 The Clarinet BBoard
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Author: Patrick Sikes
Date: 2014-02-15 21:21
Apologies for the enormously trivial posting, but...does anyone know what lig he uses? You can images from a google search, or the link below:
http://www.youtube.com/watch?v=JVRgKs5t86A
I notice others have asked in the video, and my curiosity gets the best of me.
Thanks for reading, and apologies again for wasting your time.
Thanks!
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Author: Alseg
Date: 2014-02-16 05:28
I believe these originally came from the great Abe Galper, his teacher in Toronto for whom these were formulated.
It has 3 tightening screws, the middle one is set opposite to the others. It holds the reed very securely.
Mr. Galper gave a fewl to another of his students, Roi Mezare, who has been my mentor since I returned to more concentrated playing. He, in turn, had me work on one that had suffered some metal fatigue. I soldered it, but it needed further reinforcement. It seemed to be a fairly substantial nickle coated brass, heavier than a Kaspar.....the heftiness is more like a Bonade. It is fairly large.
It is not delicate, and when fastened, it will not readily come off. There are no internal ridges or struts....just a smooth but wide inner surface.
I doubt any are made now.
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
Post Edited (2014-02-16 05:31)
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Author: Ed Palanker
Date: 2014-02-17 21:17
Using the same one will not make you sound like him, or anyone else for that matter.
ESP eddiesclarinet.com
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Author: Alseg
Date: 2014-02-17 16:57
Not true, Ed.
I put that ligature on my clarinet, turned on the microphone and recorder and said "Go Penguins!" and lo and behold, on playback, I sounded just like him.
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
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Author: Patrick Sikes
Date: 2014-02-18 00:20
I realize that, Mr. Palanker. Thus, my inclusions of "extremely trivial" and "wasting your time."
An overly-equipment-obsessed student asked, and I did not know. It seemed to be a "good" design that I was unfamiliar with.
Sometimes, I find slight experimentation, as .01% of any time I spend with my instrument, to be immensely rewarding in the exploration of one's voice, beyond "good" and "bad," or isolationist ideas of "schools" that to me seem ridiculous.
Granted, it's all within ourselves, and our own ears, lungs, mouths, throats (etc.), but in making certain things easier, and certain things more resistant...perhaps we can break our own barriers, and let our own thoughts and feelings shine a bit more. Or, rather, .01% more. But what is art but the fine details?!
I consider it wine-tasting, in the very slight colors able to be obtained. Ridiculous in its own right, but something I personally tend to enjoy...every once in a very long while. And at the very least, it can further allow me to explain my own preferences beyond that of what is told to me from the fount of knowledge by my omniscient teacher.
Useful to win an orchestral chair? Obviously not, but surely there are other objectives for those who pursue our instrument's abilities and limitations.
And while this dancing-about-architecture may simply be more triviality-within-triviality...I think that's the entire nature of this site (which I, again, personally enjoy!)
That being said, I do find (as probably so many of you do) a culture of equipment-in-substitution-of-practice to be eternally hindering our latest generation of players, thus I appreciate the almost compulsory regiment of such postings. Just thought I'd play devil's advocate for a (not) short bit.
_
I'd look forward to hearing Mr. Rusinek in ANY orchestra or setting! To my ears (here we go again with opinions that are so taboo in this site), he has among the most substantial, projecting, colorful, tangible, heartfelt, non-isolationist sounds I have ever heard. And an agility and energy that appeals to not just clarinet-pedagogical ears. Something that I think this world needs much more of. Let the quartering begin! (what a show!)
And many thanks, Dr. Segal, for your detailed answer! :-)
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Author: seabreeze
Date: 2014-02-18 01:27
Yes. And, so far, at least, Mr. Rusinek has managed to sound this good without sporting a bulbous and protuberant cocobolo barrel on his instrument. His tone production seems very efficient; that is, when he blows in, a large quantity of well-shaped sound comes out, instead of a muffled and spreading whisper. I agree, he would sound great in Chicago.
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Author: donald
Date: 2014-02-18 04:04
I've got to say, i had heard of Mr Rusinek every now and again over the years but never heard him play (at least that I was aware of) until I saw a few things on Youtube a while back, and have been pretty darn impressed! A very artful player with a beautiful sound.
dn
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