The Nature of the Beast,(mouthpieces)

Mr. Friedland,

I recently ordered a Hite model J mouthpiece to back up the one I have been playing on for a number of years. I heard that Hite had passed away recently and thought I’d better get a “back up unit” before they would no longer be available. When it arrived I tried to play it and it was awful! By just eyeballing the rails I could tell the mouthpiece was no where near the dimensions of my old piece. I shudder to think what the differences would be if I would have put gauges on it. Is some new firm making Hite’s mouthpieces and putting his name on them? Would a Vandoren B40 lyre ‘piece be close to my original Hite J? Caveat emptor! I was lucky enough to be able to return the mouthpiece for a full refund. Any help you can give would be greatly appreciated.

Richard

Dear R:
Many thanks for your note concerning the mouthpieces of the late David Hite. \I would have to respectfully disagree with your Caveat Emptor .
In any event, you were able to get a full refund, so, there was nothing of which to be wary.

But mainly, I have to tell you and all others who try new mouthpieces or even used mouthpieces, even Kaspers or really any one at all: they all play differently, and some really completely differently. Since most are in some way, finished by hand, they simply have to be different,even though they may measure equally. And please consider the variables in going into trying a new or a different mouthpieces.

The most consistent mouthpiece I think I have ever played is the Clark Fobes “debut” made for fairly new players, but each one of those plays a tiny bit differently. A little bright, a better open G or a different high C. And change the reed and you are in a different place.

I’v tried may Van Dorens, and while a B40 may be favorable to you, another B40 may not. (They are very consistent as well.)

So keep in mind that any two mouthpieces regardless of make will play differently. As they say, it is “the nature of the beast.”

All the best to you.

Sherman

Improved Albert System Selmers,in a triple case

Dear Sir;

My grandfather played with the “Big Bands”, and I have inherited his set of 3 Selmer Paris clarinets. They are “Fernand–Chamlain” and all have a serial of #2156. The old leather case is well worn. The instruments have not been played since the 30’s, and need a major overhaul.

I read your post to another individual, about depreciation of older instruments. I was wondering if this set of 3 was rare, and hence more valuable.

I am getting old myself, and no one in the family is interested in clarinet. In your opinion, what should be done with this set?
Regards,
D J
Hello D:

Thank you for the photos. Now I am in a much better position to give comments and perhaps some advice. These are Albert System Selmer Clarinets. They are probably the “improved Albert System, which was the choice of many players of Jazz during that time, though by hardly anyone currently. They look to be a set of Bb, A, and perhaps a C clarinet, all in that neat case.On second look, there are  both an LP on one barrel and an HP on the other. This signifies Low Pitch and High Pitch. Here is a link that gives more pertinent information: http://www.geocities.com/silverleafjb/clarinet2.htm.
You can see that they are seldom performed upon currently, however,there is a list of former renown players of the instrument as well as those who play them today. They hold only nostalgic value for those who do play them. They were played as well by players in all genres at the time. The LP or HP has apparently long been settled, save or the fact that  currently there are clarinets pitched at both 440 and 442 and there are mouthpieces as well which are matched to these instruments.
As far as value, that could be determined by making photos available to those who collect such instruments. Or perhaps the people who are in charge of the Selmer Clarinet within the US may be interested.
Selmer Paris has always been one of the premier clarinet makers.
Best regards,
sherman

Instruments,mouthpieces and reeds for young players.

Dear Mr. Friedland:
I have a daughter entering 8th grade that plays primarily piano (private lessons-5th year) and clarinet as a second instrument in the school band.
I bought her a Yamaha 250 new about 3 years ago. Next year she will be going to High School, and I keep hearing from other parents that she will need a wood clarinet. Will the 250 do for High School if I buy her a new mouthpiece? (has a 4C). If so, which mouthpiece do you recommend? Also, what is your reed recommendation for 3rd year clarinet players?
Regards,
G.

Hello G:
These questions you ask pose for me the opportunity of perhaps trying to attempt to help you and your daughter, but hopefully, many others who find themselves in the same position, though perhaps fewer of them have children who play two instruments, with a kind of major and a secondary instrument.
The parents who recommend that she move up to a wooden clarinet. They say “need”. but they imply that wood is a step up situation, which it is not. All of those who move to wood from a more stable material such as ABS or ebonite, (hard rubber) will have more problems than those with which they started. The Yamaha 250 is a perfectly good instrument, though I feel it is overpriced, since it is only a rehash of the model 20, which is virtually the same and much less to buy. But ABS is more stable than is wood. Ebonite is even more stable and has the advantage of being totally impervious to cracking and possessed of a very pleasant response, comparatively speaking, to ABS or to wood.
Not only that but it is much less difficult to acquire from a cost standpoint. I know this because after playing on costly wooden clarinets for years, I play ebonite, in fact the Lyrique clarinet which is distributed by William Ridenour. He is definitely worth a telephone call. He is yes, in business, but he has great integrity and has designed, while chief designer for Leblanc, the best clarinets being produced in France today. But the ebonite he designed is better in tune and much more of a horn for anyone, especially whose who may play long band rehearsals or even march, as well as playing in concert band.
I have no connection to Mr. Ridenour, except that of an admiring colleague.
The more money you pay for a clarinet does not get you long-lasting quality or response. It’s almost the opposite.
While her 250 will suffice, I think that you should consider a mouthpiece as well, that has a better design. The Yamaha 4c is not a bad mouthpiece, but the Fobes “Debut” is much much better and is very economical, and easier to play.

The recommendation for a reed for a third year player is any that will play, because all third years players play differently and so too, do all reeds. Cane reeds are the most variably responding things in the industry. They are getting more costly,while the quality of the cane and the cutting tools are not . Synthetic reeds are on the way and will soon be played by all clarinet players. While they have been around for years, they are just now getting to the point of perfection. I play on a reed called “forestone”, just beginning to appear on the market.I have also been testing some different models for younger players. They shall be appearing soon. They are superb.
I hope I have answered your questions.

Good luck, and with regards to your daughter.

best, sherman

Reed Revolution, 2

Hello everyone:

this is a  report on two  synthetic reeds,only one of  which having perfected the process, which, I’m sure, will lead to just about all clarinetists playing  them.
As far as the Legere reed, previous to the Signature, I found them insufficient and totally without that feeling that “I can play tonight because I know there’s a good reed in my case”.  With any Legere, I simply couldn’t depend on them for the playing that I was trained to do. The arrival of the 2 Signature reeds changed  that because they both play, and are an improvement. But the two play differently . They are not duplicates.

As for the Forestone , having played them for several weeks and only them, and frankly I kept one on the mouthpiece without moving t for the better part of two weeks before I noted any change at all, truly a great experience, at this point in time
The Forestone reeds marks the beginning of a totally new era in the development of reeds, all reeds. It is a new beginning because these reeds are reeds which totally duplicate the feeling and response of cane. It  surpasses any reed currently being sold which is not made from cane which has been grown, harvested and then cut. It does have a tremendous advantage in consistency   in that it does not have to  be warmed up and soaked. Once you have chosen your strength, it just plays. Choosing the strength is relatively easy, at least it has been in my case.

What this means is that it is just a matter of time before cane reeds as such, become obsolete.

What did he say? What unmitigated nerve!

Not at all. It has been coming for years, from the early reeds made of plastic, called fibercane,or something similar, the plastic coated things of many different brands. These were all innovations of a certain sort, not really ready for prime time, or for playing, in my opinion.

When you feel you wish to change your mouthpiece to accomodate a reed, you are playing a game on and with  yourself. Whatever made you want to change is something unsatisfactory about the reed, not the mouthpiece. When you change, you will immediately notice something is better. Wrong. It is just different, which soon will turn to the same unsatisfactory quality.

That “take” may be called strange. It is not. I have been playing for many many years and I know that these new reeds plays as well, and better than my cane reeds, and they play that way each day.

Returning to the Signature it, is a  step ahead for Legere, producing a more responsive  reed. I can’t say more presently because my experience with these have not been  positive . If they continue to improve, so be it. I wish them well.  That’s what I meant when I said, this is the beginning of a reed revolution.

Others will catch up to Forestone, and the really big makers will see the money to be made by making a reed which actually plays as well as cane, even better. The difference between Forestone is that instead of fabricating a material as has Legere, they have perfected the injection process, producing tips as thin as any bamboo reed.As thin as 0.1 mm. (Prior thickness was limited 0.6mm.The reeds are uniform because there are no knives or cutting material. They are injection molded. That means the process is of repetition, and every reed  will play in the same manner. Forestone actually uses bamboo fibers, but the difference is the complete perfection of the process, which has taken many years.

I’ve tried and retried the signatures. They are a bit more responsive, but because they have been cut after the material is made, they cannot be totally similar, so for those of you who like them, fine. As long as Legere makes them in this manner they are duplicating one of the cane reed making functions, that of cutting and shaping the tips.

The Forestone process is completely new, because they have been able to get the reed to be complete during the injection molding process.

I have been playing and replaying the same reed, and trying others and they play exactly as the previous reed.

It won’t be long. Don’t change your mouthpiece, your horn, or anything. The manufacturers will catch on and get on the bandwagon. They will duplicate from each other and improve upon what exists now. It  has to happen. Perhaps these shall be the criteria from which all synthetics are chosen:Considering primarily: it is a synthetic, it should include qualities not to be ordinarily found in  ordinary cane. It is the main raison d’etre for a synthetic.

1. No warmup is ever needed.
2. Reed does not need soaking ,ever.
3. Each reed of the same strength plays the same, within 2 or 3%, or even not at all.
4. Duration of usability seems almost endless.
5. The reed never changes in any discernible way from the previous time it was utilized.
6. This all equals unique dependability.
a. placing the reed either higher or lower on the mouthpiece can make a clear difference of half a strength, at least, and at most, depending upon the player.
There is no reason to expect anything less. If there were, then the answer would be in a cane reed.
There is no reason for a player having developed a correct embouchure to change any part of their equipment to accomodate any reed.

Until then, you will never dupicate the effects of  PRACTICE. All the work, the methods, the embouchure, the studies, the playing experiences, all the gigs, they are all necessary.

And everyone will play better.

best always,

sherman

An unusual Leblanc on auction. And no real provenance.

Mr. Friedland:

Thanks for your quick response. The horn in question is being auctioned on eBay. If I’m not mistaken, I may remember you mentioning in one of your columns, on some past occasion, that you prefer not to have email attachments sent with communications to you. I did not send an attachment, out of courtesy.

It’s a french-made Leblanc. It’s the older logo, with the “G.” immediately preceeding “LeBlanc” on the same line in the logo. The model name (or number, if you will), “578″, is just above the logo on the upper joint. And that’s all is says: “578″. The keys look like neither nickel-silver nor silver-plate. I believe they are raw, and unplated (for lack of a better phrase). I actually like this look.

I’ve used LeBlancs all of my professional life, and I’m partial to them. You mentioned it may be helpful if I could provide a picture. I don’t know if I can attach the link to the eBay site, as I’m not terribly adept at such things. It’s simply under “leblanc clarinets” on eBay. The initial picture (of several) shows the horn disassembled, in a well-worn case with blue lining. The listing is among the first two or three that first appear, and thus far has received no bids. The asking price is $375.00 US. The auction ends tomorrow at 10:00 am, Pacific time.

Regardless of whether I hear from you tomorrow in time to bid, I want to thank you for taking the time to respond. I do enjoy reading the articles in your website.

Best regards,

Hi:
I have looked at the enlarged photo of the first joint and am convinced that this is a bonafide Leblanc. Having said that, like all instruments, one has to ask the question, “How does it play?” This is the final judgement, and of course, it is yours to make. I do not think the price unreasonable, but about average. The call is yours to make. If they offer a return possibilty, that would be a benefit. Or, frankly I have found no bad Leblancs. Since you’ve only about 50 minutes and there are no bids, I would try for it, however one always has to be wary of those who wait for the last second to buy a horn. It’s called sniping and they charge you for placing a bid in the last few seconds. It’s not illegal, but I feel it ought to be.
good luck.
Sherman

Hello everyone.
I looked into this instrument because it seemed a different kind of Leblanc, not having a name like LL, or 1176, or any of the newer Opus-type names. It aroused my curiosity. but finally, I could fing nothing about this 578 business and so reverted back to the usual advice of a return possibility, (there was not) or the basic value of a French Leblanc. I believe they bought the clarinet sincer there was only one bid.
Leblancs are terrific instruments to buy as used because they are really so much better than used Buffets and less expensive than Selmers and sound as well.
The only problem with a Leblanc is that Vito Pascucci, head of Leblanc USA and not a clarinetist was into having Leblancs rebored in order to have a bigger sound, but did it indiscriminantly and by workers who frequently used the wrong sized reamers, rendering the clarinet not well in tune, or out of tune, which Leblancs are generally not.

So be careful out in that market place. It can be fun, but also it can be treacherous.
best regards, Sherman