago I tried out a lot of barrels for a German bore from Schwenk & Seggelke. For short, the sound quality of the S&S barrels was close to Wurlitzer's original ones, but not superior. Blowing resistance was generally a little bit higher, with some variation between different models. Tuning-wise these barrels were also quite equal to Wurlitzer’s, except of the highest register which was sharper (c3-c4, according to European labelling of octaves).
I would also like to mention that as a basis for my comparisons concerning sound quality, I use digital recordings of quite high quality. Then I compare the recordings - or even short parts from them – in pairs on a computer and in instant succession, which helps a lot in discerning the differences.
I will probably soon open also another thread about the differences in sound between my Wurlitzer Bb and A clarinets and especially about a hissing noise on certain tones (especially on the Bb and B within the staff), which is present only on the A but not on the Bb.
Micke Isotalo
|
|
Reply To Message
|
|
Author: MarlboroughMan
Date: 2012-08-06 15:05
Micke,
Interesting thread--thanks for posting.
My Wurlitzers are Reform-Boehms made by Fritz Wurlitzer in 1951 (making them fairly early examples of the Wurlitzer Reform-Boehm). I've played on a current 187, and several sets of 185s. The 185s seem to me to direct descendants of the original Fritz Wurlitzer concept--the 187s not so much--they seems more of a compromise, and not as comfortable for me.
Like you, I've played many different mouthpiece, reed, and ligature combinations--including many you mention. My favorite mouthpieces were the model Zinner made for George Pieterson, based off of Pieterson's original Fritz Wurlitzer mouthpiece. When compared to a Fritz, they are definitely different--quite obviously Zinner's "interpretation" of the original, but great for my horns.
I also like the current WZ2 mouthpieces offered by Wurlitzer, and have a pair of excellent Viotto N1s.
I prefer string ligature, and always returned to the original Fritz Wurlitzer barrels on the instruments.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
|
|
Reply To Message
|
|
Author: Ken Shaw ★2017
Date: 2012-08-06 23:52
I keep a pink plastic rose wrapped around the bell for my Bb and a red one for my A. That way I don't confuse them. ![[rotate]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley25.gif)
|
|
Reply To Message
|
|
Author: kenb
Date: 2012-08-07 00:02
Micke & Eric,
Thanks for the information.
Mouthpieces: Ive tried a number old Wurlitzer M3+ (early 80s), a Wurlitzer C4 and a 3ZW, and Viotto G3 and N1+2.
Reeds: Vandoren White Master & Black Master, Foglietta, Reeds Australia German-cut, and Steuer S100.
What works best for me is the Viotto N1+2 , on both A and Bb (model 185), with either Vandoren White Masters or Steuer S100 (2.5-3.0).
Tonally, I prefer the Wurlitzer barrels, but have a Paulus & Schuler Zoom (adjustable) barrel that works very well on both instruments - great for handling temperature extremes.
Ligature? A Vandoren Optimum for testing reeds and (sings) "Viotto mouthpieces tied up with strings, these are a few of my favourite things..."
K.
Post Edited (2012-08-07 00:21)
|
|
Reply To Message
|
|
Author: rtaylor
Date: 2012-08-07 16:15
I too went through a lot of different combinations on my set of 185 Wurlitzer's from 2004. I tried or used mostly Wurlitzer mouthpieces listed below
Wurlitzer
B4
D4
K4* (Zeretske faced)
WZ2
WZ3
I had a Viotto for a while initially but reeds were an issue for matching and the pitch was too high
I recently landed on the Nick Kuckmeir mouthpieces, model B2. They play for me very well with a centered dark tone. I use VD 56 RLP after many reed trials using BK, AW, Foglietta and various Vandoren White, Black masters as well as V12 over time.
I too have a Paulus and Schuller zoom barrel that works well but the sound is a little bright for me.
I took my instruments to Neustadt back in March of 2011 and Ulrich gave me some Wurlitzer barrels to try. He said they were some special bore. I can't confirm that but I will tell you that there are my "go to" setup now all of the time. They work very well with the Kuckmeir mouthpiece.
I did try the Backun german barrels and i found them to have a somewhat "artificial" or plastic sound on my instruments.
Ligatures? I went with string for a long time but I've settled on the Rover MKIII. It matches the string very well and there is no drama potential when you have to make a quick clarinet change.
Robert
|
|
Reply To Message
|
|
Author: Jeroen
Date: 2013-09-04 15:38
Hi Micke, it's a year later but searching for the ideal setup never ends...
The past 4 years I played several sets of H. Wurlitzers. It all started with a set from 2004 which may resemble your instruments the best. I've always found them very sensitive to the correct setup, both for sound and intonation.
Basically I found the sound of the instruments (especially the Bb) a little compact and that's why I was never complete satisfied with the very good Viotto N1+2 mpc. For sound I like the larger chamber Wurlitzer mpcs. Also for intonation the Wurlitzers are better, especially the newer mpcs like WZ2. My experience is that on these 2004 instruments the older 'Reform Boehm' versions of Wurlitzer mpcs give intonation troubles. The normal 'Deutsch' versions give better results.
I have tried almost every Wurlitzer, Viotto and Zinner mpc.
I consider the Viotto N1 +2 as the 'allround' mpc.
Some alternatives that work also for me:
Zinner 4MR, more powerful sound with nice overtones but a little too open. I use this in orchestra when I need some extra cutting power.
Wurlitzer B4 (not the RB version), good intonation and large tone but a little dark.
Wurlitzer WZ2, perfect intonation and beautiful sound, but a little close. My current choice for chamber music.
French crystal mpcs (made by Pomarico) like Vandoren A2, beautiful round sound and remarkable good intonation. My current choice for jazz and solo.
Reeds:
For some reason I always return to Vandoren. White Masters on the German facings and V12 on the French facings. Strong reeds do not work on these instruments: the sound gets muffled and intonation suffers.
Most of the time I use #2,5. Sometimes on the Wurlitzer mpcs even #2.
I've never tried Foglietta.
Barrels:
I tried some S&S barrels (with Medium bore) but they make intonation worse. May be a smaller bore will work better.
I've got some 'special' barrels from Wurlitzer which add focus but I changed back to the original ones for better (larger) sound.
Never tried Backun.
Would like to try ringless barrels sometime.
Ligatures:
Depending on mpc, reed and acoustics I use:
Luyben, soft plastic
BG super revelation (with the metal rails)
BG 'normal' (with the rubber rails)
Paraschos wooden composite ligature
I have not used the string ligature lately.
Jeroen
|
|
Reply To Message
|
|
Author: Micke Isotalo ★2017
Date: 2013-12-27 20:55
Hello Jeroen,
Thank you for sharing all those experiences. I don't get answers to my posts by email (probably due to a spam filter somewhere), and I just happened to check this thread today - but as you said, the search continues all the time!
I agree that German mouthpieces seem to be better concerning intonation than the Reform-Boehm ones (at least on a 2002 RB Wurlitzer). I realized just recently that I have played all the time on a N1+2 for German bore and when I finally tried out some for RB-bore, they were not at all as good. The only problem is that the overall pitch gets quite sharp, at least with reeds around #3 in strength (a 442 is ok in orchestral work but in solo work with less pauses and a warmer instrument the a easily rises to 445 - without pulling the barrel).
Since about a year ago I have switched from Foglietta to Leitner & Kraus wide cut reeds. Works great with N1+2 but they are physically too wide for Wurlitzer's. Right now I'm also trying out some wide cut Pilgerstorfer reeds. Leitner & Kraus wide cut has a quite soft and velvety (dark?) sound, as do the Pilgerstorfer's - which is in my taste.
Vandoren "Traditional" ligature (the stringlike one) works well together with the Leitner & Kraus reeds but not with the Pilgerstorfer's.
Micke Isotalo
|
|
Reply To Message
|
|
Author: Ken Shaw ★2017
Date: 2013-12-28 03:23
I apologize for the comment about plastic roses. However, I have found a significant difference in tone color between using Blattschnüre supplied by Herbert Wurlitzer and those supplied by Fritz, and dramatic differences between those dyed black and those dyed red. The black ones give a dark tone color. The red ones are fiery.
In other words, you sound like yourself. Perception of the effects of small changes in accessories is pure placebo effect.
Ken Shaw
Post Edited (2013-12-28 03:29)
|
|
Reply To Message
|
|
Author: MarlboroughMan
Date: 2013-12-28 03:44
Alright, that was awesome, Ken. Apologizing for a quip made over a year ago.
Then adding fuel to the fire.
Buy that man a beer, somebody.
(If you come to Cleveland, I'll buy it myself.)
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
|
|
Reply To Message
|
|
Author: Micke Isotalo ★2017
Date: 2013-12-28 13:07
Ken: Though I can't fully agree you have a point anyway about the placebo effect.
In my personal opinion perhaps the best way to counteract it is by making good quality recordings using different accessories (or any equipment) and then comparing them in instant succession on a computer and with good quality speakers/headphones. One could also anonymize the file names to prevent bias.
Still one has to remember that things as your voicing does differ slightly from one recording to another, your reeds will perform differently from one day to another and also during the same playing session, and so on. So one has to learn to distinguish such variables from "real" and usually more notable differences.
In my experience using recordings this way is also a good way to train the sensitivity of your ears for variations not only in intonation but also in sound.
Micke Isotalo
|
|
Reply To Message
|
|
Author: Micke Isotalo ★2017
Date: 2014-12-15 13:35
Here comes just an update to this thread based on a recent comparison - for possible benefit of other Wurlitzer and Reform Boehm players.
Details below, but first for short: My current choice of mouthpiece, reed and ligature is now a Vandoren B40D, Mitchell Lurie (!) and Wurlitzer string for the Bb and Vandoren leather with the black plate for the A.
The mouthpieces compared were these, with some comments:
* Viotto N1+2, German bore (not Reform Boehm, where the internal intonation isn't as good for me). For German cut reeds but works well also with wide cut German reeds up to 13 mm in front width. My long time favourite until now. The overall sharpness caused by the German bore (less internal volume than the RB) can be managed to an a 442-level by pulling the barrel as well as the upper and lower joint. However, internal intonation would probably deteriorate at an a 440-level (= too much pulling).
* Wurlitzer 3WZ. For French cut reeds and a popular one but for me the B40D is softer and denser in all registers. The 3WZ is also quite buzzy in the low register. I wonder if a heavier material like hard rubber would sound better than the present quite lightweight acrylic. The main advantage of mouthpieces for French cut reeds seems to be the sound in the high register (above the staff) which isn't as thin, nasal and edgy as on many mouthpieces for German cut reeds.
* AW (Alexander Willscher) D100, for German cut reeds. Some interesting innovative features as a more vertical blowing angle and a cross section of the part taken into the mouth of an oval rather than cylindrical shape, for a more conveniant and "airtight" fit to the mouth. Very light weight. I wonder here also if a heavier material would sound better.
* AW (Alexander Willscher) D120F, for French cut reeds. Same comments as above.
* Vandoren B40D. For French cut reeds and the winner of this comparison. Same overall sharpness as with the Viotto N1+2, but manageable in the same way. Better internal intonation with e on the bottom line and surrounding being less flat and altissimo being less sharp. Traditional "French" fingerings works in the altissimo. C7 (C4 in Europe) is a lot harder to hit compared to the Viotto.
* Vandoren M30D, also for French cut reeds.
* Vandoren D2, for German cut reeds.
* Vandoren D4, for German cut reeds.
* Vandoren D6. Can be used with both German and French cut reeds, as Vandoren tells.
* Zinner 5M, for German cut reeds. A really heavy weighing one, of some special kind of hard rubber. A mouthpiece of this material but for French cut reeds would be interesting to try out.
The reeds were:
* Vandoren White Master Traditional
* Vandoren White Master (the new cut)
* Vandoren Black Master (the old ones)
* Vandoren Traditional (blue box). Not the one recommended by Vandoren for the B40D, but on the A-clarinet it's a good one in the low and middle register (below and within the staff).
* Vandoren V12
* Vandoren Rue Lepic. Recommended by Vandoren for the B40D but for me it wins only the high register on the Bb-clarinet.
* Pilgerstorfer Morré German cut breit (= wide). Works also on the B40D. The sound in the low register (below the staff) is outstandingly soft and dense as well as lacking unwanted qualities such as hoarseness or buzz. Sadly though, the high register (above the staff) is quite thin and edgy - at least on the mouthpieces in this comparison. The wood itself, called Morré cane by the manufacturer, is quite rough and causes me a bleeding tongue when playing a lot of staccato!
* Pilgerstorfer Dolce (French cut), made of "French cane" which is smoother and friendlier to the tongue!
* Pilgerstorfer Classic Breit (German cut), also made of "French cane".
* Leitner & Kraus wide cut. My favourite until now, together with the Viotto N1+2. However, my last order in the spring of 2014 had only a very few good reeds compared to my previous orders. Also the strength's had changed with a 3,5 of the latest order being equivalent of a 3,0 (or even 2,5) from the previous one. I wonder if the cut itself has been altered.
* Mitchell Lurie. I tried this one with no expectations and just because it happened to be at hand. To my great surprise it works very well with the B40D, especially in the middle and high register. So far this one is my first choice as an all round reed for both the Bb and A.
* Mitchell Lurie Premium. A rougher sound compared to the regular ones on the Vandoren B40D.
The ligatures were:
* Rovner Star SS-1E/SS-1R. A resonant ant vibrant one, but not for me looking for smoothness and density.
* Rovner 1E/1R. Quite the same as above.
* Rovner Versa V-1R
* Vandoren leather, with three different resonance plates. The black leather plate works best for me.
* Vandoren "Klassik" (the string like one, called "Traditional" by me in previous post's in this thread ...). I tried both the German and French model, but they have identical measurements, including the cap.
* Wurlitzer string
* BG "Super Revelation" (the leather-like one with a gold plated resonator)
So far the best mouthpiece, reed and ligature combinations in different registers and concerning sound are the following:
Bb-clarinet:
* Low (below the staff): B40D, Pilgerstorfer Morré German cut breit 2,5, Vandoren Klassik (the string-like one)
* Middle: (within the staff): B40D, Mitchell Lurie 3, Wurlitzer string
* High (above the staff): B40D, Rue Lepic 3, Vandoren Klassik
A-clarinet:
* Low: B40D, Vandoren traditional 2,5, Vandoren leather with the black plate
* Middle: B40D, Vandoren traditional 2,5, Vandoren Klassik
* High: B40D, Mitchell Lurie 3, Vandoren leather with the black plate
As mentioned in the beginning, so far the best compromise between the registers and on both clarinets seem to be the Mitchell Lurie, with the Wurlitzer string on the Bb and the Vandoren leather on the A. However, reed-testing is still in progress.
Micke Isotalo
|
|
Reply To Message
|
|
Author: HANGARDUDE
Date: 2014-12-15 20:26
Mike, another mouthpiece you should consider is the Playnick Solist M. It available in both French and German bores. It is one of the best mouthpieces I've ever tried!
Josh
|
|
Reply To Message
|
|
Author: Jeroen
Date: 2014-12-16 02:34
Micke, thank you very much for your update.
I also have a B40D but for some reason I can't find a good reed on it. I will try it with VD classic 2,5.
Much depends on the instrument. As I said before my former 2004 pair were very sensitive to mouthpieces. I have now settled on a pair of H. Wurlitzers from 1978. They behave a lot 'better' in this way.
The Viotto N1 +2 is a perfect match to them. Reeds: White Master Traditional 2.5 to 3.0. However I could use some longer barrels as I sometimes have to pull a lot.
Jeroen
|
|
Reply To Message
|
|
Author: Micke Isotalo ★2017
Date: 2014-12-19 02:43
Joshua: Thank you for your suggestion.
Actually, in September 2012 I tried the following mouthpieces from Nick: Solist RF, Solist Z, Solist M German, Solist M French and Play Easy B2. Closest to my taste of these were the Solist RF, but I didn't perceive it as superior to my favourite by then, the Viotto N1+2. The Solist M I perceived as quite hoarse in all registers. Which reeds and ligature do you use with your Solist M?
Micke Isotalo
|
|
Reply To Message
|
|
Author: Micke Isotalo ★2017
Date: 2015-12-30 21:47
Here comes still another update to this thread - for possible benefit of other Wurlitzer and Reform Boehm players. Please tell also about your own recent experiences with these kind of instruments.
Encouraged by Jeroen and other positive comments on this list about the Playnick mouthpieces I decided to give them another go.
I tried in total four Play easy B2 and four Soloist M, the most of them with apparent differences even to the naked eye and especially concerning the shape of the window and the thickness of the rails.
To me the sound quality is very similar between the B2 and Soloist M, but the bore is slightly larger on the Soloist M and you can get a louder sound with less effort with it compared to the B2.
The best thing concerning sound on these mouthpieces is the two lowest notes, e and f, which are sounding better than on any other mouthpiece I have tried.
However, what bothers me is a disturbing hissing noise or airiness on several tones, especially on the low g below the staff and several of the throat tones. This was the main cause why I rejected them at my previous trial.
Anyway, this time I kept the one which seemed to be the least hissing one which was a Soloist M.
Tuning on a Reform Boehm is another issue, which becomes more complicated than with many other mouthpieces. The main problem is altissimo which becomes quite flat.
The reed that worked best for me was a wooden Jochen Seggelke French cut #3, or "JSB F". I also kept some NickLegere Signature reeds but just for practice.
I played a few months with this mouthpiece but then got the new Wurlitzer 3CS for trial. No disturbing airiness and a lot easier concerning internal tuning, actually very similar to the popular Viotto N1+2 (for German bore, not Reform Boehm). However, the overall pitch isn't as sharp as on the Viotto, which also is good for me.
Wurlitzer recommends V12 #2,5 reeds for the 3CS, of which the most may be a little bit too soft. However, the most of #3 could be a little bit too hard. I prefer the Pilgerstorfer Dolce #3 for this mouthpiece, which also mostly tend to be on the soft side. The #3,5's are mostly on the hard side, at least for me.
The Soloist M compared to the Wurlitzer 3CS is still better sounding on the lowest e and f, but for the rest I prefer the 3CS. To me, the 3CS is also better sounding especially in the low register compared to the Wurlitzer 3WZ.
Micke Isotalo
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2015-12-30 22:02
I am just getting my feet wet with German mouthpieces again after a LONG hiatus. Apparently even when I had used them in the past I was using reeds that were far too strong (nr. 4 White Masters on M3+ Wurlitzer).
This new round of trials has been most rewarding, particularly in the sound quality that I can get with Legere reeds on them (strengths 2 1/2, 2 3/4 and 3).
I have a question:
Are Nick/Legere STILL available in a Signature series. I have not seen them!
[CORRECTION I now realize that you are talking about the French cut ....sorry]
................Paul Aviles
Post Edited (2015-12-30 22:15)
|
|
Reply To Message
|
|
Author: Micke Isotalo ★2017
Date: 2015-12-31 00:36
Paul, yes they are. At their site on http://playnick.com/index.php?cmd=s&id=189 Playnick states the following: "The new German Signature Reed, which is a little bit wider and therefore fits perfectly on our Solist M-mouthpiece is now available."
By the way, these NickLegere Signatures work also on the Wurlitzer 3CS, though I prefer wooden reeds also on that mouthpiece.
A suitable strength for me on the Solist M is marked S on the NickLegere Signatures, but as wooden reeds they vary within that mark. Some are too strong, others too weak. The weaker ones suites the Wurlitzer 3CS, thus requiring a tad softer reeds than the Solist M.
A positive thing with the NickLegere reeds is that after trial you can send back those reeds that don't suite you. Ater all, why shouldn't synthetic reeds treated with care be reusable as well as mouthpieces that has been out for trial?
Micke Isotalo
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2015-12-31 01:02
Thank you SOOOOOO much for this information!
I still am not seeing them for sale through "Thomann" or the Nick site itself!
I had been gifted and older German Legere that was clearly made differently than the contemporary version. It features a much quicker response and a better core sound. If the new Signature series can do that, I will be very very happy.
Currently I am using a Viotto N1 on a Boehm clarinet (intonation is just fine!).
...............Paul Aviles
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2015-12-31 06:14
Update from the Legere Co. They categorically deny the existence of a Signature series German cut reed.
This is confusing enough to prevent anyone from playing German clarinets!!!!!
..............Paul Aviles
|
|
Reply To Message
|
|
Author: Micke Isotalo ★2017
Date: 2015-12-31 12:08
Paul, I can't either find a regular "web shop" on the Nick site but you can order any of their products for trial as "articles sent on approval". For non-EU member states you also have to fill out a "letter of agreement"-form. See http://playnick.com/index.php?cmd=s&id=163
However, the NickLegere Signature reeds are only available as French cut reeds, thus suiting the PlayEasy B-series and Solist M mouthpieces but not the PlayEasy D-series or other mouthpieces for German cut reeds.
The reason for this may be that the material and/or cut of the Signature's can't be made stiff enough. As an example, the Legere Signature reeds for Bass clarinet goes up to just 3,0 in strength while the "non-Signature" Legere Bass reed goes up to 5. Or there may be other reasons unknown to me.
A German cut reed with the same number as a French cut reed is usually stiffer, but the difference is perhaps just somewhere between 0,5-1,0.
Micke Isotalo
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2015-12-31 13:38
Thanks again for further information.
Wow, a "letter of agreement." I have placed several orders through "Thomann" and they only require a credit card!
..............Paul Aviles
|
|
Reply To Message
|
|
Author: Jeroen
Date: 2015-12-31 19:25
Micke: I a;so tried some of the Gleichweit mouthpieces, but only the RB versions. They all played airy with bad focus. So I sent them all back. May be because I played them with VD WMs and not with Frech cut reeds?
By the way, on the moment I prefer a Zinner Pieterson mouthpiece above the Viotto N1+2 on my 1978 H. Wurlitzers. Gives a bit more bite and overtones.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
