 The Clarinet BBoard
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Author: Anonymoose
Date: 2022-12-13 06:32
I have always advocated playing softer reeds, specifically strength 3 in the vandoren line, as I felt they gave me so much color and flexibility in my sound. I've recently had the opportunity to play in some orchestras and I have found that these softer reeds can only serve me well for a rehearsal or two before becoming too soft and unusable in that environment. I've tried some harder reeds, 3.5's, 3.5+'s, and 4's, but I'm having a hard time truly committing as I'm not getting results.
Any suggestions?
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Author: David H. Kinder
Date: 2022-12-13 06:57
I'm experiencing the same thing myself. Just did a Messiah performance yesterday after about 2 days of rehearsal and I finally got up to my V-12 #4 reed. Still squawked a few times and there were a few times with my softer reeds that I couldn't get ANY sound out.
Granted, I haven't performed in a group setting in 20 years, so I'm still getting my 'chops' back.
I think it's my mouthpiece. I think it's too closed of a mouthpiece for what I was wanting to do. I'm wondering if the mouthpiece was better designed for ensemble or chamber work rather than a full orchestra? I'm not sure, but I'll be testing out some Vandoren mouthpieces, such as the M15 (non-13 Series).
I'll also be sending the clarinet back to Ridenour for additional adjustments. I love the sound and tone, but there's something in the key work mechanism and/or my thumb positioning that is causing some issues. I just want to take care of it under warranty.
Anyway, I don't know if that's helpful or not but that's what I'm going through myself.
Getting back into playing after 20 years.
Ridenour AureA Bb clarinet
Ridenour Homage mouthpiece
Rovner Versa ligature
Vandoren V12 #3 - #3.5 reeds
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Author: sonicbang
Date: 2022-12-13 17:50
Any mouthpiece that provides enough resistance for a softer reed that also gives projection should work well with Vandoren blue box 3 reeds in any orchestral setting.
It's not the reed strength alone, but rather the overall resistance of the playing platform that matters.
Mark
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Author: kdk ★2017
Date: 2022-12-13 19:11
Anonymoose wrote:
> I have always advocated playing softer reeds, specifically
> strength 3 in the vandoren line, as I felt they gave me so much
> color and flexibility in my sound. I've recently had the
> opportunity to play in some orchestras and I have found that
> these softer reeds can only serve me well for a rehearsal or
> two before becoming too soft and unusable in that environment.
> I've tried some harder reeds, 3.5's, 3.5+'s, and 4's, but I'm
> having a hard time truly committing as I'm not getting results.
>
I have recently been moving toward softer reeds, looking for the flexibility and color you mention. You're dealing with two separate issues. One is the reeds' playability. The other is their playable lifespan.
The mouthpiece and reed need to work together as a unit. The reeds I use on my current mouthpiece (a CWF W) would completely collapse on the Gigliotti P that I once used and go back to re-try every so often). The reeds that play well on the P are nearly unworkable on the Fobes and I certainly wouldn't try to do anything musical on them without doing a lot of reed readjustment.
I have found that the lighter reeds do seem to break down more quickly. I've assumed it has to do with the density of the cane, which is what determines the strength. Breaking the reed in before going full-tilt, playing one through an entire rehearsal or concert, seems like a must if you want to get any more than that rehearsal or performance out of it. My recent experience with softer reeds (than before) is that the softer reeds (VD 3 - 3.5) don't last as long as the harder ones I had been using and scraping down to make the resistance manageable.
Karl
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Author: Tom H
Date: 2022-12-13 22:59
I agree with Karl. Having used Vandoren 2.5s for close to 50 years, I found that I wouldn't usually use one for more than one rehearsal and the following concert. Sometimes two of each. In fact, a lot of the time I'll use my "2nd best" reed for most of the 2 hour rehearsal and just the #1 one for a bit. Makes sense that harder reeds last longer. That's a reason why for practicing I use the Legere-- saves $ on reeds. But if you can make a harder reed work for you, go for it.
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Author: SecondTry
Date: 2022-12-13 23:46
Switching reed strengths or mouthpieces, especially the prior, is certainly a strategy.
But to those who say their reeds are to soft, I'd like them to at least rule out the idea that they are clamping down too hard on the reed.
The embouchure best formed, better resembles a rubber band than a vice grip. I would ask that players make sure that they apply sufficient pressure from the sides on their mouthpiece to complement the degree to which they grab the mouthpiece with clamping pressure. I'd also recommend (temporarily) adopting a double lip embouchure to see if that resolves some of their issues, and if so, that they seek to adopt similar reduced clamping pressures in their single lip style.
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Author: EbClarinet
Date: 2022-12-18 20:23
I've always had a tight embouchure and when in public schools, buying reeds was expensive. I learned to over come each reed with it's playing tendencies. College taught me to b a bit more picky but I have a knack to "make" pretty much any reed work for me on Bb.
For my playing in my higher instruments, I mandate 4s so I can man handle the instrument and reduce biting in the altissimo register.
https://www.tapatalk.com/groups/mbtldsongministry/
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Author: graham
Date: 2022-12-19 17:08
Or find a mouthpiece suited to the heft needed for orchestra, and keep your current set up for chamber.
graham
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Author: Slowoldman
Date: 2022-12-19 19:13
Graham,
An interesting comment!
For those who don't know much about different mouthpieces, could you expand on your comment a bit?
What kind of mouthpiece are you envisioning for orchestra vs. what for chamber? What gives "heft", as you put it?
How does one decide about this, as opposed to one mouthpiece for everything?
Thanks.
Steve
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Author: David H. Kinder
Date: 2022-12-19 19:52
I just did a Messiah performance last week. I used the Homage mouthpiece from Ridenour. I found it restrictive for the sound I wanted to produce at the volume I wanted to produce it. I was using a Vandoren V-12 #4 reed, but I think it was too closed of a tip. By myself, it's great, but it didn't work for the performance I wanted. (Granted, I'm still getting my chops back after a long time.)
So for me, I'm looking for a slightly larger tip opening for the majority of my playing. I'll be checking out some Vandoren M-series mouthpieces.
Getting back into playing after 20 years.
Ridenour AureA Bb clarinet
Ridenour Homage mouthpiece
Rovner Versa ligature
Vandoren V12 #3 - #3.5 reeds
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Author: graham
Date: 2022-12-20 22:53
Hi Steve
Generally, if you’re playing on a short close facing, a longer more open facing will allow more dynamic range. But the curve of the facing is also relevant. Perhaps a straighter curve is more conducive to louder dynamics than one which flares nearer the tip. That said, a mouthpiece which is bright might cut through with less volume.
Possible example: a V B45 or B40 (1.2mm opening) should allow more dynamics than a V M13 (1mm opening).
The main makers give indications in their model descriptions (usually written fairly cautiously). The Selmer website implies that the C85 is more powerful than the Echo, for instance.
My last point: developing the ability to play equally well on more than one mouthpiece removes the risk of excessive dependency on a single specimen and the development of bad compensatory habits.
graham
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Author: Slowoldman
Date: 2022-12-21 00:55
Thanks, David and Graham, for that new perspective. I've always played close mouthpieces, with medium to long openings, (because that's what my teachers suggested) but it was recently suggested that I try something different for orchestral playing. I'm considering M-15 or M30L perhaps.
Your comments are very helpful!!
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Author: kdk ★2017
Date: 2022-12-21 03:52
Slowoldman wrote:
> Thanks, David and Graham, for that new perspective. I've
> always played close mouthpieces, with medium to long openings,
> (because that's what my teachers suggested) but it was recently
> suggested that I try something different for orchestral
> playing. I'm considering M-15 or M30L perhaps.
Hi, Steve
The actual characteristics of each (M15 and M30L) aside, the M15 has a 1.035 tip opening - not much more open than M13 (1.015) - very much still in the close-tipped range. The M30L is significantly more open (1.135). I think Montanaro used to recommend that his students use M13L (1.02). If you really want to try something different, the M30L would be a better candidate.
Karl
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