 The Clarinet BBoard
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Author: Paul Aviles
Date: 2023-12-29 17:52
.....is over.....
I say that with love and all due respect. I will also say that I am an unabashed fan of the Legere reed concept and would never EVER consider moving back to cane.
Over the last month I have used the Legere French Cut reed exclusively (I have four). All the good things that I and others have said are true, and yet I'd have to say that those characteristics point to a future, more finished product.
The other day I went back to the Legere Signature Soprano Saxophone reeds that were winners for me prior to the French Cut reed trial and found that the sound was richer, louder, more adjustable and better for articulated larger intervals (both up and down directions). I will leave room for the fact that this was due to what I had gotten used to over YEARS rather than weeks, but it was an obviously superior result (I didn't have to parse differences).
My theory is that there are an infinite number of combinations for the architecture and the types of plastic formula that Legere can piece together. Each of those would have characteristics that have both positives and negatives associated with them. My suggestion (which they may already have ruled out) is to try the "older" Signature Soprano Saxophone plastic (more rigged, slightly brittle sounding, more desirable under certain circumstances) with the French Cut architecture that could perhaps have even thicker stock (up and down dimension), or a more pronounce double heart, or both.
I'm certain there will be a greater reed from Legere down the road based on the French Cut architecture. Certainly they offer enough variety now (including the current French Cut) that will satisfy many many folks.
...............Paul Aviles
Post Edited (2023-12-29 19:10)
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Author: SecondTry
Date: 2023-12-29 19:10
Thanks for your thoughts Paul.
Allow me to suggest--something I might suspect you'd agree with--that your findings are in no way meant in a disparaging way towards the new offering.
(Full disclosure: love the new offering, still a cane player.)
Rather, allow me to suggest two things about synthetic reeds that perhaps will always remain true: 1) they are a work in progress, and like pretty much everything else in life, 2) their design is a compromise of prioritizing some features of play that might come at the expense of others until such time that rule #1 obviates that, and they better approach, but perhaps never reach perfection, let alone given our own personal preferences in attributes. 
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Author: LostConn
Date: 2023-12-29 19:23
Paul Aviles wrote:
> The other day I went back to the Legere Signature Soprano
> Saxophone reeds that were winners for me prior to the French
> Cut reed trial and found that the sound was richer, louder,
> more adjustable and better for articulated larger intervals
> (both up and down directions). I will leave room for the fact
> that this was due to what I had gotten used to over YEARS
> rather than weeks, but it was an obviously superior result (I
> didn't have to parse differences).
But aren't the key differences that you experienced largely what Legere intended? The French Cut is designed to suppress some of the higher harmonics, and to have a more refined, less "brash" sound than the existing Legere models.
It's one thing to say, "I personally prefer reed X to reed Y." It's another to imply that reed Y is a disappointment or even a failure because it doesn't behave more like reed X. The European Cut reed and the Signature for soprano sax reed remain on the market. I'm pleased that the French Cut is distinct from them. Naturally, some players will like the alternatives better. That's true of V12 vs. blue box as well.
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Author: Paul Aviles
Date: 2023-12-29 23:07
I like the fact that the French Cut reeds have much more cane like dimensions. This enables the use of a much wider selection of ligatures (a subject dear to my heart). I do appreciate the overall sound character. The issue for my set up is that the sound pressure levels are too suppressed and the sound is less controlled by the embouchure.
I think there will be improved versions not too far down the road. It IS a positive direction.
…………….Paul Aviles
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Author: donald
Date: 2023-12-31 15:56
I was going to post "hey, if anyone has a Legere French cut 3.25 that they found isn't the right strength for them, I'll buy it off them 2nd hand" but then realised that with the Legere exchange policy, it's unlikely I'd ever find a seller....
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Author: kilo
Date: 2023-12-31 18:01
Quote:
I think there will be improved versions not too far down the road.
And you had an enjoyable honeymoon.
I doubt that I'll ever be finished dialing in on my ultimate setup. But I'd rather experiment with reeds than mouthpieces, cases, and instruments!
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Author: Mojo
Date: 2023-12-31 18:33
The last two “exchanges” I made with Legere they just told me to keep the original reed I purchased and sent me a new one. So you might find someone with a strength they are willing to part with.
MojoMP.com
Mojo Mouthpiece Work LLC
MojoMouthpieceWork@yahoo.com
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Author: ACCA
Date: 2024-01-10 12:01
Well I just received my first "french cut" legeres and they're great! the honeymoon has just started for me I guess...
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Author: Paul Aviles
Date: 2024-01-11 15:27
I've just approached the French cut once more (from the other side). After playing a few weeks back on the Euro Cut and Signature Soprano Saxophone reeds I put on the French cut and my immediate thought was that I was too quick to be critical.
HOWEVER
I can now better describe what I find to be the "downside" of the French cut. At full volume (a good fortissimo) the sound and articulation is at its best; crisp, bell like, and sounding like cane. As I back off from there the sound is less spectacular. That isn't to say that it is unsatisfactory, just that it is not at its best. This reminds me of the issue with the original Legere reeds. There was a very limited window of flex where the reed had a decent timbre for a given note at a given dynamic. That is, if you applied more embouchure then that is choked off. If you applied less embouchure control, the sound became tubby in a hollow, plasticy sort of way. This meant there was virtually no way to control pitch without sacrificing tone.
Again the French cut issue is not nearly that limiting. But with the Euro Cut and the Signature Soprano Saxophone reeds I can push, or lean into the air column and all I get is MORE bell like sound.
Hopefully this just a tweak Legere can unveil in "French Cut Gen II."
.................Paul Aviles
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Author: ScottS
Date: 2024-01-11 18:22
I am going to join this "Honeymoon Train" and ride it for a bit soon. I have a Legere French Cut 3.5 on its way in the mail. The Euro Cut 3.5 has been something of a saving grace here in Minnesota where dry winters play havoc with the Vandorens of my past.
For years, the V-12 and the Rue Lepic were my "friends." When I discovered a clarinet soloist, now appointed at the University of Minnesota as one of the Clarinet Staff perform the Rossini on her Legere Euro Cut and Ishimori Ligature, I was astounded that she was not playing on cane. Could. Not. Tell. The. Difference! So after conversing with her along with my friend, we explored the amazing ligature and reed combo.
There are absolutely compromises (I have found) between synthetic and cane as has been expressed eloquently on these pages. Absolutely true. The best moments on synthetic for me are 90% of the best cane. But they are so much more often. I would find 3 out of a box of 10, then be nervous as concert time approached with "which reed is going to get the nod" to be my "starting pitcher" for the World Series . Always changing, always in a "mood" depending on temperature, humidity, and random evolution.
I doubt that I will ever return to cane. I cherish being able to immediately get to practicing literature and routines without the hope, worry, and fuss. It is however true, though, that certain locations in my range don't have the same overtone "ping" of cane. And though I've learned to gain nuances in my Euro Cuts through now 2 years of engagement...I am open to the possibilities in the French Cut.
I'll report back. In addition, I just received an N2 and B1 from Ramon Wodkowski to "audition." First impressions are that I am blown away. But that's another thread!
Thanks for reading!
Scott S
Central Lakes College Wind Symphony/Brainerd, MN
Borealis Orchestra/Grand Marais, MN
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Author: Paul Aviles
Date: 2024-01-13 00:05
Hey ScottS,
Just for the record, which Ishimori ligature are you using? I immediately think of the metal ones with the round cut out over the reed. However I have a Kadama (leather with wooden insert) that I would have put up against just about any other ligature using cane.
...............Paul Aviles
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Author: ScottS
Date: 2024-01-13 00:59
Hi Paul,
I'm using a gold plated/copper metal inverted Ishimori, with that circle you describe. I bought it through Clark Fobes in San Francisco, and have to say that it is the finest ligature that I have ever used.
Something about the tone and the articulation that makes it very special. A close second for me, is the Bonade Metal inverted and an old (don't have anymore) Harrison-Hurtz metal.
I've used a bunch, including Rovner and Vandoren, too. It seems that of the triangle: Mouthpiece, Reed, Ligature, this is likely the least important of the combo. Still...loving my Ishimori
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Author: ScottS
Date: 2024-01-13 18:54
Adding my 2 cents here on the French Cut Legere 3.5 ~
First hour with it had interesting qualities:
*Harder than my comparable Legere Euro Cut 3.5 (for me). Have done the exchange already for a 3.25 French Cut from Legere. Such a great company!
*Loved the tone quality for this first hour of play.
*Loved the articulation freedom.
*Good intonation and evenness of registers.
*Felt much more like a traditional cane reed, so would definitely agree that this might be a "fence jump off point" for people on V-12, Others to try Synthetic.
Bottom Line for me: Not sure if I "like" this yet over my Legere Euro Cut 3.5 I'll definitely give it at least a week of play, especially with the 3.25 French Cut when it arrives. I was a Vandoren V12 and Rue Lepic "user" for years prior to two years ago switching to Euro Cut.
So much of this is "giving it all time." I know that my one hour and re-order might seem rapid, but every adjustment I made in terms of reed placement, ligature placement, and my resistance level was SO much harder than the EC of the same strength. Each of us is unique, so this is just my experience.
Thanks for reading! Hats Off to Legere for continuing to refine and explore and develop. Truly a solid company!
Scott S
Post Edited (2024-01-13 18:55)
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Author: lydian
Date: 2024-01-19 23:16
Just got a French cut 2.75 My 2 cents as an intermediate jazz player on a moderately open mouthpiece. I normally play Vandoren blue box 2.5. This is a good match to that. Chalumeau is full and woody, throat tones a little thin and buzzy, Clarion full and strong, altissimo is clear and stable. Feel and resistance is very similar to cane. Tone is better than the Euro and Classic cuts I've tried before.
Overall, I'd rate this better than other Legeres and about 90% as good as cane, good enough for big band doubling and my Dixieland band. Maybe not quite good enough for concert band, at least until I learn how to tame the throat tones.
If anyone is interested, I can try it on soprano sax and see how it goes. Other Legeres I've tried on soprano, alto and tenor have been too buzzy and respond poorly in the upper register, making altissimo especially difficult. They're acceptable on bari and bass saxes, but still not as sonorous as cane. Haven't tried French cut on any saxes yet.
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Author: ScottS
Date: 2024-01-25 03:39
Have to update.
Legere sent me a French Cut 3.25 to try out after the exchange program. What a class company they are with this program!
I just "test drove" it on my new Wodkowski N2, and have to say that I quite loved it. Not sure that my Euro Cuts will be replaced. Not just yet. But the tone, projection, intonation, and free blowing was very good.
The altissimo was tougher to attain with this level of softness (as I am used to the 3.5 Euro Cuts). Might take some getting used to. The other interesting thing is that being they let me keep the 3.5 French Cut (too hard on my N2), when I put it on my Clark Fobes CWF (1.00 Tip Opening), the 3.5 sang like a bird. No brainer, but that combo of mouthpiece and reed is of course the day-making difference.
All My Best!
Scott S
Post Edited (2024-01-25 03:40)
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Author: lydian
Date: 2024-01-25 21:48
I just received my harder replacement as well, and it’s even better. The buzz in the middle is gone. I think it’s going to do nicely on my doubling gigs.
I was thinking, if just 1700 more people give their 2 cents, we’ll have enough to buy another Legere.
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Author: donald
Date: 2024-01-26 05:37
In 2017 and 2018 I played exclusively on Legere Sop Sax reeds on clarinet- including many professional performances, recordings (on 2 CDs) and (of course) for hours of teaching.
During this time I experienced a few drawbacks, but at the same time was complimented on my playing numerous times and NO ONE, not even the harshest of colleagues, ever said "wow, you sounded bad, what's wrong, did you have a bad reed" etc etc
The main reason I stopped using them was that my "ideal" was that I could use them for practise, teaching and as a back up for concerts (I reckon they played at "85%" of what I'd say was the best reed- so, in the top 15% of reeds but never quite as good as my best one) but also have a quiver of cane reeds "on the go" to use for important performances etc
I found that the Legere option was too different from cane, I had to voice differently and adapt my equipment slightly, to make switching back and forth really a good option.
So my question is this- do those people who have played the Legere French cut reed feel that it's similar enough to cane to allow a player to switch between cane/Legere without having to always make undue changes (switching barrels, voicing differently etc)?
[I'm probably still going to buy one to try out, but for me this will be what allows me to KEEP USING IT as I'm not giving up on cane reeds unless this is a "95%" reed.]
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Author: Djudy
Date: 2024-01-26 17:04
So the "big" freeze is over here and I finally hauled my butt downtown to try out the Légère French cut, for my Bb and my alto and I am glad I did.
I got a 2.5 for my Bb RC Prestige, Woodwinds "Larry Coombs" custom mp, Luyben ligature and it was just perfect from the first note. Nice rich tone and easy to articulate, no buzz, no waffling, just straight to playing and feeling good about what I'm doing. A real winner.
The alto sax reed is for my alto clarinet (recent Selmer, alternating between a Hite mp and ligature with a Légère alto sax American cut 2.0 and a BD5, Selmer ligature with a cut-down Légère bass 2.75) and there I was less pleased but still impressed with its potential. It seemed to buzz a bit and made me work harder to get the tone I want on both mps but it was enough to convince me that I should try another strength. I play the BD5 most so I suppose I should go up? Any other suggestions ?
The last time I tried a Légère (Signature & European cuts) for my vintage G.Leblanc Eb bass (Selmer C mp) I was not at all pleased and so stuck to the FIbracell bass 2.5 but I will go back there again too and try the new French cut when it becomes available.
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Author: ScottS
Date: 2024-01-26 21:50
Lydian, that's funny about us all buying another Legere!
donald and Djudy, one of the things that has been happening for me is the realization of just how LONG it takes me to acclimatize fully to the mostly immediate good things about the Legere.
I agree that the BEST cane still has it beat. But for me, I think I AM now at the 90% satisfaction for Legere Euro Cuts, and we'll see on the French Cuts.
There are some right away joys on the Legeres, but I find that after playing on them for about a month, that I "figure" out something that optimizes them for my set-up.
That's just my experience. In no way is this "instruction." I'm just amazed at how much time it actually takes to fully embody the new synthetic. But now...I would not go back. Minnesota barometric pressures, temperatures, humidity, seasons...I am grateful for the advent of Legeres in my life
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Author: graham
Date: 2024-01-27 16:49
I have just bought a French Cut tenor sax reed for my bass clarinet, which shows considerable promise on one of my mouthpieces. Much better than the two American Cut reeds I tried a few months ago. I haven’t tried the Euro Cut bass reeds, which I realise is a bit of an omission, but I will hang on for the French Cut bass reed when it’s out in the UK. Or just stick with the tenor version.
The tone is a bit hooded and over-ripe, but that’s probably more apparent to the player than the audience. This is a very initial impression, which could change.
graham
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Author: ScottS
Date: 2024-01-27 19:02
Graham,
I like your final point about "more apparent to the player than the audience." Sometimes it seems like it is a good thing to record ourselves on a good cell phone or digital camera placed 10+ feet away to compare our perception "up close" as the player to the projected tone away from us
Scott S
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Author: ACCA
Date: 2024-01-30 23:49
...and I'm still loving these. got the Alto and Tenor sax ones too.
Altissimo pops out easier on all 3 than with Euro / signature cuts.
YMMV as always- but I'm finding these are about 95% as good as the best pilgersdorfer morres I've blown- and are more than adequate for most of the time.
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Author: NOLA Ken
Date: 2024-02-03 04:13
Just another data point in this discussion regarding Bb sopranao clarinets: A couple of weeks ago I received a Legere French Cut 3 that I had ordered. I found that it played much stiffer than the European Cut 2.75s that I have used in the past, and pretty much on a par with the European Cut 3 that I tried but abandoned as being too stiff for me. Today I received the Legere French Cut 2.75 that I ordered. In strength it plays for me pretty much the same as the Eurpean Cut 2.75s I've used in the past, but with a smoother and more resonant tone. For me it plays pretty much on a par with the really good cane reeds that I use. (All of this is on a Vandoren M30 Lyre Profile 88 13 mouthpiece.) I'm really stoked to find a synthetic reed that plays as well as my favorite cane.
I've also been invited to revisit my alto clarinet, and find that I prefer the Fibracell Premiun 2.0 alto sax reed followed closely by the Legere American Cut 2.0 alto sax reed on my Hite mpc (Leblanc model 420 alto with De Leon tuning neck and Francois Louis ligature.)
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Author: NOLA Ken
Date: 2024-02-06 20:04
Keeping with the honeymoon theme, I played a community band rehearsal last night on my Legere French Cut 2.75 Bb reed and Vandoren M30 Lyre mouthpiece on my Bb soprano, and came away a bit less impressed than in my previous trial at home. My experience was that while strength-wise it plays perhaps only a bit stiffer than the European Cut and it has a denser sound (for want of a better term), it's harder to control than either the European Cut or the Aria cane I usually use. While I (accidently) found it easier to bend notes (a surprise), at both higher volume and sharp attack it required a lot more embouchure control to keep a squawk from leaking out. I just had to pay more attention to it than I usually do with the other reeds. I did find the upper altissimo considerably more accessible than with the European Cut, which is a plus. The European Cut has always given me trouble in the upper altissimo.
In my earlier home trial I found that I liked this French Cut reed a bit better on my Behn Prescott mpc (on a different instrument) than on the Vandoren. I'll have to take that setup for a spin in rehearsal and see what happens.
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Author: Paul Aviles
Date: 2024-02-06 21:30
We don't stress enough on this Board how much more meaningful it is to play test within the context of ensemble (if you regularly play in one of course). Context is EVERYTHING.
..............Paul Aviles
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Author: Djudy
Date: 2024-02-07 14:58
In the spirit of "context" :
Last night I tested the new French Cut for Tenor sax (2.25) at concert band rehearsal, on my 2002 Selmer alto with a Vandoren BD5 mp and classic Selmer ligature. We did a jazz medley and several film scores. The reed worked fine, clean sound, no harder to play than the cut-down Légère bass I had been using regularily or a Vandoren cane alto reed (which I find wheezie and don't like). This will work fine for me, especially since it's just been announced that the April concert will be played outside again ! Last time we did that there were snow flurries, no place for a cane reed (and I'll probably play my Linton ebonite alto rather than risk the Selmer).
At home I had previously tried the Alto sax French Cut on the Hite alto mp on the same instrument and found it more resistant and breathy-sounding so I will exchange it eventually.
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Author: graham
Date: 2024-02-07 16:12
Also ref the context aspect, I decided to use my new French Cut 2.75 tenor sax reed on my bass clarinet, in a concert last Saturday. This was nine days after I bought it. I was happy with the results and got some nice comments from others.
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Author: Djudy
Date: 2024-02-08 19:21
After reading Graham's comment about the tenor French Cut on bass I went back and tried the tenor French Cut 2.25 that worked well on my alto but found it just didn't fit well to my vintage Selmer C* bass mp (with Selmer ligature on a Leblanc Eb vintage bass) and did nout sound convincing. I had recently tried a couple of Légère bass reeds (can't remember which) on approval but gave them back as I didn't like them at all. I had been using a Fibracell bass 2.50 and found it easy to play but nasal and wanted something better. To my surprise while rummaging I found I had a brand new Légère European Cut 2.50 bass reed in a drawer and it worked very well indeed ! Go figure.
So still a happy camper with Légère and doubly pleased to have such good results for the bass which I only started playing this year but enjoy and plan to continue.
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Author: NOLA Ken
Date: 2024-02-08 20:33
Continuing the honeymoon (and context), yesterday evening I rehearsed with another community band using the Legere French Cut 2.75 on my Behn Prescott medium mpc on my Bb soprano. I'll have to say that it was a disappointment. While it still articulated nicely the sound was, for want of better words, harsh and plastic. Not nearly as smoth as on the Vandoren. It also didn"t respond as readily in the upper altissimo as it did on the Vandoren M30 Lyre, but I didn't have the control problems that I had on the Vandoren. Regarding strength, it seems to fit right in between the Aria 3 and 3.5. (My apologies, but it has been many ages since I played a Vandoren blue box to compare it with.)
This seems in part another lesson in how equipment sounds different in different environments. The French Cut on the Prescott mpc sounded very nice in my small cluttered office at home. But in the high school band room we use for rehearsal it sounded entirely different and not in a good way. I ended up changing back to an Aria 3.5 about a third of the way into rehearsal.
I'll keep working to see what I can get out of these reeds. I've been using the Luyben and soft Rovner ligatures because they work well for me with the European Cut and cane reeds. I'll try some different mouthpieces, ligatures and clarinets and also work with the French Cut 3 to see if it works better for me on other setups. Definitely a work in progress that may prove to be a useful alternative in some situations. But at this point I don't see the French Cut replacing either cane or the Eurpean Cut on my Bb sopranos.
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Author: NOLA Ken
Date: 2024-02-08 21:33
. . . something I neglected to mention earlier: I was really impressed with how effortless it is for me to maintain a perfectly stable tone at just a whisper on this reed.
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Author: Jordan Selburn
Date: 2024-02-15 00:56
2 months in, I'm also still in the honeymoon period with the French Cut and have played it exclusively in a number of band and orchestra concerts, church gigs and musicals. Plays super soft, plays reasonably loud, plays high, and responds nicely. As for sound, I very recently heard a recording from my current show - A Little Night Music, which features an absolutely wonderful clarinet solo leading into Send in the Clowns - in which I was using the French Cut and thought "this is exactly the way that I want to sound".
With the other Legere models, even the European Signature which I thought was the best they had previously, it was always "this is like the 3rd best reed in the box". The French Cut might be the very best reed in the box, at least for me, and with vastly less stress. I already have a backup ready for when the current one fades out or (yikes!) gets broken.
Jordan
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Author: Paul Aviles
Date: 2024-02-15 02:42
Glad to hear that you are having success. Nothing beats sounding exactly the way you WANT to sound.
................Paul Aviles
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Author: NOLA Ken
Date: 2024-02-20 19:21
Continuing my exploration of the French Cut, I have discovered that for me the ligature makes a great difference. I did not find the French Cut reed successful with the Luyben ligature, but a Rovner Dark totally transforms it for me on the Vandoren M30 Lyre. In concert band rehearsal last night on my medium bore Leblanc full boehm it produced a lush velvet and very focused sound devoid of any shrillness or edginess anywhere in the range. The focus in the lower end was just incredible. Articulation was precise across the range, although perhaps not as crisp as my best cane. It required that I take a bit more mouthpiece and a firmer embouchure than usual to control, but the results were enourmously satisfying. I think I'm going to ride with this for awhile to confirm whether or not this is really as good as I think it is for this setting.
The results on one of my big bore Leblancs was even more satisfying. Same reed, ligature and mouthpiece. This is the jazz/swing sound I've been looking for. The rich chocolatey tone brought to mind some of the old Albert system sound but with a more focused tone. Descriptively perhaps more Barney Bigard or Sid Phillips than Pete Fountain or certainly more focused than Acker Bilk. I like it. I'm definitely going to be playing more Legere French Cut reeds.
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Author: Djudy
Date: 2024-02-20 21:29
Thanks Ken ! That's a very informative and encouraging post. I'm a big fan of the Luyben lig but recently tried a new locally produced single screw metal lig with felt pads at the advice of my luthier (luthière) and I got a great response on my Silver King I use for the fanfare, so I'm not surprised at your finding. Going to go back and experiment on my jazz horn, that I've neglected recently, with the Légère French Cut and that lig.
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Author: NOLA Ken
Date: 2024-02-21 22:27
Well, I'm going have to retract at least part of my enthusiasm. Today I decided to check out the sound that's actually coming out with the French Cut 2.75 on my Leblanc full boehm by recording it. Granted, my living room (the best accoustics in the house) is pretty live. But while this setup sounds good in my ears in playing, it doesn't sound that good in the recording. Very much not as good as what I was hearing in my ears. Might explain why I was getting odd looks in rehearsal the other evening. It's back to the Arias on this instrument. I've always gotten some appreciation on that setup.
I'm practicing for rehearsal today, but will try recording the French Cut on my big bore Leblanc at a later date. I am really going to be disappointed if that one doesn't sound as good on recording as it does in my ears.
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Author: graham
Date: 2024-02-22 00:34
Why not record with the FC followed by cane, followed again by FC without stopping the recording, and make a direct comparison?
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Author: NOLA Ken
Date: 2024-02-22 23:10
Good idea, Graham, and I may try that with my large bore that I don't usually play in ensemble. But last night in rehearsal I asked a band mate who sets next to me in one band and in front of me in another to give me feedback on my sound on the Leblanc full boehm with the same French Cut reed, mpc and ligature on it. She dubbed the sound nice and "mellow". That's what I hear in my ears but not what I heard on the recorder (it's a good Zoom recorder). Given that this person has been playing decades longer than myself, is more accomplished, and is hearing me in two different live rehearsal settings, I'm included to trust her judgement. My experience at the blowing end of the instrument is decidedly different than with cane, but also pleasant and "mellow".
Another thing I am noting is that there seems to be something about the more focused tone that makes it easier for me to experience a blending with other instruments in the ensemble, especially the lower brass. I think it's the paucity of upper harmonics in this reed. I definitely like it. I'm not certain I would want to play first chair with this setup, but it seems perfect for third clarinet parts I've staked out for myself as the junior member of both clarinet sections.
Maybe it's my imagination, but one characteristic I think I'm experiencing is that the French Cut may start to go soft more quickly over the course of a two hour rehearsal than either cane or the European Cut. I'd be interested to hear if others have the same experience. Some people have noted that they change Legere reeds in mid-rehearsal. I'll try that.
I think I'm going to stay with this setup for awhile to get more acquainted with its quirks (and stop blathering about it here).
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Author: donald
Date: 2024-02-23 09:09
Initial impression after 2min of testing...
- Very "cane like" compared to previous Legere reeds (which all had their own virtues)
- The sample I tested was about the same hardness as the softer end of the equivalent V12 (ie Legere FC 3 = soft V12 3). This is about what I had been told by US colleagues so I really should have started with a 3.25
- Promising, need to test more later. Didn't feel like it would fill a hall but this one was a lot softer than the reed I'd chose to fill a hall, so a bit unfair to base an evaluation on this sample.
This might be what I'm looking for (a synthetic reed similar enough to cane that I can alternate between using this for teaching/practise and cane for performance).
Post Edited (2024-02-23 09:10)
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Author: NOLA Ken
Date: 2024-03-12 21:00
I've come to a resolution for myself with the French Cut. Although I really like playing it at home, the sound I experience just varies too much across venues for me to want to use it for more than a practice reed. That's not something I experience with my favorite cane reeds. It's not problems with playability (tuning, articulation, dynamic range). It's the sound. I too often end up pulling the French Cut off and putting cane on a half hour into rehearsal. This across different settings and different clarinets. Maybe I'll find some specific combination that it works better than cane for (or maybe a different mouthpiece). But as an amateur that's a lot of fussing around when cane just reliably satisfies.
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