 The Clarinet BBoard
|
Author: Bassie
Date: 2008-04-28 14:27
It has been said hereabouts that you eventually end up sounding 'like yourself' on any equipment. Since my most recent attack of GAS (Gear Acquisition Syndrome) I'm beginning to realise the truth in this. I am now the proud owner of at least four mouthpieces on which I can sound how I want to sound. The only difference is the effort required...
one requires the breath support of a bull elephant
one has a tendency to overblow at the most inopportune moments
one has wobbly tuning so requires great concentration
one has something of a 'covered' sound so volume takes extra effort
This is an interesting place to be. As always, I'm sure 'the truth will out' in performance...
|
|
Reply To Message
|
|
Author: Brenda Siewert
Date: 2008-04-28 16:08
The trick is to find the mouthpiece that you are the most confident in playing and that you enjoy using. Sounding good on it is essential to the satisfaction you find in playing. I have settled on one, but from year to year my favorites change. I may play one for three or four years and then try another and like it.
But, the bull elephant one you mention would never be in my case. The one with wobbly tuning would also have to go.
|
|
Reply To Message
|
|
Author: Ed Palanker
Date: 2008-04-29 15:03
Although I do believe there is some truth in your statement you can make a change. Almost everyone will eventually go back to “sounding like themselves” if they don’t work at it. Everyone unconsciously wants to have the comfort level they were accustomed to. In order to change your tone you have to be committed to sticking with it. It may also require that you make changes in how you play. More opened throat, proper tongue position, change of embouchure position etc. Of course you have to be comfortable when you play but you have to also be determined to stick with it if you like the final result. I don’t believe most players can change radically but I know you can get a darker, brighter, fuller or richer tone quality with the proper guidance and equipment. Often the mouthpiece – reed combination will make the most difference but you have to be able to play it with a certain degree of comfort and articulation. ESP
www.peabody.jhu.edu/457
|
|
Reply To Message
|
|
Author: Bob Phillips
Date: 2008-04-29 15:10
I had a shock last week when I asked my teacher to play my clarinet looking for an excuse for a failing leap from C4# to Long B.
Him playing my Buffet RC sounded completely different (and less attractive :={ ) than he does playing his Buffet R13. Now, I have to know if the wonderful intonation of my current horn is attained at the expense of its timbre.
Bob Phillips
|
|
Reply To Message
|
|
Author: William
Date: 2008-04-29 15:53
It's all about you and the reed--almost any mouthpiece of "good" quality will eventually do as you learn how to play it. Mpcs 1 & 4 may require a softer reed as you describe them as needing extreme breath support or having a subdued sound. Mpcs 2 & 4 may need different reeds balanced particularily to each as control seems to be the issued. There may be also an oral, emboucure or breath control problem that needs work and as Ed suggested the answer may be simply adjusting some (or all) of your playing technique and spending lots of time in your practice studio (basement, to me) perfecting it. Also, you must have a mental concept of how you wish to sound--what you think is "good"--and then always try to acheive that sound whenever you play or search for that "Holy Grail" mouthpiece. However, it's not so much about that wonderful, often over-priced, mouthpiece, as it is about YOU and your REED.
BTW, I regularily perform on three different mouthpieces--a vintage Chicago Kaspar #14 and two WWG8 mpcs customized by Glenn Bowen, my old college clarinet teacher. But for each one I have a set of twelve reeds that I select and adjust for each one. Thay way, they all feel like they play the same--and the "bottom line" which gets to the subject of your posting, I sound pretty much the same no matter which one I am using.
Post Edited (2008-04-29 16:10)
|
|
Reply To Message
|
|
Author: BobD
Date: 2008-04-29 22:22
I'm guessing that the mps you don't care for can be re-worked and end up playing as well as the good one.....should you care to have them done.
Bob Draznik
|
|
Reply To Message
|
|
Author: skygardener
Date: 2008-04-30 09:16
I have do put my neck out and disagree. The equipment makes a difference. Yes, if I want to work real hard I can make one equipment combo sound like another, but if I keep my technique consistant then the natural sound of the instrument will come out. I know this from making mouthpieces and reeds and doing repair- it all makes a difference. If you play long enough, the subtilties emerge. There are things I can *easily* do with one mouthpiece that is possible but very difficult with another.
Everyone has a favorite instrument, right? If you always ended up with the same result then who would care?
|
|
Reply To Message
|
|
Author: Arnoldstang
Date: 2008-04-30 17:09
I am of the opinion that people are influenced greatly by equipment. One of course could even argue that all clarinetists sound the same and they generally do but when it gets down to it the small things do make a audible difference. Which is preferable is up for grabs but the distinction exists for me. The point at which there is no difference is the time to stop fussing. In my mind you will always sound like you more because of your style and approach to playing. Different equpment will alter the tone. Time will just make you forget what you used to sound like.
Freelance woodwind performer
Post Edited (2008-04-30 17:19)
|
|
Reply To Message
|
|
Author: Ebclarinet1
Date: 2008-05-01 17:34
We did a little experiment a couple of years ago when I was playing oboe in the symphony. Each of played a different brand of horn (Yamaha, Loree, and Rigoutat) and each of us have quite different sounds, all pleasing but different. I play the Rigoutat (an Expression model) and my sound was described as "sweet and mellow" by the other two. The other two had much more strident sounds on their oboes, one a bit more mellow than the other.
OK so we changed horns and played. We sounded more like we did on our own horns on the others, although each of us was moderated by the make of the horn. My sound was much more strident on the Yamaha and strident but less than the Yamaha on the Loree. They both sounded less strident on my Rigoutat but not as mellow as I sounded. Of course we didn't exchange reeds which might have been more of a test. So I guess the conclusion we came to was that it was more us than the type of oboe we were playing although there were subtle differences that did influence the overall sound.
Haven't done the instrument swap with the clarinet section but to me each instrument brand certainly has its character. Am sitting to next to a Selmer player now and his concept of the sound is quite different than my Buffet. After this post I'm going to suggest the swap! It's been a ong time since I played a Selmer.
Eefer guy
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
