 The Clarinet BBoard
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Author: Noodler100
Date: 2026-04-04 22:13
Does anyone have experience of using Legere reeds on e flat clarinet in orchestral settings? I’m currently experimenting with using a B flat European cut reed (with Backun barrel) and the E flat european cut reed. My mouthpiece is a Selmer C85 120 which I have played for with cane reeds for many years. The european cut width means that the reed hangs over the mouthpiece rails. Not sure if anybody has found that to be a problem? The b flat reed set up looks clunky as a result but it seems to work. Curious if anyone else has tried this reed/mouthpiece combination. I do find that I have to adjust the reed tip position by very small amounts to get the exact effective strength of reed that I prefer, to make it comparable to cane. With cane, I find I don’t need to be so super fussy about reed tip position. I find that I get less volume of sound vs cane, but the sound is crisp and focused. Any insight from others would be very useful to hear. Thank you.
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Author: Kalashnikirby
Date: 2026-04-05 00:28
I've been testing all kinds reeds and often enough tried shortened Bb reeds. But what worked fantastically well was a Backun Vocalise G mouthpiece with a Legere Eb European Cut 3.75 - which is actually their recommendation. On most mpcs, you may end up with really hard Légere compared to cane reeds, I felt like a BD5 needed at least a 4.00, and the B40 also at least 3.75. But these mpcs produced a weird squeaking a times, something I don't experience with the Backun. Now Backun says when using their mpcs, one should go for a #4 cane reed, but I cannot say that'd work for me...
A mouthpiece optimised for synthetic reeds will have a completely flat table, and from my experience that goes a long way. Not sure about the rails, but Selmer mpcs are rather narrow and the Légere eb reed is rather wide. You could try to have your Selmer refaced, but maybe give these Backuns a try (or Gleichweit, but they've become rather expensive). Per Backun comparison table, the Vocalise H should be similar to your Selmer.
Best regards
Christian
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Author: David Eichler
Date: 2026-04-05 01:36
"A mouthpiece optimised for synthetic reeds will have a completely flat table."
Is this true, and are there non-customized mouthpieces that do in fact have completely flat tables and are designed specifically for maximum performance with synthetic reeds?
My understanding is that clarinet mouthpieces designed to accommodate cane have some degree of concavity to the table, even if that concavity might sometimes be very slight.
Post Edited (2026-04-05 22:30)
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Author: Kalashnikirby
Date: 2026-04-05 10:43
You can actually see how a slight film of humidity distributes evenly across the table with a Gleichweit (or Backun!) vs. a typical Vandoren. So I'd assume that the base of the reed seals better. Now I have never really found this to impede the mpc's playing characteristics with cane reeds, but then again I've never looked back since, playing synthetic reeds on any clarinet.
A newer Selmer Focus works really in that regard, too. Sometimes I wonder whether Vandoren just makes subpar stuff, as I somehow always manage to find a mpc that outperforms theirs.
Some claim that a flat table is always superior. What I can say for sure when using synthetic reeds- and eb clarinets are rather unforgiving with mpc/reed/embouchure errors:
1)Good qualtiy ebonite seems to sound better than cheaper options
2)Manufacturing defects/ bad machining lead to squeaking and other issues - the reed doesn't respond properly
3)A ligature that applies presure evenly works best. IHMO that would be GF System!
4)Old Selmers CAN sound fantastic with synthetic reeds
I had a friend of mine (who also keeps fighting with his eb clarinet setup) and he was blown away by the Backun. I know of another professional clarinetist who uses a german Playnick mpc with a boehm RC eb and a special barrel made by Schwenk+Seggelke to accomodate the different tenon.
So I guess I had it pretty easy, only having to find the right mpc + reed combination
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Author: Hurstfarm
Date: 2026-04-06 12:38
My preferred setup for orchestral Eb is now to use Legere French cut Bb reeds on a BD5 or Pillinger mouthpiece. Their stability and predictability are the key advantages, but in contrast to the above posting I tend to use softer reeds for greater flexibility (usually 3s), especially when quieter dynamics are needed. Starting an altissimo note reliably at pp is easier to achieve on a Legere than cane. Also if doubling Eb with other instruments, as is often the case, synthetic has the advantage of being “ready to go” immediately on picking up the instrument after a break from playing it.
Positioning is key, with the tip of the reed level with the tip of the mouthpiece. A firm ligature grip also makes a difference. I like the BG super revelation lig, but have found more recently that a Carbonissimo, used upside down with the screw reversed, also works well and seems to give the reed a little more freedom.
A cutaway barrel enables Bb reeds to be used without trimming. I use a Behn Evo, but Backun also make one.
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