I have decided to abandon my experiment with the
Legere reeds and am too going back to cane reeds, at
least for my soprano clarinet playing. I have found
that I produce too uneven and uncontrolled sound from
them. As the Legere reeds vibrate they have a
tendency of producing additional undesired harmonic
tones and periodic tone fluctuations. This is just
too hard to control and adjust.
I do still see a purpose for them, especially when
playing multiple instruments in quick instrument
change situations. Therefore I do still intend on
using them in my Symphonic Band where I am changing
quickly back and forth between the Bass and Alto
Clarinets. Not needing to wet the reed and being
confident that you will be able to play right away is
a nice convenience the Legere plastic reeds offer.
Also, it seems the harmonic variances and fluctuations
are not as dramatic or as noticeable on the lower
pitched instruments I have found. Maybe you might
have a good explanation.
Thanks for the news about the L27. If only I were independently financially , I’d buy it in a minute, that and any other clarinet as well.
In any event, I believe that the extra and additional overtones or extra noises you are getting are attributable to the mouthpiece you are using, as I have experienced the same thing with the Redwine or Gennusa mouthpiece.
I have not gotten the same overtone or sounds on Fobes mouthpieces or a new mouthpiece, which I’ve heard about for years, first suggested to me by Mazzeo when I was studying with him so many years ago.
This is a Borbeck, one I have purchased to try fro WWBW. It was B stock, meaning someone may have scratched it slightly, but about 1/2 the price.
Beautifully finished, really, and affordable, about 75 bucks, I think.
The legere are on again off again, but it depends upon what you are playing on. If a regular Legere, try a half a number softer, but the Quebec cut seems better.
But, once more, they just play, no problem and with this Borbeck beak, it really leaves me worry free.
Right now, I prefer them, but then again, this has been an iffy transition for me, having experienced frustrations of many kinds with them, bringing me to an opinion that the reeds are not as consistent as they say, however one must remember that we are always fiddling with reeds made from cane, so it seems less with plastic. The idea of lengthy use, (make sure you keep them clean as they accumulate calcium.) (This from a great payer and teacher who uses them, Richard Hawkins, who teaches at Oberlin) He has worked on the legere for them, developing the Quebec cut, and for Leblanc with the Opus II. Go to his website and listen to him play many fine performances using only Legere reeds. He plays them when he plays with the Orchestra, where he plays clarinet and Bass, using Legere on both.
So, it is interesting finding someone like Richard who is shall we say, current, not an old guy like myself.
My experiences with the hard rubber instrument is that they do not have the same quality as wood, not worse mind you, but definitely different. My feeling is , if you can work, either literally or figuratively with hard rubber, you can save a bundle of money, but it is a different quality, a different response, if you will.
If I were auditioning for a big job, got the job and I won the audition using a hard rubber instrument, I would swear by them, really. That is the way of the world.
I believe that a young kid who may be talented but who doesn’t have the strength to make it in an orchestra should not have to pay 3 grand for a horn that will eventually be in the closet, which is my reason for supporting Toms horns.
That, and the fact that the scale is about as good as there is in the industry, save for the altissimo high F#, which is flat, no matter how you slice it, and the thumbrest which is too high, and badly made. (I can’t stand it).
best to you and thanks for the ad.