Noe om munnstykker og rør
Det finnes ingen fasit for hva som er best av munnstykker og rør.
Eller kanskje en heller skal si at finnes like mange fasiter som klarinettister?
Alle munnstykker må prøves over tid, og med rør som er tilpasset munnstykket.
Et rør kan være svært lett på et munnstykkenummer og samtidig svært tungt på et annet.
Det som følger her er mine erfaringer og hva som passer for meg.
Kanskje du finner noen tips om hvordan og hva du kan prøve også?
tabellen kan lastes ned her: munnstykkesammenligning TB
Vandoren har hatt en dominerende posisjon over hele verden.
De fleste andre fabrikanter setter opp tabeller der de sammenligner sine egne rør med Vandorens m.h.t. nummerering.
Jeg har videre samlet flere av disse tabellene og også hentet opplysninger til sammenligning av munnstykker her:
pdf-utgave kan lastes ned her:Rør og munnstykkesammenligning TB 22.01.2018.xlsx
Det nyeste fra Vandoren:
The V21 reed combines the conical shape of a 56 rue Lepic reed with a V•12profile.
This unique combination makes all registers of the clarinet more accessible with warmth and a depth of sound.
It will allow you to play with amazing presence and immediate response.
V21 is the perfect reed for performances that require the ability to handle large interval leaps efficiently with an even and rich tone.
I 2016 lanserte Legere Bb-klarinettrør for europeiske munnstykker. Jeg har kjøpt noen og tester dem nå.
Første inntrykket er at de kan passe bra på disse munnstykkene:
For meg fungerer de ikke godt på disse:
Har også testet dem på bl.a Pomarico MoBa og her fungerer de godt.
Erfaring akkurat nå:
Munnstykker / Legere kunstfiberrør:
— Pomarico-Backun CG Plus 1,21 Legere European 3 3/4 (3 1/2)
— MoBa Art2 L 1,19 Legere European 3 3/4 (4)
-- d´Addario 25E Legere European 4 1/4 1 (d´Addario 3,5+ / R56 3,5-3,5+)
— Pomarico-Backun CG 1,19 Legere European 4
Her er en test jeg gjorde for å se hvor lang bane (lysåpning) det er på de ulike munnstykkene i samlingen min.
Den er ikke vitenskapelig og nøyaktig utført, men viser likevel tydelig at det er forskjell på hvor langt inn i munnen en må ha de ulike munnstykkene.
Les fanen "Nyttig for klarinettister" først, så ser du hvor langt inn i munnen et munnstykke skal være.
Alt er gjort med samme rørtype (Vandoren V12 3,5) og med samme ligature.
Jeg har brukt et papir som måleredskap og avmerket på røret der røret treffer munnstykket. Se bildene.
Her er så rørene lagt ved siden av hverandre.
F.eks røret som er merket 5 nederst til høyre svarer til kolonne 5 på arket.
Her ser vi at Vandoren CL4 (merket 1 ) og CL5 (merket 2) har så og si like lang bane, mens BD5 (merket 3) har kortere bane og munnstykket skal altså ikke så langt inn i munnen.
Munnstykketest okt 2012
Wodkowski mouthpieces are available in a wide variety of facing configurations, and are made with three proprietary chamber designs – crafted from the finest ebonite available.
These mouthpieces are not custom, but bespoke, nor are they copies of any particular design. “Custom” implies specially made for an individual and their needs - these are set models. The listed tip openings and lengths are just a rough guide. It is not sufficient to characterize a mouthpiece by its tip opening and facing length alone, nor can that be said of the blanks a maker uses – the entire facing and structure of the mouthpieces must be considered. Custom, tailored mouthpieces are also available on request.
The Wodkowski Line
|Heritage Series||Inspired by the concepts and mouthpieces employed by the traditional American Philadelphia and old French schools.|
|1||Close facing, medium length – large chamber blank – approx 1mm tip. Very traditional design, inspired in part by the facings used in the original French mouthpieces produced at the beginning of the 20th century. Nearest comparison for reference – M13lyre and D’Addario, also Hawkins.|
|1B||Close facing, long length – large chamber blank – approx 1.03mm tip. Inspired by the designs preferred in Philadelphia during the 1970s and 80s. Nearest comparison for reference – M15 and D’Addario, also Hawkins.|
|Napoleon||Close Facing, medium length – narrow chamber blank – close tip. My reconstruction of the designs made by Charles and Henri Chedeville in the 1920s. Nearest comparison for reference – M13lyre, M15, D’Addario, Kaspar, etc.|
|Midwest Series||Inspired by the mouthpieces made in the American Midwest in the 1940s – 60s.|
|2||Medium facing, medium length – large chamber blank – approx 1.13mm tip. Nearest comparison for reference – Kaspar Cicero/Chicago, Vandoren BD5, M30.|
|2SW||Medium facing, medium length – shallow baffle blank – approx 1.13mm tip. Inspired in part by the designs of Kaspar Cicero and Riffault. Nearest comparison for reference – Kaspar Cicero, Chicago, M30.|
|2.3||Medium open facing, long length – large chamber blank – approx 1.15mm tip. Nearest comparison for reference – M30, B40.|
|European Series||Inspired by the mouthpieces preferred by many of my European clients – now catching on in America.|
|R||Medium open facing, medium length – large chamber – approx 1.15mm tip. Nearest comparison for reference – BD5, B40 and B40 lyre.|
|3||Medium open facing, medium length – large chamber – approx 1.19mm tip. Nearest comparison for reference – B40 and B40 lyre.|
|H||Open facing, medium length – large chamber – approx 1.25mm tip. My personal facing, offering maximum flexibility and tonal colours, while retaining focus and stability. Nearest comparison for reference – BD5, B40, vintage Kanter, Play Nick.|
|4SW||Open facing, long length – shallow baffle – approx 1.28mm tip. Made for the players of Scandinavia, who prefer an open mouthpiece with maximum warmth and colour. Nearest comparison for reference – B40, vintage Kanter, Play Nick.|
|5SW||My most open facing, long length – shallow baffle – approx 1.3mm tip. For those who favor the American mouthpieces of the 1970s. Nearest comparison for reference – B40, vintage Kanter, Pyne, Portnoy.|
Munnstykketest sommeren 2010
Munnstykketest sommeren 2010
Alle munnstykker må prøves med rør som er tilpasset munnstykket.
Et rør kan være svært lett på et munnstykkenr og samtidig svært tungt på et annet munnstykkenummer.
Husk også på at munnstykkets bane avgjør hvor langt inn i munnen det skal være.
Kort bane spilles nærmere spissen (se egen skisse) Hvis ikke, vil røret oppføre seg feil og en kan verken avgjøre munnstykkets eller rørets kvalitet.
Generelt er min erfaring av Lyre-munnstykker passer best til instrumenter med trang boring
(f.eks Festival) Lyre-munnstykkene blir lett matte i klangen og V12 og R56-rør gjerne harde både i følelse og klang når de brukes på instrumenter med større boring (RC, RC Prestige etc)
Min erfaring er at B45 er svært jevne. B40 bør prøve flere. Dette kan også være "kresent" på rørvalg.
5RVLyre: ujevne:noen meget gode, andre kan være svært dårlige.
M-serien er ganske jevne, har rund, åpen klang og særlig M30 egner seg godt hvis klangen føles litt skarp.
M15 er spesielt fleksibelt i ansatser og en kan bruke noe stivere rør uten at fleksibiliteten forsvinner.
Klikk for nedlasting av pdf-fil
munnstykker og rør tb2010
Etter at ovenstående ble skrevet i 2010 har Vandoren kommet med bl.a. Cl4, CL5 og CL6 og Rico er oppkjøpt av, og skiftet navn til d´Addario
De nye Rico / d´Addario-munnstykkene og rørene er overraskende gode. Jeg fikk de anbefalt av Martin Fröst og har brukt dem siden okt 2012.
d´Addario (Rico Reserve Classic) munnstykker:
tip: facing: Reserve classic: tilsv. Vandoren:
X5 A=441 1,05 mm medium-long 3,5-4+ M15/5RV
X10 A=441 1,12 mm medium-long 3,5-4 5RVLyre/M30Lyre
X10E A=442 1.11 mm medium-short 2,5-3,5+ B40/B40Lyre
X15E A=442 1.18 mm long 3-4 M30/CL5
Jeg bruker fortsatt også X15E med d´Addario Reserve Classic 3,5+ og tildels også Vandoren V21 3,5 på det samme munnstykket.
Spesielt når jeg er ute etter en varm, rund og myk klang. føles d´Addario best.
Fra april 2015 har jeg brukt Vandoren Black Diamond BD5.
Vandoren V21 skal være laget for dette og oppgis å skulle gi en lysere klang, med stor fleksibilitet, god intonasjon og flott respons i staccatospill.
For meg blir V21 altfor skarpt og virker ustabilt og hardt.
Jeg synes R56 3,5+ / 3,5 fungerer svært mye bedre på dette munnstykket. Det gir en stor og rund klang og er fleksibelt og gir gode ansatser.
Imidlertid er mine erfaringer etter et år med dette munnstykket, at d´Addario Reserve Classic 3,5 gir en enda mer behagelig klang og blir ikke så skarpt i høyden.
i dag hadde jeg time hos Wodkowsky og testet mange munnstykker.
Endte med å kjøpe et modell R (Wodkowsky R : Medium open facing, medium length – large chamber – approx 1.15mm tip. Nearest comparison for reference – BD5, B40 and B40 lyre.) som han videre tilpasset mine behov og klangønsker ved å åpne høyderegister, gjøre mellom- og dybderegisteret klarere og mer sentrert mm.
Han gjorde noen små justeringer som hadde stor innvirkning på klangen.
Veldig spennende å se hvordan han jobbet, lyttet og tilpasset og jeg er svært fornøyd med resultatet.
(se mer om dette under fanen "Mitt utstyr…)
Her er også samlet en del nyttig info
nyttig for klarinettister 2015
En samling av artikler om valg og behandling av rør og munnstykker. Intervjuer med klarinettister og oversikter fra ulike leverandører
Rørets anatomi TB.
Dette gjør jeg med mine rør.
1. Nye rør legges i vann 1-2 min og deretter over på glassplate slik at de ligger flatt.
2. Spiller kromatisk skala i alle register, sterkt og svakt og sjekker staccato. ½-1.min pr rør mellom hver gang prosessen gjentas. 2-3 dager.
3. Sliper røret forsiktig på baksiden og framsiden. Bare nok til å slipe ned fibrene som har reist seg i prosessen. Bruker gjerne sandpapir på kloss til dette. Evt. Vandorens slipeplate i glass på baksiden.
4. Spiller litt på hvert rør og krysser av i en egen tabell. Plasserer rørene på nummererte plasser i egnede oppbevaringsetuier.
5. Gjentar prosessen og vurderer om rørene skal justeres. Som regel sørger jeg for at rørene blir helt plane på baksiden, da de gjerne har forandret fasong litt under testprosessen. Bruker Reedgeek til dette. Kan også bruke Reedgeek på framsiden for å fjerne de ujevnhetene som kan ha oppstått ved at røret har svellet.
6. Hvis et rør fungerer noenlunde bra, bearbeides det ikke, men blir med i en innspillingsprosess med rotering. D.v.s. spiller litt på et rør før jeg går videre til neste. I løpet av en korps-/ orkesterprøve skifter jeg da gjerne rør 2-5 ganger. Øker tiden på hvert rør etter behov og følelse.
7. Nå kan jeg gå over til en periode med justering og tilpassing for de rør som trenger det. (se eget avsnitt)
8. Fortsetter alltid å rotere på rør som fungerer. På den måten vet jeg at jeg alltid har et bra rør, selv om f.eks. ”godrøret” blir skadet på prøve eller konsert.
Utstyr jeg bruker:
Slipeplate med justeringsstikke, http://www.vandoren-en.com/Reed-resurfacer_a101.html fint sandpapir på kloss,
Oppbevaring av rør.
Ulike røretui som alle har en form for fuktighetstilførsel som gjør at rørene ikke krøller seg i spissen.
fra punkt 4.
Et eksempel på hvordan jeg bruker tabellen :
Dette sier Vandoren:
Det er lurt å spille inn nye rør noen få minutter hver dag før normal bruk.
Hvis et rør er for stivt, kan du myke det opp ved å slipe baksiden med et stykke fint sandpapir.
For å gjøre røret stivere, kan spissen klippes med en rørtrimmer / rørklipper.
Pass på at klipperen har samme bue som røret den skal klippe. F.eks lager nå Vandoren ulike klippere for V12, V21 og trad.-rør.
Skal en bruke vann eller spytt for å fukte et rør?
Det kan være bedre å bruke vann. Noen mennesker har et surhetsnivå i spytt som kan slite ut røret raskere. Men sørg for at ikke røret ligger i vannet for lenge.
Det er viktig å ikke konsekvent spille på et rør som er for hardt eller for mykt. Dette vil begrense mulighetene til munnstykket du har valgt.
Ikke bli vant til et "godt rør." Det vil bli gradvis svakere og det samme vil leppemusklene! Og da vil alle rør av samme styrke som du prøver senere også virke for harde.
Velg rør etter forholdene:
a) Et mykere rør i et resonant, tørt, eller luftkondisjonert rom.
b) Et hardere rør i et akustisk "tamt" rom, utendørs eller på et fuktig sted.
For eksempel kan en erfaren musiker som vanligvis bruker styrke 3,5 gjerne bruke styrke 3 i et luftkondisjonert rom.
Motsatt kan han velge styrke 4, hvis han skulle spille en konsert i et fuktig miljø.
Vandoren BD5 (Black Diamond):
Becs de clarinette Black Diamond UK-2
A Crash Course on Vandoren B♭Clarinet Mouthpieces
Below are descriptions of Vandoren Bb Clarinet mouthpieces. Although they answer frequently asked questions, they should be taken for what they are: descriptions in musical terms, and general considerations based on experience and discussions with a number of musicians.
The 5RV and 5RV Lyre
5RV: In the early thirties, Robert Van Doren gave his initials to a mouthpiece that was to become an international standard of comparison.
The first 5RV Lyre was made by Robert Van Doren for Jacques Lancelot who wanted a mouthpiece that was a bit more open at the end with a facing that was slightly longer. A longer facing makes it possible to play stronger reeds, to obtain a richer tonal quality (darker in certain cases), more volume, and above all, greater ease and comfort.
Many teachers recommend the 5RV or 5RV Lyre for their students as it is easy to control. However, these mouthpieces are used by many professionals as well. This type of mouthpiece has also been chosen in France by a number of concert players like Louis Cahuzac (5RV).
The B45 and B40
The B45, created in 1968 by Bernard Van Doren, came as a revelation for many clarinetists. It was rapidly adopted by the leading clarinet players of the time. This mouthpiece became another standard of professional comparison, thanks to its innovative features:
- A wider tip opening than the 5RV
- A medium length facing
The B45 • and then the B40 were based on the B45, with similar features for the tip opening and length of the facing:
- The B45• is characterized by a “trapeze” configuration (widening of the passage from the bore to the chamber). It produces rich harmonics in the entire sound spectrum.
- The B40, with a wide tip rail, was designed in collaboration with Jean-Paul Gauvin. It can be used with softer reeds while retaining a velvety sound in all registers. This is why the B40 is becoming increasingly popular among clarinet players.
The B45 Lyre is a more open mouthpiece than the B45, and its tip rail is half way between those of the B45 and B40. It produces a compact and centered tone like the B45, provided it is played with softer reeds to preserve the purity of sound.
The 13 Series
The goal of the 13 Series (pitch 440) was to make a mouthpiece of Vandoren quality with the dark and centered sound of the legendary Chédeville mouthpieces that would suit American pitch (440 Hz) and the R13 Buffet clarinet, widely used in the United States.
The M13 was the first mouthpiece produced in collaboration with Donald Montanaro. This mouthpiece has the narrowest tip opening in the Vandoren range, a slightly bigger chamber (a more hollow baffle) and a wider bore. In terms of sound, the M13 is the most brilliant; it has a small tip opening, a long facing, and a fine tip rail, for easy blowing, staccato and high-pitched harmonics.
The M13 Lyre is slightly more open and is also suitable for playing with stronger reeds (3.5/4, and even 4.5 for V•12 ). It is ideal for a darker sound and even intervals.
Stemming from the success of the 13 Series ‘American Pitch’ mouthpieces, Vandoren has adapted several other traditional facings to the 13 Series, including the 5RV, 5RV Lyre, B45, B40, B40 Lyre, and M30 Lyre.
The difference between “Profile 88” and Traditional mouthpieces is in the exterior angle of the beak. Therefore, the musician is free to choose the model which suits their purpose in terms of best playing position, easiest sound projection, greatest playing comfort, and the most controllable and precise articulation.
Check out the Profile 88 product page to view the mouthpiece models offered in this series.
The Masters Series - The Latest from Vandoren
The new Masters mouthpieces feature a specific bore, a new chamber, and a new exterior design. Three models have been developed with facings specific to this series: CL4, CL5 and CL6. They are very easy blowing and have exceptional sound and tuning characteristics.
- The CL4 is characterized by a very radiant, clear sound and exceptional intonation. It allows precise, easy blowing and flawless articulation.
- The CL5 is characterized by a round, full sound, exceptional intonation, and perfect homogeneity and projection.
- The CL6 has the same sound aesthetics as the CL5, with increased ease of blowing and projection.
To live up to the expectations of musicians,
Vandoren is constantly broadening its large family of mouthpieces in order to provide everyone with a solution to their needs:
- The facing length of the M30 gives it great flexibility and an ideal balance between timbre and roundness. The M30’s versatility makes it suitable for jazz or classical settings.
- The M15 offers musicians a colorful spectrum of sound to perform with and ease with articulations.
- The 5JB is considered the jazz mouthpiece of choice. This classic mouthpiece was used by Benny Goodman, Mezz Mezzrow, and many others. Today, it has also been adopted by clarinetists such as Felix Peikli. The 5JB produces a formidable volume of sound that can hold its own with more powerful instruments.
- The most open mouthpiece in the Vandoren range, the 7JB is similar to the 5JB in quality but its powerful and flexible sound make it an ideal mouthpiece for jazz, klezmer, or marching band.
- The M30D and B40D can be played on either German or Boehm system clarinets and offer a warm sound and great intonation, inspired by the German sound.
The choice of model depends to a certain extent on the ‘schools of playing’ and the teachers. In some countries, there is a preference for small openings, not more than a 5RV Lyre, while in others the favorite is the B40.
A lower pitch (440 Hz) makes the mouthpiece resonate in a different way, in terms of sound and color. It is also important to take into consideration the accuracy of the instrument itself, and to have an appropriate barrel.
Choosing the Right Mouthpiece for You
A passion for music is the link between the mouthpiece-maker and the musician. This passion is expressed in both technical and musical terms; the latter having an element of subjectivity (brilliant, clear, round, etc.)
Most musicians talk about mouthpieces in terms of the tip opening (the distance between the reed and the mouthpiece) because it is the most visible criteria. But even more important is the length of the facing, its curve, and its shape. A 1/100mm difference at the very beginning of the facing already implies a completely different style of mouthpiece. Thousands of choices are possible between two points on the curve, and the art of the mouthpiece-maker lies in finding a curve that offers the best possible choice of sound. Like the soul of a Stradivarius violin, a clarinet mouthpiece has its own precise specifications.
In the architecture of a mouthpiece, the facing represents the foundation. The part that is in permanent contact with the reed should be perfectly flat.
Constant use of a mouthpiece can lead to:
- corrosion or clogging up by saliva,
- friction between the reed and ligature
- wear and tear
- distortions that are sometimes invisible to the eye, caused by pressure from the mouth.
If the mouthpiece is not changed in time the inconveniences can multiply, and can lead to difficulties finding suitable reeds and difficulties adapting to a new mouthpiece.
A quality clarinet mouthpiece results from a perfect equilibrium between technological precision and the craftsmanship of the mouthpiece-maker.
For more on Vandoren’s extensive line of clarinet mouthpieces, visit our mouthpiece product page here.
MER OM MUNNSTYKKER:
last ned denne tabellen her:
Revolutionary products require revolutionary technology, and Reserve mouthpieces are no exception. CAT scan technology was used to study dozens of vintage mouthpieces and collect all their best characteristics. Master mouthpiece craftsman Lee Livengood played a key role in Reserve production helping D'Addario's team of engineers refine the design. Thousands of prototypes later, it was distilled to its purest form. On the production line, D'Addario has established a quality control process that adheres to the strictest aerospace tolerances, the same ones used by NASA.
Cutting-edge technology is at the core of the Reserve mouthpieces, and every product made by D'Addario.
Reserve mouthpieces are milled, not molded, from solid rubber rods. This is how mouthpieces were made back in the good old days—when vintage mouthpieces were just mouthpieces. Milling from solid rubber affords ultimate control over every aspect of mouthpiece design and ensures the greatest production consistency. Today, most mouthpieces are made from molded blanks, which can produce inconsistent results.
The rubber used to produce Reserve mouthpieces is the finest available. At the end of an exhaustive search that took us around the world, we selected a truly wonderful blend—which is now exclusive to D'Addario—that exceeded our high standards in tonal properties and feel.
With their polished angles and glorious curves, Reserve mouthpieces are simply stunning. But that's only half the story. Inside the Reserve mouthpiece lies an incredibly effective design that provides a perfect centered and soaring tone at all volumes.
The bore, baffle and throat shape produce incredible results. This beautifully balanced design produces a centered, velvety sound that never sacrifices tone quality or intonation—from pianissimo to full-blast fortissimo.
Reserve mouthpieces are rooted in vintage design but are produced using ultra-modern methods. This blend of old and new allows the Reserve mouthpieces to offer an unparalleled evenness in the tone—a mouthpiece characteristic clarinetists have been chasing since the dawn of the instrument.
d´Addario (Rico Reserve Classic) munnstykker:
tip facing Reserve classic (tilsv. Vandoren)
X5 A=441 1,05 mm medium-long 3,5-4+ ( M15/5RV)
X10 A=441 1,12 mm medium-long 3,5-4 ( 5RVLyre/M30Lyre)
X10E A=442 1.11 mm medium-short 2,5-3,5+ ( B40/B40Lyre)
X15E A=442 1.18 mm long 3-4 ( M30/CL5)
The most widely played reeds in the world with a superiority proven over the years, these reeds suit all styles of music. Traditionals are known for their excellent response in all registers, allowing a pianissimo attack in even the highest notes. They are also extremely flexible, allowing the legato or staccato execution of large intervals while maintaining a richness of tone that gives body and clarity to the sound, which is a hallmark of Vandoren reeds.
V•12 reeds are manufactured from cane tubes with the same diameter as cane used for alto saxophone reeds. As a result, they have a thicker heel and are cut on a longer palette with a slightly thicker tip than the Traditional. The longer palette means that more of the reed is vibrating, resulting in a deeper, richer sound. The thicker tip gives body to the attack and also increases the longevity of the reed.
The introduction of the 3½+ strength allows a smaller and more specific gradation, resulting in reeds that are more consistent within the same strength.
The V•12 has expanded to include the Eb and Bass clarinet reeds, which offer a warm, rich and powerful sound.
56 rue Lepic
Named for the home of Vandoren, the 56 rue Lepic is the newest addition to Vandoren’s much-heralded line of clarinet reeds.
Designed from thicker cane with a heel taper very similar to German-style reeds, the 56 emits a rich, centered, and extremely pure sound while providing maximum stability and quick response in all registers. Strength gradations are smaller and more specific, resulting in reeds that are very consistent.
The V21 reed combines the conical shape of a 56 rue Lepic reed with a V•12profile.
This unique combination makes all registers of the clarinet more accessible with warmth and a depth of sound. It will allow you to play with amazing presence and immediate response.
V21 is the perfect reed for performances that require the ability to handle large interval leaps efficiently with an even and rich tone.
Rico er overtatt av, og har skiftet navn til d´Addario
Reserve reeds are the perfect pairing for Reserve mouthpieces. In fact, many of the artists involved in creating the Reserve mouthpieces also helped design
Rico Reserve Classic reeds have been designed for clarinetists by clarinetists in collaboration with Mark Nuccio, Acting Principal Clarinetist of the NY Philharmonic. - Special cane treatment process that helps reduce reed warping
- Gradual tip shape adding more tonal warmth - Traditional tip thickness for a quick articulation - Offered in 2.0 to 4.5 including a 3.5+ and 4.0+ strength
- Like the Reserve line, uses only the densest, lower internode cane for longer durability and consistency
Rico reserve:The Most Consistent Clarinet Reed Ever!
Rico Reserve reeds are the result of more than 75 years of reed-making expertise. High-density lower-internode cane, precision nautral diamond cutters, optical laser measuring, color video inpsection, and state-of-the-art polishing have all been integrated to produce the finest reeds ever.
Crafted from high-density lower-internode cane
High-density cane produces more durable, consistent reeds
Color video inspection sorts cane quality
Optical laser measurements ensure accuracy
State-of-the-art polishing creates a smooth surface
Precision natural-diamond cutting blades maintain reed consistency
Reed VitalizerTM 2-way humidity control packs protect reeds from cracking
Filed A reed that goes through one additional cutting process that removes bark from the reed’s shoulders. This allows for faster vibration.
Unfiled A reed is unfiled when bark from the reed’s shoulders remains intact. Many players enjoy the added resistance of this additional material.
Sammenligning av rørstyrke:
Tradisjonell Tip 0,09mm Heel 2,8 mm (doublecut/filed)*
V12 Tip 0,10mm Heel 3,15 mm (doublecut/filed)
R56 Tip 0,11 mm Heel 3,25 mm (singlecut/unfiled)
V21 Tip 0,10 mm Heel 3,25 mm (singlecut/unfiled)
Trad 3,5 = nærmere V12 3,5+ enn 3,5 / litt over R56 3,5+ / = V21 3,5+
V12 3,5 = mellom Trad 3 og 3,5 / midt mellom R56 3,5 og 3,5+ / litt over V21 3,5
R56 3,5 = litt over Trad 3 / midt mellom R56 3 og 3,5 / litt under V21 3,5
V21 3,5 = mellom Trad 3 og 3,5 / litt under V12 3,5 / litt over R56 3,5
Rico Grand Concert Evolution (clean focused sound) / Rico Grand Concert Select Thick Blank (darker richer sound quality = Vandoren V12
Rico Grand Concert Select (clarity in sound and flexibility) = Vandoren Traditional
Rico La Voz (deep powerful tone)
Rico Mitchell Lurie (balance between superb tone and ease of play student and pro = Vandoren Traditionell / Rico Grand concert select/Rico Rpyall / la Voz
Rico Mitchell Lurie Premium = Vandoren V12 / Rico Grand concert Select Thick Blank
Rico Royal variety of playing situations combined sax / clar player - prof and student freedom of response, especially in low register, clarity and soft attacks.=Vandoren V12
AW-Reeds GbR www.aw-reeds.com
301 tilsvarer Vandoren V12 (har denne i 3,5)
302 tilsvarer Vandoren Blå / tradisjonell
AW Nr.301 French cut 3,5
Made in Germany from French sourced cane.
Flexible, even sound. Very dynamic. Similar to Vandoren V12 in both cut and strength.
AW Reeds, Bb-French cut reed No. 302
Made in Germany from French sourced cane. Thinner tip than model 301, very consistent, excellent response in all registers. Outstanding dynamic legato and staccato abilities. Similar to Vandoren Traditional in both cut and strength.
Peter Leuthner French Cut Bb Clarinet Reeds
PL class French Cut professional Handfinished made in Vienna Atelier Peter Leuthner
Similar to Vandoren V12 & Rue Lepic Strengths L - Light, M - Medium, S - Strong, S +
PÆRESTYKKER OG KLOKKESTYKKER:
The Backun MOBA was designed in collaboration with Ricardo Morales (Principal Clarinet, Philadelphia Orchestra) and Morrie Backun. This MOBA barrel incorporates the qualities of the Fatboy and adds integrated rings. With the whole barrel vibrating, MOBA barrels create a resistance and enormous tone to cut through the largest symphony orchestra. For use with Buffet Bb and A clarinets. Some lengths can be in short supply
Buffet Chadash & Moennig model Bb Clarinet Barrel
Welcome Hans Moennig and the reverse cone tapered barrel. Reverse cone barrels are larger at the mouthpiece end. Moennig barrels as made by Buffet are .589"-.590" at the mouthpiece end and reduce to about .579" at the opposite end.
The rather severe reduction in the barrel bore has several positive affects. The third mode is not as sharp and the twelfths near the mouthpiece are reduced in size. The throat tones are sharper and brought into better focus. The choke created by the step at the juncture of mouthpiece and barrel can add a nice resistance that increases response and adds center to the tone.
The Chadash barrel is a reverse tapered cone bore similar to the "Moennig" barrel but with a very slow progression of the taper. The boring process for each barrel is done with a single edged French-style reamer that involves two different passes with the borer followed by the polishing of the bore.
Enhances the 12th interval tuning relationship to the fundamental.
Creates a clean, focused sound that doesn't thin-out as you go up the third and fifth partials
Available as a beautifully packaged 6 barrel box-set or as individually packaged barrels, the ICON barrel is designed to fit all Bb or A clarinet models, whatever their bore or their origin.
It is part of the SOUND DESIGN collection, which includes high-end accessories combining acoustic performance and aesthetic subtlety. The elegance of the body and the finely worked rings give this new barrel a distinctive style. The bore and the silhouette are the culmination of the latest acoustical research carried out Buffet Crampon on its family of clarinets. It enhances the qualities while preserving the characteristics of each of the brand’s models. Responsiveness, sound projection and definition of articulation are greatly facilitated by the new ICON barrel, contributing to the player’s comfort.
ICON TECHNICAL CHARACTERISTICS This new line of Buffet Crampon barrels joins the series of barrels by Chadash and Moennig and belongs to the same family of conical bores, while standing out with its sophisticated and different proportions. Apart from its inverse conical bore, its outer shape has been particularly refined. The carefully selected use of materials for the rings, and the finishes offered (gold, silver or black nickel) have a notable influence on the sonority and the sensation felt by the musician.
ACOUSTIC CHARACTERISTICS Variations of clarinets and barrels are practically infinite. ICON barrels are extremely supple in every register and the different finishes produce interesting acoustical variations. Gold produces more high harmonics and timbre, silver frees up and rounds out the sound, and black nickel seems to stand halfway between the two, producing a more compact effect. Another advantage: the conical bore can, if necessary, improve intonation of twelfths which can sometimes be problematic, depending on the balance of mouthpiece and reed. Lastly, the sound projection is excellent in proportion to a reasonable expenditure of air. Reference numbers: 64mm length: F34022AU (Gold), F34022AG (Silver), F34022NIN (Nickel) 65mm length: F34021AU (Gold), F34021AG (Silver), F34021NIN (Nickel) 66mm length: F34023AU (Gold), F34023AG (Silver), F34023NIN (Nickel) 67mm length: F34024AU (Gold), F34024AG (Silver), F34024NIN (Nickel)
The MoBa Barrel produces a full-bodied dark sound that is incredibly flexible throughout the clarinet’s tonal spectrum. Ease of articulation in the upper range and exceptional sound quality are just two more characteristics of this collaboration between Ricardo Morales and Morrie Backun. Like fine wine, our exotic aged woods enhance the colour palette available to each player.
Q: What is the difference between Grenadilla and Cocobolo?
A: Grenadilla and Cocobolo offer very different tonal characteristics. The sound that Grenadilla products produce contain more high overtones and, therefore, have been described as having “ping.” Cocobolo has less of these high overtones and is often described as being “warmer” than Grenadilla. Cocobolo also tends to project more efficiently than Grenadilla.
Q: Why isn’t Cocobolo used by more manufacturers?
A: While Grenadilla is a predictable wood that is relatively easy to work with, Cocobolo requires advanced knowledge and practices in design and manufacturing. Cocobolo can be difficult to work with and creates challenges in the way it must be machined.
Q: Does Cocobolo crack more often than Grenadilla?
A: Our experience manufacturing thousands and thousands of pieces of Cocobolo is that it cracks no more, and no less, than Grenadilla.