 The Clarinet BBoard
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Author: Musikat
Date: 2017-04-28 07:23
For as long as I have been an adult (if not before, in high school or at Interlochen music camp), I have played on a Vandoren V12 4 reed. I've tried many others but always come back to that. I am not a professional by any means, but always end up in the top section of community and college/community bands I play in. I frequently get compliments on my tone. However, I do feel I work very hard at playing and I long for that ease of playing where it just feels effortless. I also haven't been satisfied with my altissimo, which always feels forced and and a little strained and shrill. I have been working on not biting, which I probably do, but I don't think it is extreme; opening the throat, using more air, etc. and nothing worked.
So I am trying out some new mouthpieces, and have received my first two trials from Gregory Smith, who says he optimizes his mouthpieces for 3.5 strength reeds. At his suggestion I bought a box of 3.5's as well as a new box of 4's, both V12. (Next I will be trying Walter Grabner's in person in Illinois).
I definitely notice an improvement in my altissimo (and tuning, which is a plus) with the Smith mouthpieces (my preference is the 1+ over the 1++ and he is sending me one more model to try). A family member who frequently complains about my shrill high notes commented unsolicited on the nicer sound as well, so it isn't just me. But the 3.5's sound horrible. They are like playing a kazoo, tonguing is thuddy and high notes are flat and not centered. I have tried loosening my embouchure, but can't find that nice tone I get with the 4's on this mouthpiece, as well as my old one. I only got the mouthpieces yesterday, so I haven't had a chance to try them in band yet to check how hard or easy they feel in that setting with my 4's, but my question is, is there a way (and is it even worth it) to try to somehow learn to make a good tone on 3.5's to work less hard, or is my particularly mouth/setup just "set" to 4's? I do like the easy response of 3.5's but that is about all!
By the way I do fix many of my 4's. Typically I get 2-3 out of a box that need little if no adjustment and the rest are hit or miss. If I am lucky I can get 4-5 really good ones with maybe 2 ideal for concerts out of box, and all but 2-3 of the rest are playable with help and for practicing.
The rest of my setup is an R13, Wesley Rice barrel and Rovner dark ligature.
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Author: RKing
Date: 2017-04-28 16:54
Even though you are not totally satisfied with your "old" setup, you did have some success with it. I would be reluctant to change too many things at once, so I would still try any new mouthpiece with one of my current reeds and work from there. If you change too many things at once, you will never know which change was the one that worked.
Even though Gregory Smith optimizes his mouthpieces for a certain reed, all of us have different mouths, embouchures, and styles. So I would take any manufacturer's suggestion for what it is - a suggestion.
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Author: kdk
Date: 2017-04-28 17:02
Musikat wrote:
> is there a way (and is it even worth it) to try to somehow
> learn to make a good tone on 3.5's to work less hard, or is my
> particularly mouth/setup just "set" to 4's? I do like the easy
> response of 3.5's but that is about all!
If Greg Smith and Walter Grabner feel that optimal playing is possible on their mouthpieces with a #3.5 V.12, then that would seem to be the direct answer to your question.
For any given mouthpiece, there is a range of reeds you can use with good result, and a #4 on the mouthpieces you're trying is probably not out of the range. It depends a little on your individual concept of tone. Kazooey-sounding reeds typically are too soft, but "thuddy" articulation is typically a symptom of too-heavy tongue pressure and flat altissimo notes may be the result of the way you're "loosening" your embouchure. There still needs to be enough firmness in the embouchure muscles and enough air flow to maintain the pitch and ensure that when the tongue releases the reed for an "attack," there is air pressure at the reed to drive it.
The bottom line is that, while Walter Grabner and Greg Smith are both very qualified to attest that their mouthpieces can sound good and articulate easily with a #3.5 reed, you're the one whose comfort level as a player is what's important in the mouthpiece you choose.
You might concentrate on playing on the #3.5s as nearly as possible the same way you play on the #4s. You may be over-adjusting based on what you expect to be a different feel. The funny thing for me is that I can play-test a box of #4s and a box of #3.5s on my mouthpiece and find some reeds in each box that feel acceptable. Also, kazooey-sounding reeds can be a characteristic of the profile design of the reed, and a different brand or even model of the same brand may sound better to you at #3.5 that the V.12s.
And, always, things may come back to your sound concept. It isn't that your mouth is "set to 4s," but it may be that your ears are. Your kazooey may be someone else's centered, and your full and "dark" may be someone else's dull. In the end, choosing your equipment is as much as anything else about how you want to sound.
Karl
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Author: TomS
Date: 2017-04-28 17:26
Try the V21s and possibly the 56s for less edge. I use V12s #3.5 on an M13-lyre ... but I have more problems and get fewer good reeds than with the other Vandoren cuts. About 1/2 of the #3.5 reeds are slightly too soft for the M13-lyre. If I use the 3.5+, about 1/2 are slightly too stiff. I need a #3.75 ...
The V21s seem to articulate about as well as the V12s ... but sadly, the 56s are a bit more sluggish, IMHO.
I briefly studied (a millon years ago and before Vandoren introduced the V12) with a fellow that used Blue Box #5 on a medium open Pyne (a resistant MP) ... I could hardly get a sound ... but this fellow was a big dude that ran in marathons, so he could handle his setup without having a stroke.
Tom
Post Edited (2017-04-28 17:27)
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Author: WhitePlainsDave
Date: 2017-04-28 17:57
My experiences may totally not apply to you, but I had a student in a very similar situation to yours that reduced both reed strength and shrillness by taking in more mouthpiece.
This of course begs "more mouthpiece" to be defined.
Produce your normal embouchure. Keep on snugging more mouthpiece until you squeak, then, back off a tad.
That's more mouthpiece, and the place a correct embouchure should be at.
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Author: TomS
Date: 2017-04-28 18:42
Lately I have been trying to "TMM" that is, "take more mouthpiece". This was one of Mitchel Lurie's sayings at his master classes ... most folks (me included) don't take enough MP ...
I have noticed that it does damp/warm the sound and improves articulation. Been trying ... slow progress.
One interesting point that I heard on this video that was posted recently on this board:
http://www.youtube.com/watch?v=MU9e8P5Dkd0
If I understand correctly, Robert Marcellus, after getting new upper front false teeth, started applying more pressure with the upper lip to the beak of the MP ( I guess to stabilize his teeth) .. this has a reflexive effect of raising the roof of the mouth and opening up the sound. One of our local professors recommends this and I wondered why, until I heard an explanation. Watch the video ... pretty good information ...
Tom
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Author: kdk
Date: 2017-04-28 19:08
TomS wrote:
> If I understand correctly, Robert Marcellus, after getting new
> upper front false teeth, started applying more pressure with
> the upper lip to the beak of the MP ( I guess to stabilize his
> teeth) .. this has a reflexive effect of raising the roof of
> the mouth and opening up the sound. One of our local
> professors recommends this and I wondered why, until I heard an
> explanation. Watch the video ... pretty good information ...
>
This was Bonade's recommendation as a way of simulating the effect of playing double lip, which includes raising the soft palate.
Karl
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Author: ClarinetRobt
Date: 2017-04-28 19:17
Musikat:
Several years ago, I've had a couple of bouts of Bell's Palsy. With my severely weaken embouchure, I contacted Brad Behn and told him of my situation. I was old school...close mouthpiece with a harder reed. Brad switched me to a more open mouthpiece for a lighter reed. It changed my entire concept of sound...for the better.
Now fast forward to the present day. I've noticed as my embouchure has strengthen, I'm starting to need a harder reed. For example, when I use a Legere Signature Euro, I've gone from a 3.5 to a 3.75. I've noticed the same trend with Brad's new Aria reeds. 3.5s are a tad soft, 4 seem about right. (Brad confessed to me his first run of Arias -the ones I have right now- are a touch softer than his second run.)
I agree with my colleagues. You're a unique individual and if Smith recommends a 3.5, great. But maybe a slightly harder reed is needed for you without working so hard...like your previous setup. This is what I experienced with my Behn mouthpiece.
For what it's worth (I believe there's a thread on here) the Aria reeds are really consistent. I haven't even touched one with my ATG system to balance.
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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Author: dorjepismo ★2017
Date: 2017-04-28 20:03
I play 3s or 3 1/2s depending on the brand and style, and TomS and Karl's suggestions of more upper lip are the way to go with reeds that soft. (That's soft for French style. German 3s and Austrian 2 1/2s play like boards on a French-style mouthpiece.) Also play a facing similar to a Fobes Europa 4, i.e., long and fairly open by U.S. standards. Most brands use softer cane to get softer reeds. Sometimes, that also means they tend to sound like kazoos, but there are brands, like Behn Arias, where the sound is still very good. The other thing is, softer cane seems to soak up more moisture, especially when they're new, so it can be good to play them in a little at a time over several days before using them for a whole two or three hour session. Whenever you do an embouchure change, it's good to spend significant time with your favorite long tone exercise with crescendos and diminuendos.
Wouldn't say it's effortless exactly, but I sure don't feel like I'm working hard, and people notice the sound in a good way.
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Author: Fuzzy
Date: 2017-04-28 21:41
In college, my instructor took me up to #5 Vandorens. I never liked the sound. Other college instructors I had, seemed to be happy with all the students being at #4. I loved #4's and stayed there throughout college.
However, after college, I switched away from the Pyne mouthpiece I had been using and found a #4 required way more breath to sound right on my new mouthpiece. It made a beautiful sound, but exhausted me - everything became just a little bit forced. I ended up changing to a different clarinet (and moved the mouthpiece with me), and found that a #4 reed required so much air that the A and Ab keys on the bridge would actually blow open as I tried to play certain tones.
I could have put stronger springs on the A/Ab keys, but I liked their action the way they were...so I simply went down to a #3 reed. It played amazingly! Just like my #4s did on the other clarinet/mouthpiece combination! As time went on, I realized that I liked my heavily used #3's better than my new #3's - so I went down another half step. Yep - 2 1/2s! I love them. For this rig, I use 2 1/2's (though when I go down to humid sea level locations - like New Orleans/New York, etc I have to go back up a half strength to get the same feel/response.)
So, really, I'd suggest using the reed numbering system as a guide more than a rule. You know what feels right, what the sound is you're looking for, and other specifics about what you want to sound like. Find the correct reed which provides that sound/feel on the mouthpiece/clarinet combination you want to use - don't be influenced by the number on the reed. In my case, my training to use harder and harder reeds made me too conscious of what "I should" be doing - and it made the journey to softer reeds way more tedious than it needed to be. Don't worry about the reed number - just worry about the sound/feel you're looking for - then stick with whatever reed and strength of reed achieved that for you.
Best of luck! Enjoy the journey!
Fuzzy
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Author: Musikat
Date: 2017-04-29 06:31
A lot of good responses here. Thanks.
I actually have tried the V21s and Rue LePics on my existing mouthpiece, in different strengths. I liked the V21s, but doing a test of a box of both those and the V12s at the same time I realized that all my best and most long lasting ones were the V12 4's. I do think 3.75 is probably close to what I actually play after adjustment, though.
Regarding taking more mouthpiece, as I was trying the new mouthpieces I did find myself trying to take more mouthpiece unconsciously a few times, so I will experiment with that, no matter what strength reed I'm using.
Tonguing is not an issue for me on 4's but the 3.5s, like well used 4s that are "going" are harder to tongue on. But i did try recording myself on them, just to see if the sound I hear is different. It doesn't sound as bad on the recording as it does to me, but it feels less in control.
Since I bought them, I'll keep trying them (and trying some of the suggestions here), along with the 4's as I test out this mouthpiece for the next few weeks, to see if breaking in will help at all. I might also try V12 3.5+ to see how that plays on this mouthpiece.
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Author: Johan H Nilsson
Date: 2017-04-30 15:12
Reed selection all depends on the mouthpiece.
I like Brad Behn's words that there should be no sound of air when you play pp. I hear a lot of air passing through on many clarinetists.
Circular breathing and slap tonguing is way easier with softer reeds.
I think clarinetists having strong reeds is very similar to golfers having too stiff shaft flex on their clubs. In both cases they think "harder is better". Not necessarily.
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Author: kdk
Date: 2017-04-30 17:27
Johan H Nilsson wrote:
> I think clarinetists having strong reeds is very similar to
> golfers having too stiff shaft flex on their clubs. In both
> cases they think "harder is better". Not necessarily.
In fairness, the reason, IMO, a whole school of American players came up in the '40s through '70s insisting on using hard (#5) Vandorens on close-tipped and increasingly long-curved mouthpieces was that a harder (more dense?) piece of cane produces a different sound from the sound of softer material. But the difference had to do with "core" and "center" and intensity, not with "round" or "dark" or "covered" as it seems to now. So players adjusted those #5s to vibrate cleanly without being stuffy or unresponsive.
And, in further fairness, the #5s of today are much stiffer than the few #5s I still have from the '60s and '70s. When I put one of those old ones on my current mouthpiece, they produce a useable tone without work. They don't respond ideally, but that's what rush/knives/ATG, etc were for. And the reeds I still have were not the best ones - they were the ones I tried and set aside when they were new.
Your (or, rather, Brad Behn's) comment about noise at pianissimo made me think of this again. I think the noise you hear results from the fact that reeds have been designed in recent years to be stuffier in the quest for "dark." As a consequence, most of the hardest strengths are nearly unplayable without a lot of pressure.
I feel fairly certain the #3-1/2 V12s for which Greg Smith and Walter Grabner optimize their facings are not like the #3-1/2s of 40 years ago.
Karl
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Author: Bob Bernardo
Date: 2017-05-01 09:55
I can't really comment about the correct strength, because tip openings now are all over the place and the curves are getting too long. More like German facings. I don't like this, because the standard French reed doesn't vibrate correctly if the facing is too long.
I've talked to Greg Smith and sent several emails back and forth. A wonderful man, a Marcellus student and more. He was a close friend of the Marcellus family. Sadly, I haven't met Walter Grabner. Hopefully our paths will cross one day.
A lot of people are unaware that Marcellus played with a double lip with the National Symphony sitting next to Iggie Gennusa who played with a double lip all of his life. Well Bob as we all know, went to Cleveland and continued playing with a double lip for a few years, but then went to a single lip because he was listening to a recording and he couldn't tell the difference between playing with a single lip and a double lip.
When the Morre' reeds were being imported they came in strengths 2 and 2 1/2. Upon Bob's suggestion they came out with a 2 1/4 strength. So 2 1/2 strengths were a tad bit too heavy for him and 2 strengths were too light.
Steve Barta, recently retired from the Baltimore Symphony had lunch and we were messing around with mouthpieces and reeds, just last week. This topic actually came up. Steve studied with Harold Wright and then with Marcellus. When he went to Cleveland Bob told him he wasn't too concerned whether he played with a single or double lip, because he felt that using the upper muscles as a double lip player surely helped create that preferred embouchure, thus the preferred sound. Well Steve was telling me that he switches back and forth. Some solos sound wonderful with that double lip. However, Bob and Steve both feel having the knowledge of what your upper muscles are doing is key to having that great sound. Strong firm upper muscle control.
I play with a double lip and tend to use a 3 1/2 reed most of the time. One of the key factors with double lip is hitting the high notes. You can't bite as a double lip player, so you tend to put more of the mouthpiece in your mouth. This allows you to hit the higher notes and not pinch or bite. It also lets more of the reed to vibrate. This is so important to getting a great sound, compared to getting a decent sound.
When I studied with Gennusa he used a lot of the mouthpiece and played on 3 1/2 strength reeds. This is pretty much the same strength that Marcellus used, with his overbite.
I've written just a little about this, saying people should warm up playing low notes with a double lip to build up your embouchure. I think it is key to add as much mouthpiece into your mouth as you can, until you squeak. This is when you back off of course. This is when you are getting the most out of your reed to vibrate. You should at this point be able to play the upper register without biting.
So we kind of have to be able to play the upper register on slightly lighter reeds without biting and splitting our lower lip open. The lower lip should not hurt after playing for a few hours. If it does hurt or split open it might be time to address your embouchure as a problem and fix it.
Playing too soft of a reed, such as a 2 strength reed really has not benefit. I think finding the correct strength is when you can play for about 30 minutes with a double lip and your lips don't hurt, yet you can hit the upper register, maybe to F without pain, or very little pain, and not playing flat. But this becomes a problem because a lot of mouthpieces and the horns already play flat. So lets say flatter than with a single lip.
Keep an eye on you mouthpiece patch. Tooth patch. Whatever it is called. Most of them are way too thick. Use thin ones. I like them. I use very thin ones. I make my own and use double stick tape. If you can see teeth marks on these you are biting too hard. The thickness I use is about 2 or 3 layers of electrical tape. Hardly anything. Surprisingly, Steve Barta uses about the same thickness, also uses double stick tape.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
Post Edited (2017-05-01 10:10)
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Author: MisterB
Date: 2017-05-04 18:41
I use Vandoren 5s with a Portnoy mouthpiece. Been doing that for about 40 years. My clarinet teacher always told me that we can't get a good sound with a tissue paper reed. Find what works best and build on it.
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Author: Fuzzy
Date: 2017-05-04 23:42
Great discussion, viewpoints, and ideas on this thread!
To me, the decision on reeds/mouthpiece/rig setup all comes down to the desired sound - a sound which is specific to the player, the group, and the style being sought. I think this bulletin board leans to the classical side (and justly so - since there is such a vast wealth of top-tier classical players and technicians who frequent the board...and the fact that our schools - at least in the US - mostly restrict clarinet education to classical music).
However, for possible future guests to the board, I offer the following "other" sounds made possible by different reed/mouthpiece combinations.
For example:
Here's Sándor Benkó: Petite Fleur
Here's Louis Cottrell In The Sweet Bye and Bye (By the middle of the tune, his sound comes out.)
I don't think he could get that sound playing a #5 reed.
Then there's Tim Laughlin: Alice Blue Gown playing Pete Fountain's old horn.
Evan Christopher is another that I'm not certain of reed strength, but that I wouldn't be surprised to find using a soft reed (this video is professionally created by Jazz at the Lincoln Center's JAZZ ACADEMY and is a great introduction to learning jazz on the clarinet): Evan Christopher
Of course there's always the unique clarinet styling of Michael Magro with the Loose Marbles too: Michael Magro
The clarinet is awesome because it is so versatile. Exciting because it can be voiced so uniquely - without having to use mutes and such. That's why I stick with the concept of: figure out which sound you're shooting for - then find the reed/mouthpiece/rig combination that achieves that for you. Picking the right reed is an individual decision, and not as simple as being a formula in which: reed make/model/strength + mouthpiece + clarinet = exactly the same result. There's a small part called "individuality" that makes the latter formula incorrect every time.
(Yes, many of these clips show other-than-boehm clarinets too).
Cheers!
Fuzzy
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Author: Musikat
Date: 2017-05-05 04:16
I agree! My own personal desire is for that "creamy" beautiful tone used in classical literature. But this thread has made me rethink my options on how to get there. I did notice when I had a chance to play on the new mouthpiece in rehearsal (two nights in a row for 3 and 2 hours respectively, plus practice during the day) that I was finding it harder to play on the 4's and defaulted to my more well-used ones that had been in the reed case I use for reeds that are past their prime but not yet ready for the wall.
Based on that, I pulled back out the 3.5 V12s but still don't like their tone in the upper register. I opened/tried my remaining V21 3.5+ reeds (that I happened to have from earlier reed explorations) and tried those, and they seemed better. Tomorrow I am going to buy a box of V12 3.5+ and see if that does the trick. I really love the ease of playing with the lower strength, so if I can find a combo that will give me the nice sound all the way up but still be easier to play I will be very happy.
I am also trying to be conscious of using more of my upper lip muscles, experimenting with taking in more mouthpiece, etc.
Thanks for all the suggestions!
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Author: TomS
Date: 2017-05-05 17:38
Just received some Pilgerstorfer Dolce #3.5 ... they run soft ... about 1/3 - 1/2 strength soft over V12s ... but very usable with a warm round sound, pretty good articulation, no hint of a thin or reedy sound. Makes for a perfect experience, IMHO with VD 5RV or 5RV-lyre MP.
A very easy blow and with few negative issues ... and VERY consistent and stable ... so far ...
Very impressed. These are magic for me.
Tom
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Author: RKing
Date: 2017-05-05 18:24
I am like Fuzzy and have discovered softer reeds.
In my case, I went from a Vandoren Blue Box #4 down to a Behn Aria #3. Every reed in the box has played very well and I love how effortless these are to play.
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Author: jonathan.wallaceadams
Date: 2017-05-05 20:59
Today I forgot my reed bag and had to use Vandoren 3s. I just pushed the reed up a millimeter and a half and I sounded like normal. Maybe you could slowly move it down and get used to it.
Just an aspiring student.
Buffet Tradition
Mpc.: Hawkins "G", Barrel: Moba, Reeds: Reserve 3.5+
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Author: TomS
Date: 2017-05-06 00:34
Yeah, lately instead of buying slightly too hard reeds (as an average in the box), and sanding them down, I don't mind having a couple are too soft ... I just put them a little higher on the MP (which may actually be an advantage ... some people do this routinely) OR use another MP (maybe of the same brand/model) that is a little more resistant. Don't like to mess with reeds too much ... for every reed I adjust, I can play another page of music.
The Pilgerstorfer Dolce are so well balanced out of the box, I haven't had to carve on one yet. Why can't Vandoren make a reed like this?
Tom
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Author: Musikat
Date: 2017-05-06 04:22
So if I wanted to try these Pilgerstorfer Dolce reeds, should I buy a box of 4, since they would be closer to a 3.5+? Where do you get them?
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Author: ClarinetRobt
Date: 2017-05-06 05:52
Musikat: Clark Fobes has them. I like the Luethners better (still using).
All that said, Brad Behn's Aria wins for consistency/balance/playability for me these days (my new cane Reed of choice). There's a recent thread talking about the Arias, plus a link where to buy.
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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Author: Matt74
Date: 2017-05-06 09:37
FWIW, my theory is that reed strength depends on a lot of things. Beyond the more obvious, I think it may have as much to do with fine motor skills as strength. I never played ultra hard reeds, but sounded terrible on soft ones. I think I needed resistance to work against because my embouchure was unstable. I think this is also why I used to bite. In a similar way, I recently realized that when I write I hold my pen very firmly. I tried loosening up, but my line got irregular. It's possible that I could learn get over these things, but I'm quite confident that I do in fact compensate for a deficit this way - like using a tool rest.
I'm not saying that the OP has the same problem, but that different people are different, and that no amount of theorizing about the best way to play will make someone who likes hard reeds switch to soft or vice versa, or adopt a certain approach.
- Matthew Simington
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Author: Bob Bernardo
Date: 2017-05-07 08:31
We have to be open to using more of the mouthpiece. The less we use will defeat the efforts of getting the heart of the reeds to vibrate and then more of the tip and the sides/ the rails vibrate. We then lose this sweet sound. I'm personally against long facings on mouthpieces because of this and plastic reeds because the reeds do not have the fibers to support that vibration in a forward direction so we can suffer from a buzziness or a lack of darkness in the heart of the reed.
However, I do like what is happening with plastic reeds, but we aren't there just yet. Yes I am very aware of some of the great players whom use plastic reeds and I prefer strongly prefer the sound of cane reeds. I actually wish plastic reeds were warmer sounding. I want this.
Don't play lighter reeds because it is easier. Adjust your upper lips. Firmly, but not biting. Use more of the mouthpiece. Use less pressure, but a newly adjusted upper embouchure. Use more of an e-u throat sound, surely not an e sound. That will change your embouchure completely in the wrong direction. An O sound will likely cause the notes to go flat. See Lee Morgan on Youtube about sound. A Marcellus and a Fred Ormand student. A cool guy.
People say I have a decent sound, but sadly I have no idea how to teach. Lee Morgan does teach. You will get a good sound fast. Fred Ormand I think still teaches.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: TomS
Date: 2017-05-07 17:17
Ditto on using more MP. You can use too much ... but I have to gag myself to reach this point.
Ditto on plastic reeds ... they respond well, sound good, but won't play in tune for me. It's the amorphous internal structure of plastic reeds that makes them not quite right ... IMHO
Over the last 3 days, I have found that the Reserve X0, Pilgerstorfer Dolce #3.5 and the stock 66mm R13 (Greenline) barrel with two 0.50 mm tuning rings are right on the money ... A-440 at 72F. Absolutely the best setup I've tried. Of course, I may change my mind tomorrow, but right now, I am ready to leave all my other MPs and reeds for the garbage man, and not look back.
Taking more MP and NO BITING helps this setup work.
Luethners on the way ... I will check these out ... maybe some of Behn's too, later.
At lot of really good alternatives to Rico and Vandoren ... we are so lucky nowadays.
Tom
Post Edited (2017-05-07 17:31)
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Author: Matt74
Date: 2017-05-07 22:08
Obviously I was not advocating biting, and would not want to inflict the misery on anyone else. I'm just saying that people usually do things for a reason. The way I fixed my problem was to play a closer facing.
- Matthew Simington
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The Clarinet Pages
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