| NÚMEROS DE SÉRIE | MARCAS E LOGOTIPOS | TECNOLOGIA | BOQUILHAS | FINGERING | MANUTENÇÃO |
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BOQUILHAS
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CHAMBER TYPES the cavity between the baffle and the shank is called the chamber. Mouthpiece designs can be separated into three cases depending on the sizes of the chamber:
Large chamber mouthpieces (a > b):
Large chamber
mouthpieces are characterized by diameter a > b. Large chamber mouthpieces
are among the oldest design concepts of mouthpieces made by Adolf Sax and
Otto Link. The air speed increases as the air is being pushed from chamber a
to b, and as the air pressure increases, large chamber mouthpieces play
relatively soft with a large spread, and offer ease of control over the low
register of the instrument. Large chamber mouthpieces are most popular among
jazz players. Medium chamber mouthpieces (a = b):
Medium chamber mouthpieces
have the same chamber diameter across the entire shank of the mouthpiece.
Therefore, the air speed and air pressure are unaltered. The resulting sound
is often being described as ‘centered’. The low bottom end is less
pronounced compared to large chamber mouthpieces, but due to a higher air
pressure compared to large chamber mouthpieces, they can be louder and the
sound more ‘edgy’. The clear and centered sound of a medium chamber
mouthpiece is popular among classical saxophone players. Small chamber mouthpieces (a < b): Small chamber mouthpieces have a chamber that is smaller than the bore. Therefore, as air is being pushed though the mouthpiece, the air speed is being decreased and the air pressure drops. This leads to a very focused and bright sound (particular in combination with a higher baffle), popular among rock, pop, and R&B players, while the low end can sound relatively thin. Small chamber mouthpieces are standard for soprano mouthpieces due to the small bores of the soprano necks.
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BAFFLE TYPES The tone is produced by the vibrating tip of the reed. Therefore, the physical properties of the mouthpiece at this point is the single most important factor in how the tone is shaped. This geometry is determined by the baffle. There are various baffle types, some of which are explained below.
Straight Baffle:
A straight baffle extends
from the tip of the mouthpiece deep inside the chamber in a straight line.
The tone of straight baffle mouthpieces is even in all registers and not
very bright. Rollover Baffle:
A rollover baffle has a
convex floor that straightens out over its entire length. While this seems
to be a simple design, a smooth transition is difficult to achieve.
Therefore, high-quality hand-finished rollover baffle mouthpieces can be
expensive as they are labor intensive. Vintage mouthpieces with rollover
baffles include early Otto Link and brass Dukoff mouthpieces from the
1940s. Due to the higher baffle compared to straight baffle mouthpieces,
the sound is somewhat brighter and has more edge while still preserving
the overall sound of the mouthpiece. The high popularity of these
mouthpieces is due to the fact that they offer jazz musicians a larger
degree of expression which can range from lush subtoning to piercing
attacks of notes. Concave Baffle:
A concave baffle features
a hollow indentation behind the tip rail, which lowers the speed of the
air stream. As the tone is rather dark (and sometimes described as ‘hollow’)
and lacking projection, such concave baffle mouthpieces are rarely used
outside of classical orchestras and combos. If used in combination with a
bright sounding saxophone, however, it can help taking the edge off the
instrument. Step Baffle: A step baffle is technically easy to achieve and therefore a popular design among cheaper mouthpieces. Depending on the size of the baffle, they can lead to a large projection and an edgy tone as the air stream is accelerated when it passes the baffle. The Guardala “Michael Brecker” mouthpiece is one of the most famous mouthpieces if this design. Such a design is particularly useful when a saxophone is used in a band with electric guitars, for example, as it makes it easier for the player to cut through the sound of the rest of the band. |
Thanks to: http://www.mouthpiecemuseum.com/MouthpieceMuseum/Home.html
BOQUILHAS em orden alfabético
(as mais relevantes)
Beechler
This moutpiece offers a little wider throat than normal mouthpieces. This allows more air flow, and thus a louder tone when necessary. At the tip there is a slight roll-over baffle for more brightness and faster airflow. This is more of a sax-clarinet doublers mouthpiece and good for jazz.
Buffet
1930s Buffet - Evettine in top scroll - Buffet emblem below lower ligature lines
Early Buffet
C Model
C Crowns
These 2 Buffet C Crown mouthpieces are from different generations. Unfortunately I forgot which was from which. One is from a 1974 R-13, the other is an earlier model. The distinct differences are that [1] one has a slightly longer beak; [2] one throat wide is wider, [3] and the C and the crown are spaced dfferently
C Crowns are apparently made from Chedeville blanks
A
1974 - This 1974 model has a close C and crown, and wide though not as wide) throat as the other model. Centered and good tonal quality.
Chedeville
Chedeville made fine rubber mouthpieces from the 1920s to the 1970s. Their quality does vary and many of the older mouthpieces are preferred to the newer ones.
Chedeville actually originates in France but Chedeville consisted of two brother mouthpiece makers, Charles and Henri. Charles Chedeville was based in France and produced some great mouthpieces. His production was somewhat high, though below that of bigger competition of Vandoren and Selmer. Charles provided "blanks" or unfinished mouthpieces to a variety of makers including Frank Kasper of Chicago and Ann Arbor (until about 1970) and instrument manufacturers such as Bundy and Buffet. You can find some very nice Bundy and Buffet mouthpieces that are based on Chedeville blanks through the 1970s.
In 1949 the Chedeville company was purchased by the French Landelais company. The Lelandais company had also manufactured mouthpieces that were highly sought after, primarily by American clarinetists. .
In Philadelphia USA Charles brother Henri, a woodwind repairer, used Henri Chedeville blanks to produce his own line of "Chedeville" mouthpieces.
Eaton
Small Bore mouthpiece
Large bore mouthpiece - A frame vs above H frame
Grabner
K11 - H frame throat (Zinner blank)
K14 - wide A frame throat (Zinner blank)
Gustave Langenus
G Langenus was the New York Symphony's principal clarinetist. He was most world reknowned by his involvement in the transition to the Boehm keywork system rearranging teaching method. He was also know in his clarinet mouthpiece design and his superb and rare clarinets. He was apparently idolized by Bennny Goodman and BG apparently used Langenus mouthpieces throughout his entire career. The mouthpieces can apparently be superb though the quality is often overlooked by traditional clarinetists as their design is not normal as he was known for his "duckbill" design. His clarinets, though quite rare, are ranked with the best in the world at his time of the 1920s through 1940s. The clarinets were supposedly made by the Hofinger company. They may have had multiple models as it was noted one model had pot metal keys which are very soft and can melt easily at high heat.
Larry Combs
LC-1 (tip 1.1mm)
Leblanc
Noblet
Noblet mouthpieces came standard with Normandy and Noblet clarinets. The older mpcs, shown with the fancy scroll, has a very slightly warmer tone to them. Very good mpcs for the beginner and intermediate players. Advanced players may like them for their nice tone and ease of response.
O'Brien
O'Brien originally made the Selmer Clarion crystal mouthpieces. Identified by only a couple of flutes (indentations on the side of the mouthpiece).
The O'Brien mouthpieces quality varied over the years. In the early 1980s a cousin of the original O'Brien created mouthpieces from time to time. These mpcs were not considered the "prime" mpcs
Earlier mpcs the glass could be slightly darker, even slightly pink. On many of these models their would be a date etched on the glass. The original mpcs from the early 1940s, made by the Harry O'Brien, were less clear and had more air bubbles. So I guess the more "pure" the crystal in the mpc the less desireable they are.
There was also a mold change in the 1950s as the original mold was broken. The older mold had 3 grooves on each side (6 total). The newer 1960's mold had 1 groove on each side. The original Harry O'Brien (passed away in the 1950s) and he also manufactured clarinets. The son continued to make Selmer Primer clarinets in the 1940s as the father stopped. Pete Fountain apparently used these clarinets along with the mouthpieces. (thanks for this information goes to Michael E Obrien, grandson of Harry O'Brien - if you read this please email me, your address changed)
OCB stood for "Off Center Bore". These models were popular with jazz and classical clarinetists during the 1950s through the 1980s. O'Brien is said to have put really good facings on his mouthpieces. In general it's thought that O'Brien has been underrated as an artists just because of his status as a manufacturer and retailer. Tony Scott (pictured below) played a crystal mouthpiece during his jazz recordings years in the 1950s and 1960s. The OB* was described as a "medium" and his most popular facing.
| IDENTIFICATION | TIP OPENING (varies) |
| No 1 | Very short, Close |
| No 2 | Medium, French |
| No * | 1.00mm Very Popular |
| No 2* | More open than OB* |
| No 3 | 1.16mm |
| No 3* | |
| No 4 | 1.19mm |
| No 4* | |
| No 5 | 1.25mm |
| No 5* | the most open |
Some past tip openings of mpcs I've had
| Model | Tip Opening | Facing length |
| 5 | .047" | 16.5mm |
| 5* | .044" | 16mm |
| 5 | .054" | 17mm |
| 5 | .043" | 14mm |
Selmer Clarion
Very Early model:
Selmer model
This is a beautiful sounding O'Brien. I thought my 1980 model sounded good. This Selmer O'Brien (found with an old silver plated metal clarinet) sounds absolutely beautiful - rivaling my certain 1920-30s mouthpieces. This is probably from the original mold, pre 1950s. Response and tone is extraordinary across the range from low E to altissimmo.
1955 model - The original mpc came in cardboard tubes. Later ones came in plastic tubes with a sheet of paper in them (similar to the label below).
O'Brien "5" model - O'Brien and 5 etched on the top of the body (not on the table). No end cap. Frosted table and no identification etchings on the table. This was a very freeblowing O'Brien with a nice larger tip opening. This is probably from 1950s or 1960s
tip opening 1.25mm
1970s model - This has the same visual identification as the 1980 model. Looks nearly exactly the same, 3 flutes on either side, brass end cap, etc though the crystal is not as clear. O'Brien is etched on the table. In the upper left "x4" is etched and on the lower left "OCB-70" is etched. Tip opening = 1.19mm (0.04865 of an inch). 16mm length facing.
1972 model - This has the same visual identification as the 1980 model. Looks nearly exactly the same, 3 flutes on either side, brass end cap, etc though the crystal is not as clear. O'Brien is etched on the table. In the lower left "OCB*-72" is etched.
1980 model - easily recognizable with the brass cap on the end of the tenon.
3 flutes on either side. "3x" scribe on upper left of table; "OCB-80." scribed on lower left of table. "OBrien" scribed in middle right of table". Brass tenon cap. Purchased in 1980 from WoodWind Inc. (of Woodwind and Brasswind), original cork. Tip opening = 1.16mm (0.04567 of an inch)
Otto Link
Slant Sig - "Eburnated Bar"is stamped above the top ligature line. "Reg US Pat Off" is stamped just below the top ligature line. "Otto Link" slanted on the body. "Serial No 91xx" is stamped below the lower ligature lines
Reso-Chamber - "Eburnated" is stamped above the top ligature line. "Reg US Patent Off" is located below the top ligature line. "Reso Chamber" is the main emblem with Reso on top and Chamber on bottom surrounding a circle. "Otto Link" marked in the slanted chain circles. "5*" marked on the bottom of the table.
This mouthpiece has a very wide A frame throat. No very centered playing and used for jazz.
Penzel - Mueller
SML
SML made very fine mouthpieces. This particular model had a very centered tone and a wonderful response. Though I would not rank them in tonal qualities above the good Chedevilles as it does not contain enough 'ring' to the tone.
Stowell Wells Schneider
B3 (tip 1.25mm)
Keyhole design - This mouthpiece is interesting. As the air/sound travels through the mouthpiece the sidewalls move in to each other. This design, in short, allows the player greater dynamics and the mouthpiece is generally louder in comparison to other mouthpieces. So the player has to learn greater playing dynamics to maintain pianissimos. Another similar end result design on O'Briens has a "tone booster" on the baffle near the tip - this idea (apparently) has spawned those "tone boosters" that you buy and can stick into your mouthpiece
WC Sumner
WC Sumner Accousticut Rubber 3
Kasper / Goldbeck & Sons
Redwine
Ben Redwine has evolved a design from a past clarinet player, Ignatis "Iggy" Gennusa. Mr. Gennusa designed a mouthpiece called the "Excellente" which was a direct copy of his famous Chedeville mouthpiece. He was considered to have one of the best clarinet tones of any professional clarinetist in his generation. This included 21 years as the principal clarinetist at the Baltimore Symphony Orchestra.
Gennusa “Retro” b-flat mouthpiece. Iggy Gennusa’s first design. Copy of his Charles Chedeville mouthpiece. He deemed this one to be a bit too bright, so rejected it. Since we’ve taken over the company, we’ve reintroduced it. It gives people a good alternative, if the “Excellente” is not quite right for the way they play and what they want to sound like. It is a bit brighter than the “Excellente” and more projecting. Blanks produced by Babbitt, with sulphur in the rubber. Facings available: custom=anything
Gennusa “Excellente” b-flat mouthpiece. Iggy’s second design. This is the one that he liked (as do I). Dark, covered tone. Blanks produced by Babbitt. Facings available: GE-close (under 1.02 mm), GE*-medium (1.02-1.07 mm), GE**-open (over 1.06 mm). Also available in custom facing.
REDWINE e-flat: Zinner blank. Dark sound, excellent intonation. I’m an e-flat clarinetist (US Naval Academy Band), so I have much experience with these and have produced what I feel is the best e-flat mouthpiece on the market, having tried all the rest. Custom facings.
REDWINE bass: Babbitt blank. Projecting bass sound. Excellent intonation. Custom facings.
Selmer
1st Generation - This model HS* is identified by the old Selmer oval emblem. The emblem is located just above the tenon. The HS* can be seen at the very bottom of the table. The Throat is a A variety which allows not only centered but a nice spread tone, very flexible. Approximate age: before 1926
'Air-Flow' era 2nd generation
(pre 1938) Considered a "Special Edition" mouthpiece due to a limited production run this Selmer mouthpiece lasted a few years in conjunction with the Selmer saxophone Air-Flow models. This model started the "table" markings. This model had the normal "table HS**" stamp but above it it also had "precision garantie". between the lower ligature lines and the tenon were the words "H. Selmer" in script. Probably in the same early 1930s era as the Selmer-Johnston. Photos courtesy of Barb Tucker from Hauer Music
2.5 Generation - Model 36 - Johnston-Selmer - New York - I'm not sure where to put this as it is a Selmer USA model released with the advertising of Mr. Johnston who was touting the Selmer SBA saxophones at the time. I assume it was made around 1936 in conjunction with the lower emblem Selmer Paris mouthpieces. I cannot find a "france" stamp anywhere but it may simply be a Paris model. Marked HS* at the base of the table just like the 1st Gen Paris model
3rd Generation - Identified by the new Selmer logo on the lower part of the body. Throat the same A type frame. The word "table HS*" is imprinted on the table. To the right of the table is the Brand measuring system, which Selmer adopted used since July 1, 1938 on all Selmer and Selmer sponsored mouthpieces. This numbering system allows you to understand the exact measurements of the original facing. The first two numbers representing the length of the lay in 1/2 mm, and the second last 3 digits the tip opening in hundredths of a mm
Pre 1938 - without the Brand measuring system, lower emblem
Post 1938 - with the Brand measuring system, lower emblem
4th Generation - Logo moved to the middle of the body, though still high in comparison to modern Selmer mpcs. The "Table HS" is now inside of and oval on the table. Throat has much more vertical sidewalls than previous versions, but the walls are still wide apart in comparison to other makes. These mouthpieces were apparently provided with the Centered Tone clarinets.
5th Generation - Selmer emblem still high up the body but now the HS* identification is on the front just under the 2nd ligature line. There were apparently sold with the the 1960s (and maybe before and after)
6th Generation - Selmer emblem and HS** is slightly lower, though not in the middle as the later models. This is a HS** (larger tip than the HS*). The location of the HS and emblem may be a quirk with just the HS** - more mpc sighting have to be recorded.
6th Generation - Selmer emblem moved to the middle between the ligature lines. HS* moved more downwards from the 2nd ligature line. The HS* font is now larger than previous generations
Selmer Crystal Clarion
Selmer Crystal (1980ish)
Photos courtesy of Barb Tucker from Hauer Music. Though this is a Selmer crystal, most of the Selmer crystal mouthpieces were manufactured by O'Brien. This on in particular looks exactly like the O'Briens from the late 1970's and early 1980s, including the brass tenon cap.
Selmer - later model
This is a beautiful sounding O'Brien (Selmer). I thought my 1980 model sounded good. This Selmer Obrien (in with an old metal clarinet) sounds absolutely beautiful - rivaling my 1920s mouthpieces. This model is longer than the normal Obrien with internal variations that give it a warmer and more centered tonal quality. Response is extraordinary across the range from low E to altissimmo.
| model designation (ie, B, HS*) | tip opening in mm |
| B | |
| B* | 1.05/18mm |
| C | 1.05/19mm |
| C* | 1.10/19mm |
| C** | 1.15/19mm |
| D | 1.20/18mm |
| E | 1.30/18mm |
| F | 1.40/18mm |
| G | 1.50/18mm |
| H | 0.92/18mm |
| HS* | 1.00/18mm |
| HS** | 1.20/18mm |
| S | /17 |
| C85-105 | 1.05/19mm |
| C85-115 | 1.15/19mm |
| C85-120 | 1.20/19mm |
| CP100-118 | 1.18/27 |
| CP100-122 | 1.22/27 |
| CP100-125 | 1.15/27 |
(from the Selmer Catalog)
THE STANDARD SERIES
(HARD RUBBER).
The world over, professionals as well as students use mouthpieces from this popular series. Every player can find a suitable set up from the extensive range of tip openings and facing lengths. Standard Series mouthpieces are available for the complete clarinet family, from E soprano to BB contrabass clarinet. Standard facings - B*,
HS*, HS**. (and other sizes)
200 - Eb Soprano Clarinet
201 - Bb Clarinet
202 - Alto Clarinet
203 - Bass Clarinet
204 - EEb Contra-alto Clarinet
205 - BBb Contrabass Clarinet
THE C85 SERIES
(HARD RUBBER). Selmer (Paris) C85 mouthpieces bring a new sound to clarinets - a large sound, rich in low overtones, with a subtle blending of power and roundness. C85 mouthpieces are available for E soprano, B , and bass clarinets. Standard facing - 115. 105 & 125
220 - Eb Soprano Clarinet
221 - Bb Clarinet
223 - Bass Clarinet
CP 100 B b CLARINET
MOUTHPIECE
The CP 100 mouthpiece widens the B b clarinet mouthpiece range made by Selmer (Paris). The CP 100 is a very flexible mouthpiece adapting to various playing situations (from solo work to playing in the Orchestra clarinet section as well). It is an easy blowing, controllable, full tone mouthpiece with an excellent tuning balance all over the scale. An interesting professional mouthpiece. The CP 100 mouthpiece is now available for B b soprano clarinet; it is offered in three different versions (118, 122 and 125), see chart.
CP211 - B b Clarinet
Vandoren
| Model | normal tip opening | lay length | General Comments |
| 2RV | 1.065 | 19.5 | |
| 5RV | 1.065 | 19.5 | Vandy - "World famous 5RV is virtually a professional standard of comparison" |
| 5RV lyre | 1.09+ per Vandoren 1.28m measured |
20.5 | Vandy - "Responsive, easy to control in all registers, excellent for students. For symphonic and chamber music" |
| 5JB | 1.47 | 22.5 | Vandy - "A very open tp, long facing, the jazz mouthpiece" |
| 11.1 | 1.11 | 21.0 | |
| 11.6 | 1.16 | 20.5 | Vandy - "Same sound quality as B45 obtained by using reeds that are a little stronger" |
| B40 | 1.195 | 21.5 | Wider tip than B45 - more
resistance, less bright than B45
Vandy - "Designed to use soft reeds wthout sacrificing the sound quality of a stronger reed (centered and compact)" |
| B44 | 1.105 | 19 | |
| B45 | 1.195 | 21.5 | Larger chamber, easier
blowing than B40
Vandy - "Universaly acclaimed, it is the most popular mouthpiece. Designed for the symphonic orchestra player" |
| B45 Lyre | 1.27 | 22 | Vandy - "The sound of the B40 and the comfort of the B45" |
| B46 | 1.17+ | 19.5 | Vandy -"Ideal for the dance musician with classical backgrounc or the symphonic clarinetist desiring more tip opening" |
| M30 | Vandy - "Designed to provide more flexibility, the M30 incorporates a very long facing and a large tip rail to produce a mouthpiece similar in sonority to the B40, with easier sound production qualities" | ||
| B45 (dot) | Large chambered mouthpiece produces excelent full "round" sound" | ||
| B40 Lyre | Vandy - "The B40 Lyre sharesmany qualities of the landmark B40. The perfect blend of round sound and great tone color. Excellent sound production, especially in upper registers" | ||
| M15 | Vandy - "At last, a mouthpiece which enables you to play strong reeds with a great blowing ease. Exceptional sonority. The musician can easily achieve a colorful spectrum of sound" | ||
| M13 Lyre | Vandy - "A little more open than the M13 mouthpiece, it permits easy blowing with harder reeds and produces a rich and centered sound. The M13 Lyre is recommended for symphonic and chamber music" | ||
| M13 | Vandy - "Offers many of the characteristics of older American mouthpieces which are so widely sought after. The M13 permits easy blowing with harder reeds and produces a rich, dark, centered sound. Response is particularly sensitive" | ||
| AT45 | Vandy - "Using advanced technology and innovative composite materials, Vandoren have produced a new generation mouthpiece that uses the same great B45 facing with a slightly brighter sound" |
Woodwind
Vintage Kx models
Large bore clarinet mpcs. Intonation-wise good for medium to large bore clarinets.
1st Generation - Has patent numbers on the side, K9 (or other) stamped on the front, "The woodwind co New York" "steel ebonite no 36"
K series
K7 - Table model (2nd generation)
K9
G models
G5
G7*
Original Series
Zinner
Zinner is used for blanks for at least some of Gregory Smith, Grabner, Hawkins, Lomax, and Fobes mouthpieces. The Zinner mpcs have a "Germany" stamp to the left of the table.
Zinner models:
A - parallel sidewalls, deep baffle
E - paralel sidewalls, higher baffle
JC - Angled sidewalls
| model designation (ie, JC2) | tip opening in mm |
| 0 | 0.80 |
| 1 | 0.83 |
| 2 | 0.86 |
| 3 | 0.90 |
| 4 | 1.00 |
| 5 | 1.10 |
| 6 | 1.20 |
BOQUILHAS VANDOREN PARA CLARINETE SIb E A ESCOLHA DA PALHETA
|
With
the same tip opening: long facing = stronger reed, short
facing = softer reed.
With
the same facing: open mouthpiece = softer reed, closed
mouthpiece = stronger reed
Facing Length Abbreviations: L=Long, ML= Medium Long, M=Medium, MS=Medium Short |
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BOQUILHAS VANDOREN PARA CLARONE ALTO E A ESCOLHA DA PALHETA
|
Mouthpiece
|
Tip Opening
1/100 mm |
Facing
Length |
Recommended Reeds |
Comments |
| B40 |
138
|
ML
|
2/2,5/3
|
Designed to use soft reeds without sacrificing the sound quality of a stronger reed (centered and compact). |
| B44 |
138
|
ML
|
2,5/3/3,5
|
Designed for symphonic music. |
| 5RV |
126
|
M
|
3/3,5/4
|
World famous 5RV is virtually a professional standard of comparison. |
Facing Length Abbreviations: L=Long, ML= Medium Long, M=Medium, MS=Medium Short
BOQUILHAS VANDOREN PARA CLARINETE MIb E A ESCOLHA DA PALHETA
|
Mouthpiece
|
Tip Opening
1/100 mm |
Facing
Length |
Recommended Reeds |
Comments |
| B40 |
110,5
|
M
|
2/2,5/3
|
Designed to use soft reeds without sacrificing the sound quality of a stronger reed (centered and compact). |
| B44 |
110,5
|
M
|
2/5/3/3,5/4
|
Designed for symphonic music. |
| 5RV |
106,5
|
S
|
3/3,5/4
|
World famous 5RV is virtually a professional standard of comparison. |
Facing Length Abbreviations: L=Long, ML= Medium Long, M=Medium, MS=Medium Short
BOQUILHAS VANDOREN PARA CLARONE BAIXO E A ESCOLHA DA PALHETA
|
Mouthpiece
|
Tip Opening
1/100 mm |
Facing
Length |
Recommended Reeds |
Comments |
| B46 |
206
|
L
|
2/2,5/3
|
Recommended for classical and jazz musicians who prefer a wider tip opening. |
| B40 |
193
|
ML
|
2/2,5/3
|
Designed to use soft reeds without sacrificing the sound quality of a stronger reed (centered and compact). |
| B45 |
193
|
ML
|
2,5/3/3,5
|
Particularly suited for players preferring a wider tip opening. |
| B44 |
184
|
M
|
3/3,5/4
|
Extremely popular mouthpiece designed for classical playing. |
| B30 | 170 | MS |
3/3,5/4
|
Outstanding clarinet mouthpiece for musicians who like to use stronger reeds. |
Facing Length Abbreviations: L=Long, ML= Medium Long, M=Medium, MS=Medium Short
BOQUILHAS VANDOREN ESTILO ALEMÃO E A ESCOLHA DA PALHETA
|
With
the same tip opening: long facing = stronger reed, short
facing = softer reed.
With
the same facing: open mouthpiece = softer reed, closed
mouthpiece = stronger reed
Facing Length Abbreviations: L=Long, ML= Medium Long |
BOQUILHAS VANDOREN ESTILO AUSTRIACO E A ESCOLHA DA PALHETA
|
Mouthpiece
|
Tip Opening
1/100 mm |
Facing
Length |
Recommended Reeds |
Comments |
|
Black Master
|
||||
| VA5 |
85
|
L
|
2,5/3/3,5/4
|
Very easy sound emission. The sound qualities make this the reference mouthpiece. |
| VA0 |
80
|
VL
|
4,5/5/5+/5++
|
Very closed mouthpiece. Especially designed to use stronger reeds. Designed for symphonic music. |
Facing Length Abbreviations: L=Long, VL= Very Long
BOQUILHAS "CHEDEVILLE DESIGN"
| The Chedeville facing reacts to air
pressure quite different from the standard Kaspar facings in the scoop of
the baffle projects the air at the bore radically different from any other
design. This scoop in the baffle is what exerts a great influence on the
sound and its tonal characteristics. Many players feel the Lelandis to be
the superior of the three subsets known as Chedeville mouthpieces. Sadly,
few makers reproduce this design. However, I have had great success with
David Hite's D facing clarinet mouthpiece. This I feel replicates the
character of the Lelandais design to a nicety. The Kaspar bore pieces are
slightly more open at the exit to the barrel. (As for measurements others
have written extensively.) I generally feel the Chedeville smaller exit
bore gave me the flexibility and openness to the sound that I rather
like..... Having studied extensively with Harold Wright he had refacing done only a few times. The sound he made on his Lelandais will live long in my memory. It was very warm and quite round. When he allowed me to play on his Lelandais I was impressed by the ease and fullness of sound without having to work so hard!!! DISSERTAÇÃO more info at:
http://wcuvax1.wcu.edu/~thompson/trabs.html
|
COMO TRABALHAR AS PALHETAS (MUITO BOM)
site filho de: www.ulgheri.it
