 The Clarinet BBoard
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Author: Ken Lagace
Date: 2019-01-12 08:40
Interesting but..
Tuning is the mouthpiece-barrel-clarinet combination. It won't be the same on a differnt combination.
And, what reeds were used? A different style reed will not get the same results.
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Author: Dan Shusta
Date: 2019-01-12 12:35
I thoroughly enjoyed Dr. Brown’s playing, however, there were some things about the video that I found if not disturbing then at least a bit troubling.
At 3:34, I saw what looked like a worker handcrafting the baffle of a mouthpiece. I stopped the video and stared at it for quite a long time because I was convinced that it was a sax mouthpiece for which Jody is known. I finally accepted it as a clarinet mouthpiece and continued on. When Dr. Brown was asked about the consistency of the 3 mouthpieces that were given to him to try, his response of “Mind blowing consistency” really had me feeling very skeptical. And, then, when he added that he now had “3 favorites”, all I could think of was “something doesn’t seem quite right here”. Yes, he didn’t say that they were exactly alike, however, the impression that I got was that all 3 were winners to him. What crept into my mind was…I wonder if those 3 mouthpieces were actually pre-selected ahead of time before they were given to him. I guess I’ll never know.
Did you notice the wonderful “hall reverb” effect when he was playing? To my ears, that effect totally disappeared when they started talking. When Dr. Brown began playing again…I heard the “hall reverb” come in again. I’m quite familiar with using reverb on my Wurlitzer organ. It enhances the quality of the organ tones by a huge factor. Without it, (at least on my Wurlitzer), the tones sound “lifeless”. Just my observation…
Now about that rubber…I listened to his description of it at least 6 times and what I heard at 3:23 was: “And this, (slight pause), tried to recreate that pre-World War II rod rubber that Chedeville had.” Excuse me…’TRIED?” I actually felt stunned when I heard that word. To the best of my understanding of what Jody said, he never really stated that he actually duplicated the rubber that Chedeville used. To my knowledge, only Brad Behn and Dr. Omar Hendersen have actually claimed to have duplicated the Chedeville rubber.
All in all, I thought it was a wonderful video advertisement, however, I was left with the impression that the clarinet tones were “electronically enhanced” and when Dr. Brown talked about the mouthpiece’s “amazing consistency” no matter what reed was used, I really felt quite skeptical.
Just my 2c.
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Author: Paul Aviles
Date: 2019-01-12 16:31
Ok, I am neither endorsing nor criticizing this product. But as an audio engineer I want to address the thoughts about the sound.
To achieve a decent "sound" in the hall where they sit, the interview (let's take the second example) had to be multi-miced. You notice the lapel condenser mics (like all TV news folks wear). Those are for the spoken portions of the production - easiest way to get a nice sound for the spoken word. Then (off camera) there are obviously stereo mics (one mono mic would have sounded equally thin and unnatural to the listener) placed further back to get the perspective of one sitting at least a few rows back. At 1:24 (of the second video) you can hear (with decent headphones) the cross over between the mics as the engineer moves back to lavalier mic for the last comments from Dr. Brown.
You CAN add reverb (and delay) all day long but it never sounds as good as the real thing (listen to ANY current pop tune for reference). Oh, and, spoiler alert, none of the sound you hear on a commercial or hear in a movie was recorded live......it was added later, artificially adding reverb and delay (and there is no Santa Claus).
As for the "try" on the formula, I would suggest that some additives (or processes) may (and I say "MAY") not be deemed safe by modern standards. That said I have never been a firm "believer" in the idea that the material is of essence. Look at highly coveted double walled silver clarinets of the past, or current acrylic mouthpieces, or the Greenline R13, all of which respond and sound fantastic.
And I recall that Greek key design of the bottom of this mouthpiece AND the script being associated with the Omar Henderson product of late. Is Jody Espina a business partner or did he subsequently buy the rights to the name and associated "look" of the product from Henderson?
..................Paul Aviles
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Author: J. J.
Date: 2019-01-12 19:29
It’s already documented that JodyJazz bought the business. With that came machinery, designs and I.P. It makes sense that there are similarities.
Also similar is the precision of his claim around rubber. An argument broke out on this board years ago between Dr. Henderson and Brad Behn because Omar insisted that it wasn’t possible to say for certain that one had exactly copied the Chedeville Rod Rubber. Jody’s words would seem to reflect his hedge on whether Dr. Henderson truly “duplicated” it.
There is so much more to say about these mouthpieces, of a skeptical and critical nature. But for now, I just wanted to address what was already speculated about here.
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Author: kdk
Date: 2019-01-12 19:31
Paul Aviles wrote:
> As for the "try" on the formula, I would suggest that some
> additives (or processes) may (and I say "MAY") not be deemed
> safe by modern standards.
Interesting insights into the recording techniques, Paul.
I've always wondered, myself, about the idea of duplicating (or trying to duplicate) Chedeville rubber. Unless there is an actual recipe that's been handed down directly through the decades, I think all of the rod rubber used by modern makers must be reverse-engineered by chemically analyzing the old mouthpieces. But what are the chances that the Chedevilles, particularly Henri once he set up shop in the U.S., had a constant, unchanging source for his rubber? Especially once we entered the war and rubber became a battlefield need. I've always suspected they made do with the best of whatever was available and that workability was probably more important than acoustic properties.
Karl
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Author: Paul Aviles
Date: 2019-01-12 20:13
Yeah, that's important to keep in mind about "using what you've got." Chedeville's formula for vulcanized rubber was used for making fountain pens and telephones too.
..............Paul
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Author: Dan Shusta
Date: 2019-01-13 01:23
Hi Paul,
In reference to what you stated above: "You CAN add reverb (and delay) all day long but it never sounds as good as the real thing..."
If what you say is true, why do you think somebody added it in the OP's YouTube ad?
Just curious...
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Author: Paul Aviles
Date: 2019-01-13 02:43
Ok, the original poster's add (and the second one from the website I point to) are recorded in a an actual hall with its own sonic signature.
Just listen to ANY pop vocal (they are all recorded DRY in the studio and reverberation and delay are added to it). Can you honestly feel as if any of them are in a real acoustic space (modern pop vocals that is)?
I am applauding the effort to portray Dr. Brown accurately.
Listen with good gear.......never mind what I say.
................... Paul Aviles
Post Edited (2019-01-13 03:50)
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Author: Bob Bernardo
Date: 2019-01-13 03:55
Well to be totally honest the horn and the mouthpiece don't match the players potential, when he articulates the upper register you hear the tongue hitting the reed first. Sorry I don't like this. The setup isn't correct. I'd have to sit down with the player and find out if it's the horn or the mouthpiece or both.
One of the reasons why I switched horns a few years ago. I think the issue is the tube on the octave key is too short or too long. Don't think the mouthpiece can fix this, but add to the issue.
The player is surely talented. But his articulation on to the reed may or may not be his fault. Behind the tip of the mouthpiece there is that drop. Too much of a drop will cause this unpleasantness.
$450? Not me...
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
Post Edited (2019-01-13 04:11)
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