I was always surprised how many clarinet players arent picky about their reed. Many beginner and intermediate players will just slap any reed on. I always prefer a #3 no matter what, I play best on that.
I have gotten more and more picky about my reeds as the years have gone on. It is the biggest way we can make a difference in playing a piece as well as we can or not meeting our own standards.
Very Great Video! I am about to buy new mouthpiece 😂, but not because I have GAS syndrome, because mine is a little broken I refaced it but, I don't think it worked well... and also I felt like this mouthpiece(it was bd5) I have grown up cause the Forte I can't play freely, as you said in this video...I play it for 2.5 approximately years, with huge time breaks, mainly I play for taking exams or playing on audition... So,(I am sorry for the huge intro though 😂)my question is How does it feels on playing 'Long facing' mouthpiece (as m30lyre compared to bd4 for ex) and how it does affect on pianissimo is it taking harder and etc.
I am no expert on long facing mouthpieces, I have never played one for any amount of time. I played an M30 for the first year of the pandemic (in my house only since all performing was canceled). I found it a little restrictive. This doesn't mean that you will feel the same way.
Not surprised that you would choose something like the BD4 with a #4 V12 reed. For me, the 5RV Lyre would be an alternative for that strength. I would choose something like a #3.5 V12 reed for those other mouthpieces, as that would be more comfortable for me to play for long periods of time. Of course each mouthpiece of any model can be different, with somewhat different resistance, and you can adjust a heavier reed down a bit if you need to. And each person is different too.
In 15 years, I've played B40, B40 Lyre, B45, B45 Lyre (best of then till now, for me ofc), M30 Lyre (great one as well) and I am now on a BD5. I've played a BG one, I think it the model was B1 or something like that. That was my favourite but it was given to me just for a period of time like 8 years ago and I never got the chance to buy one bcs no one would seem to have them. Would love to try it again tho to see if it was really that good as I thought at the time. I've just realized the amount of money I've spent only into mouthpieces... I'm not even a professional clarinet player lol
First of all, there are worse things to spend (more) money on than clarinet mouthpieces:) There is little one can do to have more fun than fiddling with mouthpieces and pretending (wholeheartedly and honestly) that this is “the last mouthpiece I am ever going to need”.
Sir, I am sorry to bother you again. I was a super-amateur-level player but haven't played in the past ten years. Last week, when I finally decided to play it, I discovered the mouthpiece was broken. Is there any suggestion for people like me in terms of which mouthpiece may work the best? I used to use a Vandoren CL6 mouthpiece with Vandoren 3.5 reeds. Thank you so much! I really appreciate your help.
I am not familiar with that particular mouthpiece. It strikes me that you are using a relatively resistant reed given the circumstances you describe in your clarinet journey. I would check out Brad Behns overature mouthpiece www.clarinetmouthpiece.com/overture-student-clarinetmouthpiece that's a low cost excellent mouthpiece. If you want to go a little more expensive I would try a vandoren 5RV lyre amzn.to/3BS0Z0U
Unfortunately, I have never even goofed around with one. It seems like that would be a super focused sound but with limitations loud dynamics. From the numbers on it, I think I would need a number 10 reed to play it….but I am on the side of the spectrum that’s wants a fair amount of resistance. Thanks for watching and commenting:)
I recently got an engraved 5RV Lyre and plays very well with V12 3.5. I'll also try It with 3.5+, although 3.5 plays pretty well already. If 3.5+ won't be too much resistant I'll keep playing It with them. probably will be more ideal for the very high notes. I believe 5RV Lyre suits all level clarinetists.
Does the 5RV Lyre play with the thick reed is more confirmable? Coz my teacher advised me to use the 2.5 reed but i bought the 5RV Lyre mouthpiece🥹. Should i change the reed?
@@ANN-os8nc Just recently tried V12 3.5+ and yes, It works much better. They feel better than 3.5 and got overall more stability but still It's a flexible piece while keeping the center in the sound.. Highly recommended!
@@ANN-os8nc Keep in mind, engraved Vandorens are better material than the newer yellow logo ones but table, rails and tip should be in good condition If you get one.
M30 R13 Lyre is what I play with a Legere 3.25 Euro cut, a Vandoren Optimal ligature with a Pereira 3D barrel on a 1966 R13. The tone is perfectly centered and rich. I liked the M30 sound on your video best. I guess I am a bit biased and should have closed my eyes???? Thank you for the video!
Hi Phil! Thanks for watching and for the thoughtful comment! The equipment you are using seems like it would create the possibility for an incredible focus in the sound. One of the things I say to myself and to others - the clarinetist that has most influenced our playing is ourselves because that's the clarinet player we have listened to the most. I think we all respond favorably to the things we find most familiar. That is something that, in the good way, is something that helps us to identify "ourselves" and give context to what we are hearing - on the negative side it is what makes it so darn frustrating to change our sound when we think we want to move a different direction.
I bought the B45 dot cm309, Versa lig. and I found the V21 #3 my fav. So far the 'Reed Wizard' takes nothing off of them, inner or outer situated. I'm still ... playing around with the two barrels I have for each, Conn Director 56' and Boosey & Hawkes 8-10 (45' or 58'? 161452 ) (MP/reed exp.for the Conn) with a Bundy and Debut using a few reeds, Van CR10'3', Mitchell Lurie 2.5 etc. I'm beginning to think having interspersed more time between ... Banjo with Clarinet : ), it's mainly my improved embrasure as the deciding factor, 'crossing the break' with what I thought was the best MP/reed combo. So it's back to the drawing board again.
@@clarinetninja Putting my 'Empty' Van B45. box away noted it was heavy, found two more candidates for my Conn, Claude Lakey Bruno Symphony (ha saw one $150) and Selmer Paris C*, so more drawing ...
Oh goodness, thanks so much for this video. This is my new reference guide when trying to explain to students the differences of mouthpieces and why your decision making for barrels, ligatures, reeds, etc can be heavily influenced by your choices. Excellent production quality as well. Bravo! 🎉
Why don't you change strength according to the mouthpiece? BD4, B40, B45, and M30, I'm surprised you could play with V12 #4, isn't too heavy? I got them and I find v12 #3.5 plays the best on each except M30 which needs a little stronger reed. Never experienced 5RV lyre.
For me, the V12 #4 is the reed I want to play. I am not sure that I can explain why that is, but that’s where I have landed in my experience. Like I said, I know it’s an unusual way to go about it. That being said, that reed feels good to me on all the mouthpieces in this video. Everybody has a different want in terms of resistance they want to have the way they play the clarinet and for what music they are most interested in playing. I don’t mean to suggest that my level of resistance is right for everybody - or even anyone but me. My main point, which I know you are not questioning, is that each of these mouthpiece offers a nuanced difference in the result. I mean this to represent that there can be a big difference in “feel” without a major difference in result. For me it is about how it feels to get (within a certain range) to get basically the same result. On any mouthpiece I think the result is dependent on who is playing it and how they want it to feel and what effort it takes to get that result. My self assessment is that I tend to like a more resistant set up. Most of the time in the music I play, I don’t need a great deal of flexibility but I do want a lot of stability. If I were doing jazz gigs, my value assessment would be quite different.
@@clarinetninja I understand you want lot of stability but I'm sure you also need flexibility in where you play as well. Don't you go little lighter on setup If you need to be more agile or If piece requires a different color and dynamics in sound?(always talking about classical). Maybe you have a video I didn't happen to watch, are you working on the #4 reeds(sandpaper), so basically become like 3.5+ or about there in strength? #4 as It is, to me seems needing tremendous air support to play the mouthpieces I mentioned. Although, you sound fine, I don't know how that's possible😂 I think most suitable, probably is the 5RV lyre with #4?
@@jimis3167 I have a video that shows my process with the reeds. At times, I take some off of the tip (with the ATG) of the reed in an effort to balance it. I also use the reed wizard to balance the sides. I am sure that takes a little resistance away, but (in my mind) I am making the resistence more coperative and therefore more flexible without losing much of the stability. I will concede to feeling more comfortable than most with the resistance. All of my videos I am playing a set up like that. The mouthpiece flexibility exercises and the Rhapsody in Blue videos are all done with that resistant of a set up. I can make it do what I want - I can play "in the style of" jazz and klezmer without any fussing. If I had to make a New Orleans Jazz style I would want to play someting else. For better (probably) or worse, I don't get asked to do much of that :)
The profile 88 should not change the sound or response on a fundamental level, it just changes how it feels in your mouth because of the different beak angle. It’s a personal preference thing that is hard to characterize for anybody but yourself. I know that’s not super helpful, but that’s all I got:)
Thank you for explaining all of the little details about the parts or areas of the mouthpieces and what it means to be open or closed style. I'm not sure why but I'm a video from D'addario about their mouthpieces, they said the opposite information than your video, they said that an open mouthpiece with a firmer reed is best and a closed mouthpieces with a softer reed is best, but your video says the opposite, open +soft, closed + hard. However, they did not go into any details demonstrating what they were talking about, not did they show the difference of them, they just expected people to know what they are talking about I guess. I think my mouthpiece is a Vandoreen 5RV (I will double check this, if wrong, I will edit this comment.) It's what I started out with, as chosen by my personal/private teacher. He wanted me to move up too a Vandoreen 3.5 reed but I really felt like I kind of struggled with the firmness already of the 3's. 2.5 is where I started on and soon outgrew those as of being too soft. I've 2.5's got moist/wet enough combined with breaking then in with use, they lost their form fairly quickly which either tears them, causes squeaks, or isn't strong and firm enough to remain in form without ripples forming in the structure of the reed to produce a sound for very long use, however it is much nicer to start out on to get used to playing the instrument. It's too soft though and one can easily bite or apply too much pressure to the red and pinch off or cut out your sound and volume. I haven't played in many years now but and looking to get back into playing again. Since we have TH-cam around now, thought it would be interesting to explore what other options there are out there and I'm not learning more than I ever did back when I started out! I never even knew reed cutting and shaping was a thing you can do yourself! I think if I was more informed about all of this stuff I would have been much more interested in continuing to learn back then since I am a very technical oriented minded type of person. Thank you very much for sharing your experience with all of these products, a great resource of information and inspiration! Appreciated!
Thank you for watching and contributing your experience here. In a lot of ways, I imagine the 5RV Lyre to be the center of the clarinet mouthpiece world. It is an amazing mouthpiece facing. While I have moved a degree or two away from it, I feel that whatever mouthpiece I play - I should be also comfortable (or at least able to play) a 5RV. I will keep trying to make things that are helpful. If you have any burning questions - let me know so I can make a video about it :)
I'm getting an airy sound using a Vandoren 5RV as I increase air pressure. I've checked for pad leaks; I think the pads are sealed. Could the 5RV be too small for me. (I studied clarinet in college and I'm still a Music Educator for 38 years. Has my embouchure and air control changed or have I entered the Twilight Zone?) Before I start spending the big money and hunting for a larger mouthpiece, where should I begin? Yes, I've viewed your video several times. Let me get this straight: Clarinet Inspection Reeds Embouchure Air Control Mouthpiece. Switch to Triangle
Thanks for asking! My suspicion is that a more open mouthpiece would make the problem worse rather than better. I would consider two things. What strength reed are you playing? Maybe do a half strength lighter. Is air leaking out of the corners of your mouth? That would also create an airy sound in your tone. It’s probably not the pads. My best guess is that is related to your reeds OR possibly the mouthpiece has gotten warped. Do your reeds/mouthpiece pass the “suck test”? If the mouthpiece has changed and possibly warped, that would be another way that this problem could arise.
@@clarinetninja Ah! That makes sense. No, I don't have leaking from the corners of my mouth. I think I've isolated the leak/airy-ness being internal (mouthpiece, reed). Yes, there is vacuum on the testing for upper/lower joint leaks. I will focus on your suggestions. Thanks!
@@rodrigorodriguez8920 great! I just want to make sure that you test the vacuum between the reed and the mouthpiece and not just the clarinet. I will stop micro managing you now :)
@@clarinetninja Okay, I did the vacuum test on the mouthpiece. I noticed that the release is much quicker than the test you did in another video. It released very quickly after I withdraw the suction. On your test, the release takes about two seconds longer. I don't know if that is a critical thing. It does "pop", but not as loud as in your demonstration.
Are you generally a fun of profile 88 or the 13 series? I've been lately experimenting with the M15 profile 88 and a 13 series one and definitely like the 13 series more, there's difference in feeling and sound other than tuning. I guess It also depends on mouthpiece form and may would like the profile 88 more over the 13 series in another model. But all in all, I've came to a conclusion that If we like a model, we should try It in all versions of It, traditional, profile 88 and 13 series because tuning can be managed by barrel choosing either one. So, only thing matters is how It plays, not If you play at 442 or 440, that shouldn't be a concern for choosing the profile 88 If someone plays at 442 or choosing 13 series If someone plays at 440.
As you say in your comment - the difference in the 13 is the chamber which is made to play a little bit lower in pitch. Along with that there is a bit of a change in how it plays, but it's hard (at least for me) to characterize what that is. The profile 88, as far as I know, has exactly the same facing and chamber as a traditional, but with a different angle of the beak. I am not a fan of how that feels in my mouth. That is a personal feeling and I think everybody would need to assess that for themselves. I like the idea of the 13. I have played on them for long periods, but switched back to the traditional because I found the sound to be "hollow" and harder to focus. The profile 88 always seemed like a solution looking for a problem. That said, if somebody likes it - thats great.
Did you give a try on BD6 HD? Would be very interesting If you make a video and compare between the BD4 and other ones. I would probably make one as well but Amazon doesn't have It yet to order and try.
I have not laid eyes on a BD 6 yet. I tried some of the HD models at the convention (that is the high density right?) but the convention was hard to make sense of things at that altitude
@@jimis3167 I know I did't play a BD 6 - I do know I played on a mouthpiece that was a different material, but I am not sure what facing or what material.
I just bought a BD4, I was going to use it for solo and ensemble which is in a few weeks for me. When opened it and I noticed the packaging was already torn open, but thought it might be normal so I got it out, and I come to see it has visible dry spit on it. What do I do? If I return it I might not have time to get used to it. Should I just use it anyways?
It is disappointing that whoever is selling the mouthpiece didn't take more care with it. It is NOT unusual for a mouthpiece to be tried before it ends up with us. However, the person or business selling it should take more care to make sure it is cleaned. I would clean it, using something, but NOT hot water (cold water and soap should do it), and see what it felt like. I would let the seller know and allow them the opportunity to make things right if time allows fo that to happen
At least for me, there has to be some resistance in the set up somewhere - which has always led me to a medium facing with thick rails. I just googled Eddie Daniels and the internet says he is using a Daniels/Backun mouthpiece. I have never seen one of these (or to be honest heard of it until now). I have some Backun mouthpieces that I played for a year or so. They were nice. The bigger question (to me) is warmth without losing focus (fuzzy unfocused), Although if you are a jazz player there are lots of leeways there. Warmth is always one of the descriptors that I lose confidence we all share the same idea....that is so say warmth to me has a component of darkness that it may not have to you...ugh so hard to talk about:) Gary Foster was using a Fobes 3L (at least back in the late 90's) for his commercial/jazz playing. Clark never really like his mouthpiece being characterized as "right" for that purpose (at least that was the vibe I got from him). Maybe that is a way to think - an open version of an otherwise "legit" facing? I didn't think I had much to say about this...then I went on and on lol
@@clarinetninja I find the engraved ones play much better than the modern yellow logo ones. I have two B40s, a yellow logo and an engraved one and the engraved has easier response and resonates more. Tested both with V12 3.5
@@clarinetninja No, in my opinion the older blank makes quite significant difference in how mouthpiece plays. Some even saying rod rubber or injection mold will create same playing mouthpiece. I strongly disagree. As Dafe Fedele says, material dictates the difference. I practically find that to be true. And modern B40 is a chosen among others, still doesn't have that greatness old blank gives.
@@jimis3167 I agree it makes a difference but less of a difference than every other aspect of the mouthpiece. Tip opening, facing, window, rails, baffle, chamber all make a bigger difference than the material. I don’t think that’s really debatable. All that being equal, material makes a difference. Don’t get me wrong, I am about to post a conversation with Brad Behn, whom clearly believes that material matters and I am in agreement. I believe the difference the material makes will only be unlocked by high level players who have found a mouthpiece that has not been destroyed through the passage of time and/or bad refacing. My experience has illustrated that is hard to do
I am currently using Yamaha 4C with blue box reed 3 and planning to upgrade to Vandoren mouthpiece. Any recommendation? As I am struggling which one would be better for me when I am playing with both single lip & double lips. ( I started with double lips when I was small and I don't wanna give it up , but it's hard to play high C accurately with double lips, it always being flat 😫)
My suggestion as the best entry point for you would be a 5RV lyre. That would have the same general amount of resistance (give or take a little) and follow along the same general path you are already on. Thanks for watching and commenting:)
I am playing a Leblanc Bliss Clarinet with a Van Doren 5RV mouthpiece with Van Doren V21, 3 or 3 1/2 reeds. I an finding that the 5RV has me consistently sharp as I play up in the top of the clarion range and once into the altissimo range even more more (as much as 20 cents sharp!). So if I tune for those higher notes (think Sousa marches), my lower (chalameau) notes are flat. What are your thoughts about this? I consistently get criticized in the band for being sharp on those high notes. I am tired of it and want to figure out how to get the entire Clarinet in tune! I am thinking a different mouthpiece will help (with the shorter tube on the high notes.)
First, I want to acknowledge that I have never played a Bliss clarinet. I did get to meet Julian at the convention and he is a terrific person and player....but that doesn't have much to do with this! I fear that it is hard to give great advice with any confidence here. I would make sure that I was pulling out a little bit (or more than a little bit) at between the upper and lower joints. I pull out a millimeter or two on my buffet as a general matter of playing all the time. This will help your chalumeau stay more in tune (I believe). You could try a "13" version of the 5RV to see if that makes a difference. What strength reed are you playing? Have you tried playing double lip (to lip covering the teeth)? Let me know if you try any of this and whet the result is :)
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The 5RV + Vandoren 4's worked for me for 10 years. I used a Rovner Dark leather ligature. The combination was magic.
That is a wonderful combination!
Which clarinet do you play for this mouthpiece demonstration? Excellent instructive video; thank you!
I am playing a Buffet RC prestige. Thanks for the kind words:)
I was always surprised how many clarinet players arent picky about their reed. Many beginner and intermediate players will just slap any reed on. I always prefer a #3 no matter what, I play best on that.
I have gotten more and more picky about my reeds as the years have gone on. It is the biggest way we can make a difference in playing a piece as well as we can or not meeting our own standards.
I went from 2 1/2 to 5 back to a four back to 2 1/2 and I stopped at the m30
i personally refuse to play anything other than a v12 3 1/2, it’s the perfect reed for me
When you say not picky do you mean in brand or reed strength? For me its both, i just want to know what your talking about
Very Great Video! I am about to buy new mouthpiece 😂, but not because I have GAS syndrome, because mine is a little broken
I refaced it but, I don't think it worked well... and also I felt like this mouthpiece(it was bd5) I have grown up cause the Forte I can't play freely, as you said in this video...I play it for 2.5 approximately years, with huge time breaks, mainly I play for taking exams or playing on audition...
So,(I am sorry for the huge intro though 😂)my question is How does it feels on playing 'Long facing' mouthpiece (as m30lyre compared to bd4 for ex) and how it does affect on pianissimo is it taking harder and etc.
I am no expert on long facing mouthpieces, I have never played one for any amount of time. I played an M30 for the first year of the pandemic (in my house only since all performing was canceled). I found it a little restrictive. This doesn't mean that you will feel the same way.
@@clarinetninja ok thanks anw
Not surprised that you would choose something like the BD4 with a #4 V12 reed. For me, the 5RV Lyre would be an alternative for that strength. I would choose something like a #3.5 V12 reed for those other mouthpieces, as that would be more comfortable for me to play for long periods of time. Of course each mouthpiece of any model can be different, with somewhat different resistance, and you can adjust a heavier reed down a bit if you need to. And each person is different too.
In 15 years, I've played B40, B40 Lyre, B45, B45 Lyre (best of then till now, for me ofc), M30 Lyre (great one as well) and I am now on a BD5. I've played a BG one, I think it the model was B1 or something like that. That was my favourite but it was given to me just for a period of time like 8 years ago and I never got the chance to buy one bcs no one would seem to have them. Would love to try it again tho to see if it was really that good as I thought at the time.
I've just realized the amount of money I've spent only into mouthpieces... I'm not even a professional clarinet player lol
First of all, there are worse things to spend (more) money on than clarinet mouthpieces:)
There is little one can do to have more fun than fiddling with mouthpieces and pretending (wholeheartedly and honestly) that this is “the last mouthpiece I am ever going to need”.
Great video, thanks! Have you ever put a crystal mouthpiece to the test on the Tonal Energy Tuner?🙏👍
I would love to do that! The only thing stopping me is that I don’t have a crystal mouthpiece. Hold on…I have one for Eb….
Sir, I am sorry to bother you again. I was a super-amateur-level player but haven't played in the past ten years. Last week, when I finally decided to play it, I discovered the mouthpiece was broken. Is there any suggestion for people like me in terms of which mouthpiece may work the best? I used to use a Vandoren CL6 mouthpiece with Vandoren 3.5 reeds. Thank you so much! I really appreciate your help.
I am not familiar with that particular mouthpiece. It strikes me that you are using a relatively resistant reed given the circumstances you describe in your clarinet journey. I would check out Brad Behns overature mouthpiece www.clarinetmouthpiece.com/overture-student-clarinetmouthpiece
that's a low cost excellent mouthpiece. If you want to go a little more expensive I would try a vandoren 5RV lyre amzn.to/3BS0Z0U
Great video! Have you had any experience with the vandoren m-13 mouthpiece?
Unfortunately, I have never even goofed around with one. It seems like that would be a super focused sound but with limitations loud dynamics. From the numbers on it, I think I would need a number 10 reed to play it….but I am on the side of the spectrum that’s wants a fair amount of resistance.
Thanks for watching and commenting:)
I recently got an engraved 5RV Lyre and plays very well with V12 3.5. I'll also try It with 3.5+, although 3.5 plays pretty well already. If 3.5+ won't be too much resistant I'll keep playing It with them. probably will be more ideal for the very high notes. I believe 5RV Lyre suits all level clarinetists.
Does the 5RV Lyre play with the thick reed is more confirmable? Coz my teacher advised me to use the 2.5 reed but i bought the 5RV Lyre mouthpiece🥹. Should i change the reed?
@@ANN-os8nc Just recently tried V12 3.5+ and yes, It works much better. They feel better than 3.5 and got overall more stability but still It's a flexible piece while keeping the center in the sound.. Highly recommended!
@@ANN-os8nc I don't think would go to #4, would be too much.
@@ANN-os8nc Keep in mind, engraved Vandorens are better material than the newer yellow logo ones but table, rails and tip should be in good condition If you get one.
@@jimis3167 thx i will try it👌👌👌
M30 R13 Lyre is what I play with a Legere 3.25 Euro cut, a Vandoren Optimal ligature with a Pereira 3D barrel on a 1966 R13. The tone is perfectly centered and rich. I liked the M30 sound on your video best. I guess I am a bit biased and should have closed my eyes???? Thank you for the video!
Hi Phil! Thanks for watching and for the thoughtful comment! The equipment you are using seems like it would create the possibility for an incredible focus in the sound. One of the things I say to myself and to others - the clarinetist that has most influenced our playing is ourselves because that's the clarinet player we have listened to the most.
I think we all respond favorably to the things we find most familiar. That is something that, in the good way, is something that helps us to identify "ourselves" and give context to what we are hearing - on the negative side it is what makes it so darn frustrating to change our sound when we think we want to move a different direction.
Interessantissimo, grazie mille thank You very much!
Great information, thanks! Can you compare the BD4 and BD5?
Thanks Joseph! I would love to do that. I will have to get my hands on a BD 5! :)
I bought the B45 dot cm309, Versa lig. and I found the V21 #3 my fav. So far the 'Reed Wizard' takes nothing off of them, inner or outer situated. I'm still ... playing around with the two barrels I have for each, Conn Director 56' and Boosey & Hawkes 8-10 (45' or 58'? 161452 ) (MP/reed exp.for the Conn) with a Bundy and Debut using a few reeds, Van CR10'3', Mitchell Lurie 2.5 etc. I'm beginning to think having interspersed more time between ... Banjo with Clarinet : ), it's mainly my improved embrasure as the deciding factor, 'crossing the break' with what I thought was the best MP/reed combo. So it's back to the drawing board again.
For me - it's always a "back to the drawing board" situation - that is part of the fun and part of the frustration :)
@@clarinetninja Putting my 'Empty' Van B45. box away noted it was heavy, found two more candidates for my Conn, Claude Lakey Bruno Symphony (ha saw one $150) and Selmer Paris C*, so more drawing ...
Oh goodness, thanks so much for this video. This is my new reference guide when trying to explain to students the differences of mouthpieces and why your decision making for barrels, ligatures, reeds, etc can be heavily influenced by your choices.
Excellent production quality as well. Bravo! 🎉
That's high praise! Thank you very much! I am glad I put something useful into the world:)
Why don't you change strength according to the mouthpiece? BD4, B40, B45, and M30, I'm surprised you could play with V12 #4, isn't too heavy? I got them and I find v12 #3.5 plays the best on each except M30 which needs a little stronger reed. Never experienced 5RV lyre.
For me, the V12 #4 is the reed I want to play. I am not sure that I can explain why that is, but that’s where I have landed in my experience. Like I said, I know it’s an unusual way to go about it. That being said, that reed feels good to me on all the mouthpieces in this video. Everybody has a different want in terms of resistance they want to have the way they play the clarinet and for what music they are most interested in playing. I don’t mean to suggest that my level of resistance is right for everybody - or even anyone but me. My main point, which I know you are not questioning, is that each of these mouthpiece offers a nuanced difference in the result. I mean this to represent that there can be a big difference in “feel” without a major difference in result. For me it is about how it feels to get (within a certain range) to get basically the same result. On any mouthpiece I think the result is dependent on who is playing it and how they want it to feel and what effort it takes to get that result. My self assessment is that I tend to like a more resistant set up. Most of the time in the music I play, I don’t need a great deal of flexibility but I do want a lot of stability. If I were doing jazz gigs, my value assessment would be quite different.
@@clarinetninja I understand you want lot of stability but I'm sure you also need flexibility in where you play as well. Don't you go little lighter on setup If you need to be more agile or If piece requires a different color and dynamics in sound?(always talking about classical). Maybe you have a video I didn't happen to watch, are you working on the #4 reeds(sandpaper), so basically become like 3.5+ or about there in strength? #4 as It is, to me seems needing tremendous air support to play the mouthpieces I mentioned. Although, you sound fine,
I don't know how that's possible😂
I think most suitable, probably is the 5RV lyre with #4?
@@jimis3167 I have a video that shows my process with the reeds. At times, I take some off of the tip (with the ATG) of the reed in an effort to balance it. I also use the reed wizard to balance the sides. I am sure that takes a little resistance away, but (in my mind) I am making the resistence more coperative and therefore more flexible without losing much of the stability. I will concede to feeling more comfortable than most with the resistance. All of my videos I am playing a set up like that. The mouthpiece flexibility exercises and the Rhapsody in Blue videos are all done with that resistant of a set up. I can make it do what I want - I can play "in the style of" jazz and klezmer without any fussing. If I had to make a New Orleans Jazz style I would want to play someting else. For better (probably) or worse, I don't get asked to do much of that :)
Great video, Jay! (John Cipolla)
Thanks John!
I'm considering a Vandoren M15 can you comment on the profile 88 versus traditional please, thank you Doug
The profile 88 should not change the sound or response on a fundamental level, it just changes how it feels in your mouth because of the different beak angle. It’s a personal preference thing that is hard to characterize for anybody but yourself. I know that’s not super helpful, but that’s all I got:)
❤ i love you mouthpiece
Thank you for explaining all of the little details about the parts or areas of the mouthpieces and what it means to be open or closed style. I'm not sure why but I'm a video from D'addario about their mouthpieces, they said the opposite information than your video, they said that an open mouthpiece with a firmer reed is best and a closed mouthpieces with a softer reed is best, but your video says the opposite, open +soft, closed + hard. However, they did not go into any details demonstrating what they were talking about, not did they show the difference of them, they just expected people to know what they are talking about I guess. I think my mouthpiece is a Vandoreen 5RV (I will double check this, if wrong, I will edit this comment.) It's what I started out with, as chosen by my personal/private teacher. He wanted me to move up too a Vandoreen 3.5 reed but I really felt like I kind of struggled with the firmness already of the 3's. 2.5 is where I started on and soon outgrew those as of being too soft. I've 2.5's got moist/wet enough combined with breaking then in with use, they lost their form fairly quickly which either tears them, causes squeaks, or isn't strong and firm enough to remain in form without ripples forming in the structure of the reed to produce a sound for very long use, however it is much nicer to start out on to get used to playing the instrument. It's too soft though and one can easily bite or apply too much pressure to the red and pinch off or cut out your sound and volume. I haven't played in many years now but and looking to get back into playing again. Since we have TH-cam around now, thought it would be interesting to explore what other options there are out there and I'm not learning more than I ever did back when I started out! I never even knew reed cutting and shaping was a thing you can do yourself! I think if I was more informed about all of this stuff I would have been much more interested in continuing to learn back then since I am a very technical oriented minded type of person. Thank you very much for sharing your experience with all of these products, a great resource of information and inspiration! Appreciated!
Thank you for watching and contributing your experience here. In a lot of ways, I imagine the 5RV Lyre to be the center of the clarinet mouthpiece world. It is an amazing mouthpiece facing. While I have moved a degree or two away from it, I feel that whatever mouthpiece I play - I should be also comfortable (or at least able to play) a 5RV. I will keep trying to make things that are helpful. If you have any burning questions - let me know so I can make a video about it :)
I'm getting an airy sound using a Vandoren 5RV as I increase air pressure. I've checked for pad leaks; I think the pads are sealed. Could the 5RV be too small for me. (I studied clarinet in college and I'm still a Music Educator for 38 years. Has my embouchure and air control changed or have I entered the Twilight Zone?)
Before I start spending the big money and hunting for a larger mouthpiece, where should I begin?
Yes, I've viewed your video several times. Let me get this straight:
Clarinet Inspection
Reeds
Embouchure
Air Control
Mouthpiece.
Switch to Triangle
Thanks for asking! My suspicion is that a more open mouthpiece would make the problem worse rather than better. I would consider two things.
What strength reed are you playing? Maybe do a half strength lighter.
Is air leaking out of the corners of your mouth? That would also create an airy sound in your tone.
It’s probably not the pads. My best guess is that is related to your reeds OR possibly the mouthpiece has gotten warped. Do your reeds/mouthpiece pass the “suck test”? If the mouthpiece has changed and possibly warped, that would be another way that this problem could arise.
@@clarinetninja Ah! That makes sense. No, I don't have leaking from the corners of my mouth. I think I've isolated the leak/airy-ness being internal (mouthpiece, reed). Yes, there is vacuum on the testing for upper/lower joint leaks. I will focus on your suggestions.
Thanks!
@@rodrigorodriguez8920 great! I just want to make sure that you test the vacuum between the reed and the mouthpiece and not just the clarinet.
I will stop micro managing you now :)
@@clarinetninja Yes, first chance I get- will do. Your micro/macro managing is always welcomed, thanks.
@@clarinetninja Okay, I did the vacuum test on the mouthpiece. I noticed that the release is much quicker than the test you did in another video. It released very quickly after I withdraw the suction. On your test, the release takes about two seconds longer. I don't know if that is a critical thing. It does "pop", but not as loud as in your demonstration.
Are you generally a fun of profile 88 or the 13 series? I've been lately experimenting with the M15 profile 88 and a 13 series one and definitely like the 13 series more, there's difference in feeling and sound other than tuning. I guess It also depends on mouthpiece form and may would like the profile 88 more over the 13 series in another model. But all in all, I've came to a conclusion that If we like a model, we should try It in all versions of It, traditional, profile 88 and 13 series because tuning can be managed by barrel choosing either one. So, only thing matters is how It plays, not If you play at 442 or 440, that shouldn't be a concern for choosing the profile 88 If someone plays at 442 or choosing 13 series If someone plays at 440.
As you say in your comment - the difference in the 13 is the chamber which is made to play a little bit lower in pitch. Along with that there is a bit of a change in how it plays, but it's hard (at least for me) to characterize what that is. The profile 88, as far as I know, has exactly the same facing and chamber as a traditional, but with a different angle of the beak. I am not a fan of how that feels in my mouth. That is a personal feeling and I think everybody would need to assess that for themselves.
I like the idea of the 13. I have played on them for long periods, but switched back to the traditional because I found the sound to be "hollow" and harder to focus. The profile 88 always seemed like a solution looking for a problem. That said, if somebody likes it - thats great.
Did you give a try on BD6 HD? Would be very interesting If you make a video and compare between the BD4 and other ones. I would probably make one as well but Amazon doesn't have It yet to order and try.
I have not laid eyes on a BD 6 yet. I tried some of the HD models at the convention (that is the high density right?) but the convention was hard to make sense of things at that altitude
@@clarinetninja HD models? Isn't only the BD6 in high density material?
@@jimis3167 I know I did't play a BD 6 - I do know I played on a mouthpiece that was a different material, but I am not sure what facing or what material.
this is really helpful, thank you so much!
I am glad it was useful! :)
Nice vid . Could you compare , or add to the sample size , B45 Lyre, B40 Lyre ?
I would love to do that! I will have to get my hands on them because I don’t have at my house. Great idea
BD4 ❤❤❤❤❤
Great!
Thank you
Hello, please tell me what are the new numbers of these numbers B45,B45lyure, 5 JB with new numbers and numbers (clarinet)
I am afraid I don’t know what new numbers you are referring to
5rv Lyra Sounds a best when you play
excellent
I just bought a BD4, I was going to use it for solo and ensemble which is in a few weeks for me. When opened it and I noticed the packaging was already torn open, but thought it might be normal so I got it out, and I come to see it has visible dry spit on it. What do I do? If I return it I might not have time to get used to it. Should I just use it anyways?
It is disappointing that whoever is selling the mouthpiece didn't take more care with it. It is NOT unusual for a mouthpiece to be tried before it ends up with us. However, the person or business selling it should take more care to make sure it is cleaned. I would clean it, using something, but NOT hot water (cold water and soap should do it), and see what it felt like. I would let the seller know and allow them the opportunity to make things right if time allows fo that to happen
By the way, It it dangerous to washing mouthpiece with hot water?@@clarinetninja
@@TheTRUEMAN000 do not wash it with hot water. It may/will cause your mouthpiece to warp. Use warm or cold water
@@clarinetninja thank you 🙏🏻
I’m more interested in warmth over projection ( think Eddie Daniels) any mouthpiece suggestions?
At least for me, there has to be some resistance in the set up somewhere - which has always led me to a medium facing with thick rails. I just googled Eddie Daniels and the internet says he is using a Daniels/Backun mouthpiece. I have never seen one of these (or to be honest heard of it until now).
I have some Backun mouthpieces that I played for a year or so. They were nice.
The bigger question (to me) is warmth without losing focus (fuzzy unfocused), Although if you are a jazz player there are lots of leeways there. Warmth is always one of the descriptors that I lose confidence we all share the same idea....that is so say warmth to me has a component of darkness that it may not have to you...ugh so hard to talk about:)
Gary Foster was using a Fobes 3L (at least back in the late 90's) for his commercial/jazz playing. Clark never really like his mouthpiece being characterized as "right" for that purpose (at least that was the vibe I got from him). Maybe that is a way to think - an open version of an otherwise "legit" facing?
I didn't think I had much to say about this...then I went on and on lol
Do you have any engraved Vandorens?
I have one…I can’t remember what model it is. None of the mouthpieces that I have played are engraved
@@clarinetninja I find the engraved ones play much better than the modern yellow logo ones. I have two B40s, a yellow logo and an engraved one and the engraved has easier response and resonates more. Tested both with V12 3.5
@@jimis3167 that does not surprise me. Differences in the material of the blanks is not the biggest difference maker, but still important
@@clarinetninja No, in my opinion the older blank makes quite significant difference in how mouthpiece plays. Some even saying rod rubber or injection mold will create same playing mouthpiece. I strongly disagree. As Dafe Fedele says, material dictates the difference. I practically find that to be true. And modern B40 is a chosen among others, still doesn't have that greatness old blank gives.
@@jimis3167 I agree it makes a difference but less of a difference than every other aspect of the mouthpiece. Tip opening, facing, window, rails, baffle, chamber all make a bigger difference than the material. I don’t think that’s really debatable.
All that being equal, material makes a difference. Don’t get me wrong, I am about to post a conversation with Brad Behn, whom clearly believes that material matters and I am in agreement. I believe the difference the material makes will only be unlocked by high level players who have found a mouthpiece that has not been destroyed through the passage of time and/or bad refacing. My experience has illustrated that is hard to do
I am currently using Yamaha 4C with blue box reed 3 and planning to upgrade to Vandoren mouthpiece. Any recommendation? As I am struggling which one would be better for me when I am playing with both single lip & double lips. ( I started with double lips when I was small and I don't wanna give it up , but it's hard to play high C accurately with double lips, it always being flat 😫)
My suggestion as the best entry point for you would be a 5RV lyre. That would have the same general amount of resistance (give or take a little) and follow along the same general path you are already on.
Thanks for watching and commenting:)
I am playing a Leblanc Bliss Clarinet with a Van Doren 5RV mouthpiece with Van Doren V21, 3 or 3 1/2 reeds. I an finding that the 5RV has me consistently sharp as I play up in the top of the clarion range and once into the altissimo range even more more (as much as 20 cents sharp!). So if I tune for those higher notes (think Sousa marches), my lower (chalameau) notes are flat.
What are your thoughts about this? I consistently get criticized in the band for being sharp on those high notes. I am tired of it and want to figure out how to get the entire Clarinet in tune! I am thinking a different mouthpiece will help (with the shorter tube on the high notes.)
First, I want to acknowledge that I have never played a Bliss clarinet. I did get to meet Julian at the convention and he is a terrific person and player....but that doesn't have much to do with this!
I fear that it is hard to give great advice with any confidence here. I would make sure that I was pulling out a little bit (or more than a little bit) at between the upper and lower joints. I pull out a millimeter or two on my buffet as a general matter of playing all the time. This will help your chalumeau stay more in tune (I believe). You could try a "13" version of the 5RV to see if that makes a difference. What strength reed are you playing? Have you tried playing double lip (to lip covering the teeth)?
Let me know if you try any of this and whet the result is :)
🎶BD4🎵🎼
I totally agree