Author: cjwright
Date: 2009-02-20 05:35
I think pretty much everything Elizabeth describes is accurate, and her language reveals some preferences and playing habits that she obviously practices.
For example, she describes the ability to play with a very bright tone, and a very dark tone as well. Most players refer to this as "flexibility" in the tone, and specifically, many American players have a wide range of what they like in the tone. Some players like to stick a reed in and have every note sound beautiful, or sound dark. Other players, like the control of that flexibility, or prefer to control that variable through their reedmaking habits.
Another thing Elizabeth describes is the change of tonal color (i.e. timbre) of the high range and the low range. This is often more evident in reeds that have very thin corners and overall "thinner" tips. I personally like the difference in timbre in the different ranges, just as on the Violin the G string doesn't sound the same as an E string. (again, I believe the evenness of the timbre of the range of the instrument has more of a direct relation to the gouge than anything else, but I digress.)
Elizabeth did not describe what I deem the biggest difference between the two which is how the instruments take the air. For players who play on lighter, very refined reeds that are sensitive to varying wind speeds, the Loree responds much more in its tonal color, it's dynamic range, and in it's resistance. While the Laubin does respond, the color varies less, regardless if you're blowing focused air or "dispensed air" the resistance is always quite a bit to blow against, and I always tend to reach a certain point where I can no longer blow harder (or louder) because it won't give me more. Granted, I am a 6'2" 240 pound man with a lot of "umph" behind my wind stream, but I believe this is one of the reasons why John Mack always called the Laubin "a loree with a head cold". Would you agree on this point Elizabeth?
Cooper
Cooperwrightreeds.com
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