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 larry combs' setup
Author: Lee 
Date:   2002-10-27 03:14

Hey. Not that it matters becuase I know that whatever setup we use we will always have our own sound, but what is his setup?
Just curious.

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 RE: larry combs' setup
Author: GBK 
Date:   2002-10-27 04:57

"...Not that it matters becuase I know that whatever..."

You're right, it doesn't matter....

As quoted from the brochure at Clarinetfest 2001:

Clarinet: Bb - Leblanc Millenium Opus
A - Leblanc Opus
Mouthpiece: Richard Hawkins or Woodwind LC1
Reeds: Vandoren V12 #4 or Legere #4

German System Clarinets: Wurlitzer Model 100cS (Bb and A)
Mouthpiece: Viotto N1
Reeds: Vandoren White Master #3
Ligature: String

As this is purely second hand information, the veracity is not guaranteed.

Not that it matters...GBK

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 RE: larry combs' setup
Author: Lee 
Date:   2002-10-27 05:03

I couldn't have said any better...Lee

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 RE: larry combs' setup
Author: David Peacham 
Date:   2002-10-27 09:56

What perhaps does "matter" in this answer is that he sometimes uses a Legere (i.e. synthetic) reed. It would be interesting to know how to decides whether to play Vandoren or Legere on a particular day, and whether he (or indeed anyone else) can hear any difference in the resulting sound.

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 RE: larry combs' setup
Author: William 
Date:   2002-10-27 14:46

At a recent clinic at IMS, Larry was using a Legere reed for demonstrative purposes but stated that, "I would never use this reed in the symphony (Chicago Symphony Orchestra)" Beyond that, he said that "it is comforting to know that you have a reed in your case that always will work." BTW, he was using a VanDoran Optimum ligature with the parallel rail insert (although he may have been just "showcasing" IMS's stuff)

And, when asked "what mouthpiece he was using?", he replied, "A Richard Hawkins." But he went on to explain that it only changed his sound for about one week--after that, his old sound returned.

IMO, the quality of a sound is much less important than playing in tune with impeccable rhythmic accuracy and acceptable musical style. Those are the qualities that really separate the great clarinetists from all of us "wannabys."

"A good sound is an in tune sound."--James Smith, Clarinetist and Conductor of the UW-Madison Wind Ensemble and Wisconsin Youth Symphony Orchestra.

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 RE: larry combs' setup
Author: Roger Aldridge 
Date:   2002-10-27 17:42

I was told that Larry Combs was recently seen using a Ralph Morgan mouthpiece.

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 RE: larry combs' setup
Author: Lee 
Date:   2002-10-27 22:56

how about the other CSO members

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 RE: larry combs' setup
Author: Joe 
Date:   2002-10-28 00:30

I think that Greg Smith may just use a.... Greg Smith!

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 RE: larry combs' setup
Author: L. Omar Henderson 
Date:   2002-10-28 21:12

I guess that I get two demerits for going off subject but -- I was having a lot of trouble getting Legere reeds to work well (may have been the assymetrical mouthpiece - a guess) At a recent mouthpiece clinic where Richard Hawkins was trying to explain the mysteries of mouthpiece architecture and function I tried one of his mouthpieces (he has made a speciality of mouthpieces that play well with synthetic reeds - primarily Legere)and it (I) played well. Of course even after his presentation I feel that it is more art than cook-book science when it comes to custom mouthpieces. My pension is still with good cane reeds (of which I now know where to get good ones - >blatent commercial plug < )but always have the backup of a reed that I know will play.
The Doctor

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 RE: larry combs' setup
Author: Ashley 
Date:   2002-10-29 23:01

Larry Combs sometimes experiments with different setups, but usually he remains the same with the Hawkins and the Optimum ligature. The other day I saw him at school with a Eddie Daniels ligature on and I asked him about it. He replied that he was just "playing around" with it.

I respectfully disagree with William, who stated that the difference between the great players is an in tune sound and musical style separate the great players from the not-so-great ones. A person who is very active in musical phrasing and usually in tune with the group does not make a "great" clarinetist if you can't stand his/her tone. What separates the great clarinetists from the good ones is that they can do ALL of these things wonderfully. The great ones, like Larry Combs, can, and do, achieve all of those high standards.

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