Author: graham
Date: 2024-01-01 19:47
What little I can add to the erudite points above is as follows:
Since 2016 I have played on a close facing Wodkowski which was made around the time he launched the 'Philidelphia', and which may actually be a philidelphia (though not sold as such nor marked with any identifying code or name). I use this exclusively on my pair of 'Hawkes Martels'. These are very different however from 1970s R13s, so any read-across would be limited. I firmly beleive that mouthpieces and instruments work together, such that a mouthpiece which is so-so on one instrument can shine on another, and vice versa.
I think that some of my best playing in recent times has been on this mouthpiece/instrument set up, though that does not mean that it is the best mouthpiece I have or that it is noticeably superior. But it has clear advantages over others in that the matching with these instruments is good, it is easy to play in terms of stamina, and it responds well to a wide variety of reeds.
These days I mainly use Marca American Vintage soprano sax reeds (Note, not the clarinet version) on this and most of my other set ups. Soprano sax reeds are not often used on clarinets, but they are compatible in almost all cases (subject to ligature compatibility) and I find these reeds more to suit my sound concept than any clarinet reeds. It's worth noting that the wider blade of these reeds is the same width as the European Cut Legere, which is wider than the usual clarinet reed width.
Currently, I have started also using a Legere European Cut strength 3 reed as well, and this is showing promise. However, I have done relatively little playing on it and it may prove to be a dead end. In particular I have yet to play in any ensemble with it, though I have done such playing on other mouthpieces with other Legeres. But each mouthpiece/clarinet set up naturally gives rise to differing results with such reeds. On the Wodkowski, I already have a question mark over the reliablity of altissimo above E, but that could be a matter of acclimatisation to the inevitable differences in the response of the Legere on that set up. A clear fact however is that the sound is broader and 'fluffier' than with the Marcas, and it could well be a case of 'horses for courses' depending on rep and mood.
My situation is likely to be remote from yours, particularly by reference to the different acoustic design of your instrument. For that reason, the previous responses are likely to have been more helpful.
graham
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The Clarinet BBoard
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