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:
Vandoren V21
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 testet dem.



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

Desember 2017.

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.

http://www.ramonwodkowski.com/wodkowski-mouthpieces.html
(se mer om dette under fanen "Mitt utstyr…)

















rørsammenligning TB


HowCltReedComp




































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:
Rørets anatomi TB.

Dette gjør jeg med mine rør.

1. 1. Nye rør legges i vann 1-2 min og deretter over på glassplate slik at de ligger flatt.
2. 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. 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. 4. Spiller litt på hvert rør og krysser av i en egen tabell. Plasserer rørene på nummererte plasser i egnede oppbevaringsetuier.
5. 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. 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. 7. Nå kan jeg gå over til en periode med justering og tilpassing for de rør som trenger det. (se eget avsnitt)
8. 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,
Reedgeek. http://www.reedgeek.de/


Oppbevaring av rør.


Ulike røretui som alle har en form for fuktighetstilførsel som gjør at rørene ikke krøller seg i spissen.
http://www.vandoren-en.com/Hygro-reed-case-6-reeds-HRC10-HRC20_a96.html
http://www.vandoren-en.com/Reed-case-6-reeds-VRC620_a99.html
http://www.lomaxclassic.com/index.php?main_page=product_info&cPath=78&products_id=255



fra punkt 4.
Min rørtabell:



Et eksempel på hvordan jeg bruker tabellen :






Dette sier Vandoren:

Innspilling:
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.

Rørrotasjon:
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• 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 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.

• 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.

 
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.

MER OM MUNNSTYKKER:

last ned denne tabellen her:


munnstykker LP

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)

RØR:

VANDOREN

Traditional
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
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.

V21
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

VANDOREN  rør

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)

Eks.:
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
 www.plclass.com    3,5



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

ICON
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)



BACKUN
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.



WOODS
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.