Author: Micke Isotalo ★2017
Date: 2014-12-15 13:35
Here comes just an update to this thread based on a recent comparison - for possible benefit of other Wurlitzer and Reform Boehm players.
Details below, but first for short: My current choice of mouthpiece, reed and ligature is now a Vandoren B40D, Mitchell Lurie (!) and Wurlitzer string for the Bb and Vandoren leather with the black plate for the A.
The mouthpieces compared were these, with some comments:
* Viotto N1+2, German bore (not Reform Boehm, where the internal intonation isn't as good for me). For German cut reeds but works well also with wide cut German reeds up to 13 mm in front width. My long time favourite until now. The overall sharpness caused by the German bore (less internal volume than the RB) can be managed to an a 442-level by pulling the barrel as well as the upper and lower joint. However, internal intonation would probably deteriorate at an a 440-level (= too much pulling).
* Wurlitzer 3WZ. For French cut reeds and a popular one but for me the B40D is softer and denser in all registers. The 3WZ is also quite buzzy in the low register. I wonder if a heavier material like hard rubber would sound better than the present quite lightweight acrylic. The main advantage of mouthpieces for French cut reeds seems to be the sound in the high register (above the staff) which isn't as thin, nasal and edgy as on many mouthpieces for German cut reeds.
* AW (Alexander Willscher) D100, for German cut reeds. Some interesting innovative features as a more vertical blowing angle and a cross section of the part taken into the mouth of an oval rather than cylindrical shape, for a more conveniant and "airtight" fit to the mouth. Very light weight. I wonder here also if a heavier material would sound better.
* AW (Alexander Willscher) D120F, for French cut reeds. Same comments as above.
* Vandoren B40D. For French cut reeds and the winner of this comparison. Same overall sharpness as with the Viotto N1+2, but manageable in the same way. Better internal intonation with e on the bottom line and surrounding being less flat and altissimo being less sharp. Traditional "French" fingerings works in the altissimo. C7 (C4 in Europe) is a lot harder to hit compared to the Viotto.
* Vandoren M30D, also for French cut reeds.
* Vandoren D2, for German cut reeds.
* Vandoren D4, for German cut reeds.
* Vandoren D6. Can be used with both German and French cut reeds, as Vandoren tells.
* Zinner 5M, for German cut reeds. A really heavy weighing one, of some special kind of hard rubber. A mouthpiece of this material but for French cut reeds would be interesting to try out.
The reeds were:
* Vandoren White Master Traditional
* Vandoren White Master (the new cut)
* Vandoren Black Master (the old ones)
* Vandoren Traditional (blue box). Not the one recommended by Vandoren for the B40D, but on the A-clarinet it's a good one in the low and middle register (below and within the staff).
* Vandoren V12
* Vandoren Rue Lepic. Recommended by Vandoren for the B40D but for me it wins only the high register on the Bb-clarinet.
* Pilgerstorfer Morré German cut breit (= wide). Works also on the B40D. The sound in the low register (below the staff) is outstandingly soft and dense as well as lacking unwanted qualities such as hoarseness or buzz. Sadly though, the high register (above the staff) is quite thin and edgy - at least on the mouthpieces in this comparison. The wood itself, called Morré cane by the manufacturer, is quite rough and causes me a bleeding tongue when playing a lot of staccato!
* Pilgerstorfer Dolce (French cut), made of "French cane" which is smoother and friendlier to the tongue!
* Pilgerstorfer Classic Breit (German cut), also made of "French cane".
* Leitner & Kraus wide cut. My favourite until now, together with the Viotto N1+2. However, my last order in the spring of 2014 had only a very few good reeds compared to my previous orders. Also the strength's had changed with a 3,5 of the latest order being equivalent of a 3,0 (or even 2,5) from the previous one. I wonder if the cut itself has been altered.
* Mitchell Lurie. I tried this one with no expectations and just because it happened to be at hand. To my great surprise it works very well with the B40D, especially in the middle and high register. So far this one is my first choice as an all round reed for both the Bb and A.
* Mitchell Lurie Premium. A rougher sound compared to the regular ones on the Vandoren B40D.
The ligatures were:
* Rovner Star SS-1E/SS-1R. A resonant ant vibrant one, but not for me looking for smoothness and density.
* Rovner 1E/1R. Quite the same as above.
* Rovner Versa V-1R
* Vandoren leather, with three different resonance plates. The black leather plate works best for me.
* Vandoren "Klassik" (the string like one, called "Traditional" by me in previous post's in this thread ...). I tried both the German and French model, but they have identical measurements, including the cap.
* Wurlitzer string
* BG "Super Revelation" (the leather-like one with a gold plated resonator)
So far the best mouthpiece, reed and ligature combinations in different registers and concerning sound are the following:
Bb-clarinet:
* Low (below the staff): B40D, Pilgerstorfer Morré German cut breit 2,5, Vandoren Klassik (the string-like one)
* Middle: (within the staff): B40D, Mitchell Lurie 3, Wurlitzer string
* High (above the staff): B40D, Rue Lepic 3, Vandoren Klassik
A-clarinet:
* Low: B40D, Vandoren traditional 2,5, Vandoren leather with the black plate
* Middle: B40D, Vandoren traditional 2,5, Vandoren Klassik
* High: B40D, Mitchell Lurie 3, Vandoren leather with the black plate
As mentioned in the beginning, so far the best compromise between the registers and on both clarinets seem to be the Mitchell Lurie, with the Wurlitzer string on the Bb and the Vandoren leather on the A. However, reed-testing is still in progress.
Micke Isotalo
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The Clarinet BBoard
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