 The Clarinet BBoard
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Author: PoorCollegeOrc
Date: 2018-11-22 06:06
I'm trying to decide on a new mouthpiece but I honestly don't know what is best for me. I've never quite understood what things like facing and tip opening do (or mean) so those numbers/descriptions aren't very helpful when looking online.
I'm not sure if the following will make sense or if it's even compatible but I'm looking for something that has:
- a round sound
- is easy blowing ( especially in the high register)
- a rich tone
- ease of articulation
Things to consider:
-started off on a M13 Lyre
-currently play on a Reserve 10XE
-use size 3 vandorens and size 3/3.5 grand concerts
-using a yamaha se
🌟my instructor says I'm prone to "pinching" on high notes
-focus is on symphonic/orchestral work but I do do opera/musical work
I only have one mouthpiece in consideration right now, that being the B40Lyre. Does anyone have any other recommendations?
Thanks all!
"A squeak is a clarinetist's soul crying out for help."
Post Edited (2018-11-22 06:52)
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Author: J. J.
Date: 2018-11-22 06:16
Is this a question? Are you searching for more suggestions?
The B40Lyre will serve you just fine, as would the M13 Lyre. From your description, it sounds like you just need to practice and improve your fundamentals more than anything. I know that this is an easy and predictable response, but it’s true. Take it as a good thing that focuses you.
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Author: kdk
Date: 2018-11-22 07:07
I'll second J.J.'s response. But I'd add that your teacher would (or should) be in a much better position than anyone here to recommend something that might enable you best. He or she knows your playing - both your strengths and weaknesses.
Your teacher should also be able to help you understand a little more the meaning of all those facing measurements. The M13 Lyre is a close-tipped mouthpiece with a medium curve (the distance from the tip to where the reed and mouthpiece separate below the end of the window). The B40 Lyre is much more open at the tip and the curve is longer. The 10XE is in the middle but more similar to the B40 Lyre than the M13 Lyre. The two dimensions work together to partially determine how stiff or soft a reed you need to use to produce a clear sound. In general the more open the tip, the softer a reed you need to use (but the curve length also influences it).
What don't you like about the Reserve mouthpiece? What do you want to change?
Karl
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Author: PoorCollegeOrc
Date: 2018-11-22 08:22
I definitely do ask my instructor for advice, but their attitude on recommendations is very laid back. I'll give a few options and they'll give me recommendations but not necessarily in a way that helps me narrow down my options.
When I first got the 10XE, I enjoyed how easy it was to get a sound out of it but now it feels too easy(?). It's great that I can just pick up my clarinet and play but it sometimes feels like I'm fighting to keep things from blowing out. I also find that I've become very sharp, although that could be some other factor.
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Author: Paul Aviles
Date: 2018-11-22 18:10
Here is the reason to be laid back; you are the first, last, and best arbiter of what works for you.
You said, "I enjoyed how easy it was to get a sound out..." That's usually a good thing. You want full range of dynamics and articulation while having the sensation of really not having to work for it (except for air of course........you always need to be pushing that air).
It is only if your dynamics are limited that you should have any concern. And you've said further, "I'm fighting to keep things from blowing out." I don't know exactly what you mean by that. One (and only one) guess is that maybe you are "pinching" or (dare I say) biting which not only causes the pitch to go up but it also causes the sound to be......pinched off. You have strayed upwards from a more closed facing to a more open facing and still have these issues. Don't allow that to become a never ending progression (the next more open mouthpiece will always mistakenly feel as if you can play louder).
A good sound is a balancing act between air and embouchure. I would recommend experimenting with less control by the embouchure side of that equation for awhile. Allow the use of air to open up the sound and just control it enough with your lip musculature to keep it from getting too wild.
I get a really huge sound with a very small tip opening so I know it's possible on ANY mouthpiece.
...................Paul Aviles
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Author: Bob Bernardo
Date: 2018-11-24 06:54
Try as many mouthpieces as you can. Very few players, mainly the younger players stay with the same mouthpiece all of their lives. Chances you may try 15 mouthpiece of the same model and they all sound different, because of the poor quality of rubber used and the facings and tip openings are all different. The rubber can shrink up to 30 percent and with some models the rubber is too soft. Part of the reason is the horns change a lot as well as barrels. So tuning is always an issue. Sometimes the same mouthpiece you really like just needs to have a new facing put on it and you don't need a new mouthpiece.
For example when I switched from Buffet's to Yamaha's I went from a 1.03 tip opening to a 1.05. The same mouthpiece is used. Another example is Eddie Daniels went from a 1.10 tip opening down to a 1.03. I think he switched horns. There is a comment he talked about on youtube. Look it up as I am not making this up.
A lot of mouthpieces have shallow baffles and chambers. These can be deepened by the right person and you will get that warmer sound.
I'm saying all of this because most mouthpieces being made right now pretty much stink. So take the one you are playing on and have it adjusted. Some of the issues with today's mouthpieces are shallow baffles which cause bright sounds or baffles that are too deep and the sound doesn't project. The sound is dead. Also too long in length. You also have horrible small bores so the 12ths are out of tune. It's complicated. In most cases just have your mouthpiece worked on by a really good mouthpiece master. You don't have to pay $150 to $1000 for a new mouthpiece that may not work, but you would think that for $1000 it should be the best mouthpiece ever made. Not true. In most cases the designers have horrible sounds so how can they make great mouthpieces? Just as buying that $1000 ligature compared to one that you can make for just a few dollars and it works better.
To develop a great sound warm up everyday with long tones for 10 to 15 minutes. Do this the rest of your life and you will always have a great sound. I prefer you to do this with a double lip embouchure so your upper muscles remain strong. You will always have that special sound.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
Post Edited (2018-11-24 07:02)
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Author: Ursa
Date: 2018-11-24 12:38
I think in switching from the M13L to the X10E, you actually did yourself a big favor by revealing issues with biting and pinching that the narrow-tipped M13L let you get away with.
You have a golden opportunity right now--using the gear you already have--to address and unlearn faulty technique, because the X10E won't tolerate your incorrect approach. Figure out how to make it work, and you'll save yourself a lot of grief in the future.
---
My professors were also very non-committal in recommending equipment, and, in fact, would also chide us for making constant changes to our setups.
When we came forth with a setup that they deemed "good enough", we were supposed to stick with it and, with tenacity and ingenuity, learn to extract every last little bit of musical potential out of whatever gear we had at hand.
We were also reminded--constantly--that we'd be someday teaching students playing less-than-ideal equipment, and they'd need our guidance to address the gear-related challenges they were going to face.
Imagine, for a moment, the excellent guidance you could offer your future students after you solve the puzzle of the X10E...
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Author: Ed Palanker
Date: 2018-11-24 19:04
I agree with trying as many as possible. When i taught at Peabody i used to stock well over a dozen different mouthpiece for my students to try. If we both decided on one I'd have them order 3-4 of that facing and model to choose the best one because as Bob said above, they all change slightly. The ones i stocked were choosen from 3-4 already. Every player is different so try as many as possible with slightly different strength reeds because one may play much better with a slightly softer or harder reed. Start with your good reed and then decide if you should try it again with a softer or harder good reed.
ESP eddiesclarinet.com
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Author: TomS
Date: 2018-11-25 08:58
Reserve MPs are great IMHO and play wonderfully in tune with standard Buffet barrel and synthetic reeds, like the Legere, which have a tendency to play sightly flat, especially in the upper register.
Not tried the X10E ... but excellent luck lately using X0 and #3.25 Legere European Signature clarinet reeds. The plain M13 works well too, much better than the M13-lyre.
The Legere reeds don't like being bitten and distorted on the MP and also seem to favor a closer tip opening like the Reserve X0, the Vandoren M13 and the Fobes Debut and SF CF+. Would be interesting to try the the Mclune FMK models with the Legere ...
(For now, these new reed plays better than anything I've ever used ...)
Tom
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Author: D Dow
Date: 2018-11-26 23:07
i smaller tip opening does let a player get away with biting issues..shocked to see this here..
David Dow
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Author: D Dow
Date: 2018-11-26 23:08
a really closed facing with reveal biting issues very quickly given there is not much room!
David Dow
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Author: gatto
Date: 2018-11-27 16:55
If you try the B40Lyre then I would also try the BD5. Both are very good mouthpieces, which I like very much. Both quite easily respond in the altissimo. Soundwise maybe the BD5 is more round, the B40Lyre more colorful. But you should judge yourself.
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