Author: KenJarczyk
Date: 2015-07-20 21:53
Thank You for this thread! I must admit, I didn't expect to find much to think about, until I opened it up and read it! (Silly me)
I was a long-term Bonade guy, regular and inverted. I really had no issues for most of my life. 20 years ago, with a big switch to a Greg Smith "K" mouthpiece and a Chadash barrel, I also found great success switching to the Rovner Dark. That was my mainstay for the last 18 years. Then, still on my 1969 R13. Now Rovner has switched their Dark ligature to a more vibration-friendly version with what I can only describe as a "sliced-up" version of itself. I kind-of liked them as well.
On another recent splurge of equipment variations, the trusty Smith "K" started having issues. A trip to Walt Grabner's basement (what an extremely wonderful person he is!) revealed that the Smith had gotten worn into an uneven lay, causing my issues. At that time, I picked up a couple of Walt's wonderful K14 pieces. In the long run, I made an error with these, they being just a wee bit too open for my everyday playing. I still use and love them, but for more commercial or jazz type gigs. I called another great person in the industry, Clark Fobes, and he gave me much food for thought. I ordered up his CF+ and his current favorite, the CWF mouthpieces. I really gravitated to the CF+, and to never face the realities of wearing out a favorite, I ordered up 2 more CF+ pieces. Still - using the Rovner Dark.
In the back of my mind, I still remember all the good results from the Bonade days of my youth, though then - on a pair of custom hand-made Frank Wells mouthpieces. I fished through my drawers of forgotten accessories, and brought out the Bonades. The regular just didn't do it on the Fobes. The inverted was better. I realized from reading other posts that these ligatures often get bent and do not give the best results because of that. I carefully adjusted the Bonade Inverted, and liked it very much.
On a whim, and of course by friends suggestions - I decided to give the Vandoren Optima a go. On the standard plate - it pretty much gives you a "perfect Bonade" effect. These were great! Why did I wait so long? So, I ordered up several sets of the Optima, for all my Beefers, my Eeffer and my A. I was pretty happy. Until....
Quick history catch up - I converted to, and totally love the Fobes E-flat mouthpiece. That piece is a real thing of beauty! Okay - on with the story...
Had a run of Bernstein's "Wonderful Town" on Reed 1 (Eefer, Beefer and flute). Right before curtain-up on opening night, I got all my gear ready and warmed up. While playing the overture on the Beefer, I notice something weird going on. Through my peripheral vision, I see the Optima on my Eeffer moving, all on its own! Then it sprang up and off the horn! I caught it with my right hand, and sort-of thought about freaking, as the next tune in this musical is all screaming Eeffer. I managed to pop it back on, got it adjusted back, and got the number down. A wee bit later in the act (fortunately, no more Eeffer in Act 1) it did it again! Seems that Clark Fobes' E-flat piece has a certain geometry to the outside that the Optima just doesn't like. I popped back on my Rovner Dark, and that was that, for the Eeffer, for the run of the show.
Lately, I've also found on all the other horns, that I have now migrated to the Fobes CWF mouthpiece, and also use Rovner Darks on all of them. Every now and then, I'll pop on the Optima, but usually go back to the Rovner by the end of the gig.
Guess that's the way I am, currently.
Ken Jarczyk
Woodwinds Specialist
Eb, C, Bb, A & Bass Clarinets
Soprano, Alto, Tenor & Baritone Saxophones
Flute, Alto Flute, Piccolo
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