 The Clarinet BBoard
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Author: Brenda Siewert
Date: 2001-06-12 02:43
A while back we had a discussion on wood mouthpieces. I've since bought a couple from Gregory Smith that are simply wonderful. I bought a cocobolo wood one and a grenadilla wood one. I'm amazed at the response and smooth sound they have. I noticed in rehearsal tonight the difference in my tone in the big group. The grenadilla wood mouthpiece has a lot of volume, while the rosewood (cocobolo) one has a brighter, sweeter tone, but not as much volume. That's what I've found with clarinets as well. Rosewood is sweet and bright and good for certain types of music, and grenadilla wood is powerful and darker.
Anyway, I had promised to report the results once I'd had a chance to play-test some of Greg's mouthpieces, and this is it. They're wonderful and he's a real gentleman.
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Author: mw
Date: 2001-06-12 03:08
Brenda, are you sure it's the wood? : ) Greg sent me 5 of his custom (zinner hr blanks) mouthpieces last week. I am experiencing great difficulty deciding which model is like the very best. Down to 3 out of 5 & I may ask for an extension of time if something doesn't happen give fast! Seiously, thanks for the info.
Best,
mw
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Author: ClarinetBoy
Date: 2001-06-12 08:57
Greg also sells Wood mouthpieces as well as his other 'Standard' models made from Zinner. The wood ones are a lot more expensive although...
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Author: Brenda Siewert
Date: 2001-06-12 14:47
Granted, Greg's mouthpieces are all wonderful and it is hard to choose--but, the wood had a distinctly different tone and response than the Kaspars I tried. They are all Zinner blanks--even the wood ones. And, the wood ones are the same price $200.00.
Every one of his Kaspars were fantastic, but like I said, I already have a genuine Kaspar and a Bay Kaspar--so I opted for the wood. If you've never tried one, you should get one from him and see what I mean. Try them side by side for a day or two.
In all, he sent me 12 mouthpieces: 6 Kaspar and 6 wood. He sent two cocus, two cocobolo and two grenadilla wood ones. I found the cocus a bit dull in sound, the cocobolo a bit brighter and the grenadilla warm and dark. I'll probably use the rosewood one on some upcoming solo work, while the grenadilla works best with the band or orchestra.
It's a hard choice. You just have to get what you think you have the easiest time playing and what makes you sound better. I could have easily kept them all--I couldn't have easily PAID for all of them, however.
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Author: mw
Date: 2001-06-12 16:22
Brenda, I couldn't agree more ... YUP, could keep them all!
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Author: Brenda Siewert
Date: 2001-06-12 18:14
That's very funny, Bob. Send me lots of money and I'll buy one. It'll make me feel better. See, you would have loved my Symphonie VII with the rosewood mouthpiece from Greg.
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Author: Corey
Date: 2001-06-12 21:47
from the ww and bw the patricola rosewood is only 1770.00!
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Author: Brenda Siewert
Date: 2001-06-12 22:35
Yes, but it doesn't feel as nice in the hand as the Leblanc Symphonie VII. I just tested one at International Musical Suppliers in Chicago. Besides, the Symphonie VII is awesome!!!
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Author: Carl L
Date: 2001-06-12 23:10
Brenda, how do glass mouthpieces stack up to your wood ones?
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Author: Brenda Siewert
Date: 2001-06-13 02:31
Glass is a different animal. They're really heavy and I don't like the way they feel in my mouth. Some people love them, though, so I don't want to say anything bad about them. I just don't find them as flexible with my tone or as responsive.
Most people have a real love/hate relationship with crystal. I've played several and never kept one. They do have a different sound. So, just try one and see.
But, really folks, you've gotta try a wood one. If that is possible.
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Author: Daniel
Date: 2001-06-13 05:22
I have an old Buffet grenadilla mouthpiece that has been slightly refaced somewhere along the way, probably to just remove warpage. It's not as powerful as my Chicago Kaspar, but it's got plenty of power for a chamber group.
All in all i switch between 4 mouthpieces. My Kaspar, a 1940's Langenus, a 1940-50's crystal Lelandais and the wood Buffet (i'm thinking around the 1920-30's).
Although it's a bit of a pain keeping a selection of reeds for each mouthpiece, and making sure i don't accidentally use one reed on the wrong mouthpiece. But it's very worth it for the variety of colours and tone that you just can't get with the same set up all the time.
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