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Thank you Dale. What do you think bog the latest Selmer mouthpieces. Love your videos. God bless. Bill. Uk 🎶🎶

Agreed.

I just purchased an mc gregory bass clarinet 4a 20. I think it's a resonite one. I dont have her yet. I can send pics when i do. Love to talk shop about them. I use a kaspar on bass clarinet as my main, it was john reily's before he sold it to me and has had work done. The chamber of the mc gregory looks the same as the model a los angeles you have. It has similar markings as that one as well. Just no model a and a 4000 serial number (below the rico distributor ). Leading me to believe it's a resonite model. I will be able to tell when i get it soon

Have you ever tried a Ridenour 576bc? It's a $960 clarinet. If so, did you sound as good on it as on this E11?

Just re listened to your video Dale. You sure have a great love of the R13s with great projection. It remains my go clarinet. There is no perfect clarinet but you can do such a lot with it. I played the RCs when they came out but I personally couldn’t project the same. I hear others playing them who sound great but do not have the feel of the R13 s. I still like the different sound of English clarinets as that’s what I was brought up with. Have you ever played Selmer. I like the Recital even though it initially feels strange to hold. Do you have a preference for any particular modern mouthpieces for the R13 s. Looking forward to more videos from you Dale. God bless. Bill. Uk 🎷🇺🇸🇬🇧

Grande Maestro!

Who are the refacers that really know about baffles?

S1 C clarinet ??

It’s a tough cycle, that I believe comes down to reeds, people only use 20-30% of the capability of their reeds. I think the biting issue comes from lack of reed adjustment knowledge and practices. One can add a whole dimension to their sound if they know how a reed should vibrate and how to make it work for them without feeling the need to bite or have something to push against all the time. Mark nuccio in his d’addario video said it right, “a good reed is like a good stereo system”, I take that to mean one that is adjusted properly. Bonade knew this too in his compendium.

I have these for clarinet and alto sax, which I hadn't used for a long time. Started playing around with them again, and I think I agree with you.

You´ve got a really nice sound on all your mouthpieces. I would really like to try that metal Meyer piece. It´s always a challenge to play in outside acoustics. You often compromise your fine classical sound to get through on streetplaying. It seems that this mouthpiece could do the job. Unfortunately they are rare and the price is rediciulous. Do you know of other alternatives relating to volume?

Today's orchestras will probably like the type of sound you get with the M13 and dislike the type of sound you get with the Buffets. It's that bad situation.

There are a few players who use some kind of jaw force, like Steve Williamson and Marcellus, as you pointed out, though perhaps it isn't the best for students to begin with, even if that want that kind of sound. Great video! I love these exercises.

I really enjoy your videos, thanks. I sure wish in this one I could see your hands however. Have you considered showing the fingers?

I agree! Leather ligatures deaden the sound. I relate those leather ligatures like someone covering Pavorati mouth and tell him to sing! Dead dead dull

where does this guy get his money from? I wonder...I don't think he works?

i have an ann arbor on a chedeville blank

I have a Selmer hs ** that did not play at all...I sent it to Brad Behn and that piece now is totally great....the ONLY thing I don't like about it is that it is a slightly different shape than my Chedevilles and my jaw has to drop just a bit more to play it and I don't like having a more open mouth when I play...Marcellus always said...that a more open throat kills a good tone...and having your mouth more open tends to open the throat...p.s..Pasquale Cardillo played selmer pieces and I love his tone

My college teacher, Clem Hutchinson played and ann arbor kaspar...I remember once, he accidentally dropped it and turned white and yelled out " that's the end of me" it meant so much to him, but lucky for him, it did not break

I think that Dale gets his money from his youtube and spends every cent of it on cornering the market on the best vintage pieces...I do remember that I talked to Matson back in the day and he had first hand experience working with Wright and his / Maclanes Henri Chedeville...you know, the one that started it all......he told me that Wright sounded the same on most mouthpieces and that is true, I believe,,,it's not the mouthpiece,,,it's the player...sure...the mouthpiece and reeds are of the utmost importance but,,I doubt very much that if you gave wright's exact set up to a player like Larry Combs ...that he would sound any different than he did...or Drucker..he would still have that bright nanny goat sound without any center to it at all..

I wonder how the Seggelke Boehm would sound in comparison (with matching mouthpiece and barrel, of course). They collaborate with Ch. Neidich and make excellent instruments.

you should review the new Dickerson Resonator Ligature - it's a ligature and resonator -very uniqkue

I loved the jx/bc so much

I would assume you have experimented with modern attempts to create clarinet mouthpieces that reflect the characteristics of the best of the Chedeville and Kaspar designs. Perhaps a presentation or three on some of those if you have the time?

What does it mean that my 1989 E11 passes this test better than almost all of the instruments you're demonstrating here? (I do use an M13 mouthpiece and a Muncy barrel that both drastically improve it over the standard setup, but it's still markedly more uniform in tone and tuning on this particular test than all but one or two of these)

generally speaking,,,a great tone can not be copied,,a bad tone can be copied..i can sound like depeyer, or goodman,,,but harold wright?i can only dream

His sound is 30 per cent Pan Pipe.

I recently bought a new Brancher ligature, partly because of your review. I am not unhappy with the sound and playability, however, I find it very hard to position it correctly, because it keeps slipping up on the mouthpiece when the screw is being tightened. Did you encounter the same issue, and if yes, did you find a satisfying solution?

Wondering if there is any difference between a "quality superior" Lelandais and one that does not have the etched on the side?? cheers

I find the M13 Lyre plays better than my engraved 5RV Lyre, though It's a chosen one between many and the engraved 5RV Lyre was bought randomly.

I have a cheap Chinese saxophone from Amazon ( Eastar) but I use a Meyer 6 and I love it. I bought a pro tech neck strap and a used hard case from Facebook. Market place. Having fun over here in Anaheim. Im looking to join a mariachi banda.

He was a very famous, influential teacher and player. I recently bought 2 inverted ones and was very disappointed with the quality of them. Thank you Dale. God bless you. Bill. Uk

babbitt rubber in those days cracked

kaspar son did not do good work and drank away the profits

Very nice tips, Dale. Here are my tips to help sax players with their embouchure. I used too hard reeds when I was young because the intonation seemed so much easier with the harder reeds. I noticed how saxophonists that use softer reeds have much more expression in their sound, so I learned to use softer reeds. When I started playing softer reeds, it was difficult at first, but this helped me to use much less pressure. This helped me to play all of the saxes (soprano, alto, tenor, and bari) with a much more beautiful and expressive sound. When I was young, I learned the jazz embouchure by accident (I was taught the classical type embouchure). When I practiced my extremely loud long tones, this forced me to push by bottom lip out more to get that powerful sound. I didn't even know there was a jazz type embouchure. When I saw saxophonists teaching the jazz embouchure on TH-cam in recent years, I realized that is the embouchure I use. I only play jazz and dance club music now, so I never use the classical type embouchure anymore. Jazz saxophonists can avoid the biting by using the jazz embouchure instead of the classical embouchure. If you play in a concert band, you should keep using the classical type embouchure... you just have to learn to use your muscles around your mouth to support your mouthpiece and not your bottom teeth. A big thing that can help you get the correct mouthpiece placement in your mouth is being able to play the whole range without moving your embouchure. You have to get the point where the reed separates from the mouthpiece (towards the tip) over your bottom lip. If you get the mouthpiece in the correct position, you can play quick octaves (even 16th notes) without changing your embouchure. Most people have a slight overbite, and it is recommended to sax players to move your bottom jaw forward, if it is comfortable to do so... if not, you might have to move your mouth over the mouthpiece a little more. I've seen a guy on TH-cam ("Get Your Sax Together" channel) now teach a third type of saxophone embouchure (very close to the jazz embouchure), where you make both lips pucker out a little (like a kiss). I think Michael Lington uses this embouchure.

Play test? Chedeville vs pyne

A big favorite of mine....I'm a huge Fred Astaire fan, so the first time I heard this on "Shall We Dance" when I was a teenager, I grabbed my horn and tried to play it! You sound great, of course, and it works really well on eefer!

Love that sound on the "principal clarinet reed"! And now, tell us how many mpcs you own....I bet it's HUNDREDS! Oh, and you fooled me alright with that eefer reed....I gasped when you showed it! LOL

so, i read that the kaspar ann arbor pieces are more like the chedevilles vs the kaspar cissero pieces,,,seems like getting an ann arbor piece and getting a new facing on it, would be about as close to a great piece as you could get??

wat is beter r13 S1 ? Antwoord me alsjeblieft

How about D'addario mouthpieces? Do you like them?

I first bought one in 1989. Growing up in Boston, it was the mouthpiece of choice amongst all the teachers in the area. During my first lesson with Tom Martin in 1995, he told me that I would need a new mouthpiece. Years of marching band and swabbing my mouthpiece incorrectly ruined the tip. After going through his collection of Johnstons, we decided to get a new 5RV lyre 13 profile 88. Played this mouthpiece for five years until Gigliotti made me switch to his mouthpiece. In 2017, after twelve years of no playing, I picked up my horn again and I gravitated toward this one. I’ve since worn out this mouthpiece but still own it. My biggest regret was Not having Matson reface it. I mistakenly thought that he wouldn’t touch a stock mouthpiece. Only after his passing did I find out that he absolutely would have.