 The Clarinet BBoard
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Author: ruben
Date: 2019-10-22 21:19
As we all know, you have a reed that works fine in your living-room and then you get to the concert- hall or church you'll be playing in and it sounds terrible. Personally, my method is purely empirical: a half-dozen reeds liable to sound good and then trying them out when I get to the venue. Is there a more rational way of doing it? -a type of reed for a resonant hall, for one with dry acoustics, etc.?
rubengreenbergparisfrance@gmail.com
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Author: Paul Aviles
Date: 2019-10-22 23:00
I have in the last three years gone completely plastic. One of the advantages (perhaps the most important) is constancy of sound and response. Now, once I match up the right strength on the right mouthpiece over time (could take a month or so if starting from scratch with plastic), I reliably can move from living room to hall and find no difference in performance.
I experience the disparity issue when I start to fiddle at home. Changing ligatures can create enough of a difference where I start off at home and think, "Wow that's even better......let's take that to rehearsal." And there have been occasions like this where it actually sounded like crap (usually lacking in projection) at the venue.
This can get worse when changing mouthpieces, though what I have found is that if you're basic dimensions are identical (facing length and tip opening) 90% of the sound and response are pretty much the same even going from one maker to another (another reason some folks want to make mouthpiece dimensions and response seem like the riddle of the Sphinx). But the bottom line is that you make your most critical decisions based on what you sound like in the hall and during performance (and lean on the opinions of colleagues who you trust......that critical judgement from a distance). Then you play that at home and say to yourself...."Hmmm, that's what I need to sound like in my living room ALL THE TIME !!!!!"
................Paul Aviles
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Author: Caroline Smale
Date: 2019-10-22 23:28
In simple terms I find a generous or resonant acoustic requires a slightly softer reed.
Conversely a dry or dead acoustic needs a stronger reed.
Playing in a wind band outdoors and especially if located on grass is a good test of what a suitable reed will feel like. Too soft and you will make a most dispiriting sound !
However there is one caveat - my observations are based on how the reed feels and sounds to me. To the more distant listener the differences are not so apparent.
Post Edited (2019-10-22 23:37)
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Author: Bob Bernardo
Date: 2019-10-23 07:55
I generally prefer just a 1/4 strength harder reed when performing and I do carry a reed knife and a reed clipper with me. But I don't remember when I last used a reed clipper. Years for sure! A reed knife I use a lot. Maybe at every outing.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: Tom H
Date: 2019-10-24 08:06
I'm simple. I have a few reeds that I'm "working" when our concert season (summer) rolls around. I use the best one for each concert (outside). I rotate them to some degree during rehearsals (inside). But, if it rains, concert inside too. I tape most concerts and find when I have a solo it pretty much sounds like what I think it should sound like with the reed I select--inside or outside.
I did try my Legere once at a rehearsal (I use this to practice on). Never again.
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Author: ruben
Date: 2019-10-24 12:54
Dear Tom H: yours sounds like a good policy. I couldn't even practise on a Legere reed, let alone play one on a regular basis-though I know there exist exist fine clarinetists that use them (the clarinet section of the Berlin Philharmonic). I especially don't like the sensation of them in my mouth. My policy is close to yours: a reed for practising, one for rehearsals and the three or four good ones for a concert. The latter I choose according to weather and acoustics of venues.
PS: I find the Legeres work better on a German mouthpiece: Viotti, for example.
rubengreenbergparisfrance@gmail.com
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Author: Paul Aviles
Date: 2019-10-24 17:07
Why would you practice for four hours (or so, or whatever) on a substandard reed (different strength) only to show up to performance and not have the same set of standards at the ready? That makes no sense to me. There is no constancy in that concept.
Secondly Legere reeds:
What I hope we are talking about are the European Signature Bb clarinet reeds OR the Signature Soprano Saxophone reeds by Legere. None of the others work. Well I take that back, you can use their German cut reeds with great success on Boehm but the placement has to be done with even more attention.
The "trick" with Legere is to find the right strength. They are NOT like cane. That's because they are made of PLASTIC. So you can't muscle them down to work like a softer strength. If they are even 1/2 strength too strong, they will ultimately feel too weak for "biters" because they will not vibrate correctly and then just close up.
But if you take the time (and I mean months......unfortunately) to get them going on your mouthpiece, the rewards are constancy and complete freedom from the vagaries of.....wait for it.........THE WEATHER !!!!
..............Paul Aviles
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