Author: TomS
Date: 2015-11-29 00:56
I don't think you necessarily have to use an "unbalanced" reed on a MP with an asymmetrical facing. The asymmetry is, in part, to correct for the uneven embouchure pressure that most of us have on the reed, due to the way the clarinet is supported in the hands.
Since it is impossible to perfectly balance all MPs, all are asymmetrical to some extent, even if the design and manufacturing goal is for symmetry. In addition, many factors can be unbalanced other than the facing, such as the baffle, slot, etc.
When the Woodwind Company sought to reverse engineer the Kaspar MP that Mr. Robert Marcellus played, they found that his favorite MP had a very slight asymmetry in the facing curve. When they introduced this slight crookedness, they found that it made little or no difference in playing characteristics to Mr. Marcellus, therefore the production models hadn't this characteristic built in.
I borrowed a hand-selected (after many trials) Pyne Signature MP in the "M" chamber for several months from the 2nd clarinet of the local Arkansas Symphony (she switched to a different chamber) ... and almost purchased it. It had many redeeming features such as great intonation and played interval leaps with ease. Ultimately, it didn't mind the resistance, but didn't like the hard timbre character the MP had in the upper clarion register and above.
So, the best thing is to give them a try ... you may hate the Pynes, or like my experience, decided they were pretty good. Our principal clarinet here in the flagship Arkansas Symphony was a top student of Robert Spring, and has been a Pyne artist for decades, and won't switch.
I'd go thru the VD line first, just to see ... IMHO the consistency is better than ever on their MPs ... you have to search to find a "bad" one, nowadays. I consider the 5RV-lyre as a good starting point.
Tom
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