 The Clarinet BBoard
|
Author: whonderwhy797
Date: 2012-12-25 04:54
I play on a Pyne Bel Canto and it has an asymmetrical facing. I've read that such facings create difficulties in playing and balancing reeds. However, I find that I barely have to do anything to my reeds (I use Vandoren blue box 4's)...all I have to do occasionally is scrape the stiffer side of the reed with sandpaper. Am I doing something wrong here? Also, I play on a "medium open" facing but was wondering if this description is Pyne's own terminology or it falls within the general accepted measurements of a "medium open" facing.
|
|
Reply To Message
|
|
Author: bethmhil
Date: 2012-12-25 06:20
I used to play on a Pyne Signature, and I didn't have abnormal difficulty adjusting reeds to it.
BMH
Illinois State University, BME and BM Performance
|
|
Reply To Message
|
|
Author: Tobin
Date: 2012-12-25 13:08
If it ain't broke -- don't fix it. If you're enjoying great ease in adjusting your reeds there's nothing wrong!
Sorry, but I don't know details of Pyne's tip openings.
James
Gnothi Seauton
|
|
Reply To Message
|
|
Author: Arnoldstang
Date: 2012-12-26 19:24
I use Pyne mouthpieces. You can balance the reeds to suit the mouthpiece or not in my opinion. The asymmetricalness creates a nice resistance for me. The MS facing I have is around 1.13mm with my tip wand. If you test the reed side to side and find one side vibrates more it might not create problems in performing. With a Zonda 3 they play very nicely.
Freelance woodwind performer
|
|
Reply To Message
|
|
Author: Wes
Date: 2012-12-27 05:22
It is difficult to understand them without knowing much more about them. With reeds that are symmetrical, a facing that is not symmetrical doesn't seem to make much sense. I recall when Bonade referred to making reeds heavier on one side than the other, in the late 40s or early 50s, but that did not work for me.
|
|
Reply To Message
|
|
Author: Ralph Katz
Date: 2012-12-27 12:55
Ben Armato told a story about balancing a reed for a fellow clarinetist during a long opera tacet. The other player put it on and immediately squeaked. Turns out, his mouthpiece was crooked.
Not sure what the intent of this unusual facing is, but I would defer to Professor Pyne for information, whose contact info is on his website:
http://www.pyne-clarion.com
|
|
Reply To Message
|
|
Author: kdk ★2017
Date: 2012-12-27 13:16
Which side is longer (and which shorter) with Pyne's facings?
Karl
|
|
Reply To Message
|
|
Author: Alphie
Date: 2012-12-27 14:12
I came to Jimmy Pyne's studio some 15 years ago. As I can recall the discussion about astmetrical facings I remember a few advantages. The basic idea is to create a microscopic "leak" between the reed and the mouthpiece on one side. This makes, according to the idea the bottom register less "honky" as the tube is vented by this leak, smilar to drilling a hole in the bell. The leak also makes the altissimo register to speak easier as the leak works as an extra "register key." Correctly executed the overall impression should be a very even-sounding timbre over all registers. However, this idea does not work for everyone.
On baroque bassoon bocals they usually drill a small venting hole not bigger than a tip of a pin. This is for the high notes to speak easier. 2nd bassoonists usually plug this hole to get the low notes easier. This is of cause basically the same idea.
Alphie
|
|
Reply To Message
|
|
Author: Alphie
Date: 2012-12-27 19:03
I'm with Ed! With the deepest respect, Tom Ridenour's opinions are very much based on theory and his own opinions. Jim Pynes mouthpieces worked for me for a long time in my career and I changed for other reasons than the asymetric facings. Pyne's mouthpieces have absolutely potencial to be world class!
Alphie
|
|
Reply To Message
|
|
Author: Ralph Katz
Date: 2012-12-27 19:51
Absolutely right: You can analyze afterwards, but first and foremost: just play!
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
