Author: DaphnisetChloe
Date: 2019-10-19 02:45
I wasn't intending to reply again because I didn't want to create an argument... my original message has been misunderstood. Of course one can sound dark and covered on a close setup or bright on an open one. However, many professionals who play on close setups aim for a sound rich in overtones and ring (essentially brighter) that can project, even if they play at a more restrained volume. However, if you look at many of the world's professionals who play on open setups (e.g. members of the LSO, LPO, CSO, NYP, RCO, Martin Fröst, Julian Bliss, etc.) they tend to play with a bit of a darker, more covered sound, which they can ramp up to an enormous fff if they require it. The fact that these players might be 'wrong' for playing such setups is ridiculous, considering the incredible results they are getting. If an artist can produce a gorgeous sound on a mouthpiece at tip = .88 or all the way to 1.33 (I agree, past that is ridiculous for classical style) and have a brilliant career as a result, then one cannot say they are mistaken. It is the hard work they have put in and their artistry and personality that counts, not whether or not they are playing on a close or open facing. The equipment they have personally chosen to help them get the best results is in most cases, the best equipment for them. If that's Vandoren, then so what? Some of their mouthpieces are great. There are strengths and weaknesses, but no mouthpiece is perfect. You could give Martin Fröst a chipped 2nd hand Buffet stock mouthpiece and he'd sound incredible on it
Post Edited (2019-10-19 02:46)
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The Clarinet BBoard
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