Yeah! Sometimes if a reed is unbalanced on the left or right you can off set to either direction to make up for the imbalances. To the right for a reed that’s soft on the right and to the left for a reed that’s soft on the left, it works!
You can definitely hear the difference in example one and example two. Number one is fuller in body but gets pitchy, number two is more airy (still acceptably full) but a bit less pitchy. It sounds as though number two is less likely to squeak out on the high notes. Thats an issue I fight so I'm gonna try it now and see if it makes a difference. Update: I tried it, I love it. Gap there shall be in my reed.
Thanks brother two questions! Do you find the Bonade ligature slips a lot? Why do you not set tuner to transpose in Bb so it would show what note is actually played? Thanks again for your time and expertise!🙏🙏🙏
I have had bonades that slip. I haven’t had that problem in years though. So long that I had forgotten about it until you asked. I leave the tuner on sounding pitch to help me remember the note that is actually being played:) I have gotten very used to it. I work with a lot of people that only will speak in sounding pitch.
I know I'm late to the comment party, but I love the inclusion of the spectrogram. It's good to see the emphasis of the lower even order harmonics when you are in the Clarion register vs the Chalumeau register with odd harmonics dominating. Thanks for showing deeper analysis.
Something I experimented with once was putting a baritone reed on my tenor. Instant Ben Webster! Nice breathy sound, but the gimmick wears thin pretty quick.
Great information, well and entertainingly presented. I mostly play squarx lately (a sort of square wooden saxophone), but the reed stuff applies to it just the same. cheers from an instrument maker in Vienna, Scott
In MP like yours, that have tip rails very wide, you must put the reed more down to obtain less resistant, and to achieve an easier articulation, because wider rails give more resistance
Agreed the top rail is huge on a bd 4, but I think the reed adjustment that happens accounts for it - given the reed placement on the mouthpiece is consistent during the adjusting. I do agree with your assessment though my only intent here is to deal with the universal truth of the small difference of reed placement will impact the resistance of that particular set up on that day. I find a lot of security and a wide margin or error in a big tip rail. Thanks for watching and contributing compelling and useful thoughts to the dialogue!
Great. Now do one on the position of the ligature. I like to put the ligature as far down away from the tip of the mouthpiece as I can, so there is just a tiny bit of reed sticking out below the ligature. I usually push my reeds a little bit higher when they're getting close to the end of their lives.
I put the ligature right below the line that goes across the reed (on filed reeds). This is below the “smiley face” shape where the cane is shaved off. I believe this to be the “standard” way of doing this - or at least the way I was taught. My belief - perhaps a justification for doing what I was already doing (or maybe not) - is that I don’t want air coming out from where the reed and mouthpiece come together (risking squeaks) and having my ligature closer to that point, but not above the vamp, will provide more consistent and stable results. I also believe having the ligature here will marginally head off issues if the reed is warped. Lastly, on a super practical front, the mouthpiece cap bumps against my reed if the ligature is too low. My ligature is lower if I use a legere because they are thinner and I need more circumference to get the ligature not to bind. Wow - I had more thoughts on ligature placement than I realized!!! Thanks for awakening that set of thoughts in me:) and thanks for watching my video and commenting!
The overtone analysis shows the even harmonics ARE there, but on some notes the even harmonics are higher intensity. I'll think about my clarinet differently now!
Acoustics - even more on the clarinet - are endlessly fascinating. It’s dun to see a visual representation of what we are hearing. Thanks for watching and commenting:)
you make what I think is a very good point - reed placement with a synthetic reed has far more range of impact than with cane. I agree 100 percent. As to why?......I have no idea
What's the big deal re ligatures? I like the 2 screws on the reed side. You can make adjustments as you play. Have spent money trying others, & how does a gold plated one sound better? Money spent on equipment is better spent on lessons cos then you understand what can make it easier for you on the job. Thank you for your videos & sharing ideas.
I love that you start this out a la Jerry Seinfeld. I think it frames the seriousness of ligatures perfectly. I became a devotee of the screws in the back of the mouthpiece when I had a super long goatee and it would get caught in the screws and hurt like &$&&)). I also never loved the ways the screws chewed up the reed when they were in the front. However None of that has anything to do with function and I don’t think ligatures matter that much (if at all). I am certain they are fun to fool around with a pretend there is a difference. I am not sure if I make it up, but there may be a difference in “feel” and the experience of the player that does not translate into actual difference in the sound. Essentially I am total agreement with you
After buying the app and trying my Conn Director 63mm barrel on my B.H. 8-10 (using the plumber's tape method) and finding it tunes, I just purchased a B&H 66mm used barrel on Ebay after having to pull out my barrel (and trying a combo of other joints) into the cork to bring into tune. Now I hope 66mm isn't too "extremely" spaced. Will know when it arrives in the next few days. (org. 8-10 barrel 60.5mm)
@@clarinetninja Bought a Van B45. (dot) and Van V21 reeds They seem to go together well despite my ability. Contemplating 'financing' a ...Wizard as I soak and play each daily for your prescribed short period, reeds marked at each heel end with a lead pencil. Haven't spent any time adulterating (sanding) any of the four I'm experimenting with so far but I sure do savor owning that Wizard contraption after the allotted four day test period. Actually I'm not sure I can tell the diff with my rudimentary skill set but maybe I'll get the chance to impress my granddaughters if they ever come to visit ...sob : } (now you understand my envy... : ) Playing a Boosey & Hawkes 1945 8-10 and a 56' Conn. Director. Both I rebuilt, pads springs purchased hardware from U.K. for the B&K, Conn was mine new from age 10.
@@61mab If it helps to reign in the want for a reed wizard....everything that does COULD be done cheaper. It happens to do what it does well - but for a high price. The ATG and the Reedgeek can do the same thing, with more effort and less consistent results (at first). I consider myelf lucky to have all of this stuff - playing clarinet can be an expensive habit!
@@clarinetninja I've got a few of the Rid. pads and lots of sandpaper just don't trust my adjustments or notice the possible resultant changes thereof or ha therefrom.
Thanks for the kind words! I just made a video to go along with my overtones videos that will help. The “three registers of the clarinet” video is the basic idea. Let me know if that helps. The altissimo can be hard to control at first (and to some degree forever). I am confident you will do it:)
Just so I understand with 100 percent confidence…are you meaning the screens from the tonal energy app? I want to make what you are suggesting, but I also want to be super sure I make the right thing:)
@@clarinetninjaI would also be interested in learning more about the Tonal Energy app. For example, in this video. What is the difference with the purple column compared to the other 15 green columns.
check table with glass check reed by rubbing on paper! and of course, balanced reed, on straight...and dont twist everything overtightening. works for me. and...legere signature eurocut helps a bunch when you need a ...this will work for sure...option
Hey! TH-cam's algorithm just suggested your video to me, and now I'm your newest subscriber. I enjoyed your video. Bifocals and floaters have made it increasingly difficult for me to place my reeds exactly where I want them, and I absolutely notice when they are even a tiny bit out of place. I was interested to hear you say that you "fought off" a couple of squeaks during your demo. Might you have any tips on how to fight off a squeak? I dont even know when one is sneaking up on me; I certainly dont know how to fight one off. (One just snuck up on me 3 days ago during a concert (Holst, First Suite for Military Band, clarinet solo in the Intermezzo). Very embarrassing.😣 After 60 years of playing the clarinet, I still dont know what causes the occasional squeak, although a tired embrochure seems to make one more likely. Anyway, I'd love to hear any thoughts you might have on the subject.
I am glad that the TH-cam algorithm brought us together! When I feel a squeak coming on it is in the way that the reed is vibrating. There is a certain way that it gets stuffy where I know the likelihood of squeaking is high. The actual "fighting off" of the squeak has to do with changing my air/voicing to accommodate a reed that is not cooperating. It is one of those skills it would be better to live a life without needing lol I think the only way to develop it is to not be able to do it and squeak at embarrassing times. Sounds like you are on your way :) In one of my videos, I tell a story about the loudest squeaks of my life at Radio City Music Hall. Strangely, I feel more embarrassed about it with my colleagues hearing it than the audience. I hope this information is at least slightly h elpful
Well, you've given me something to think about while I'm playing. I'll be on the lookout for any suspicious stuffiness and see if I can predict a sneak ... err ... I mean squeak attack. 😁 Thanks!
A bit off topic, but as you mentioned at the end of the video, the slightly more "complex" (in a good way) sound you get when putting the reed slightly to the side; I usually get this effect by adjusting the sides on the reed (with sandpaper / reed geek / knife) to be not exactly equal, but almost. That way you can do slight changes in your embouchure to make the sound brighter or darker by slight shifting between the sides without squeeking. Too much difference in the sides of the reed and it will just be hard to play.
That's interesting. I know people that play (intentionally) uneven mouthpieces for what I can only assume are the same reasons. My system would ruin it because I would adjust the reed to be even feeling (which would then make the reed adjustment uneven on any other mouthpiece). I definitely think that something "unusual" in the sound can be intriguing and beautiful. I have certainly had mouthpieces with that "something" - but the same "something" made them unusable in the long run. Its probably better to do it with the reeds like you do! How about this as something to ponder....playing a legere (or any other synthetic) creates a very balanced and even reed. If on an even mouthpiece there will never be a balance issue with them. Does this create a sensation in the player that makes them feel like the sound is "boring" or bland in some way? I have found that with synthetic reeds, there is something wonderful about playing on a truly balanced reed, but also something not super satisfying about it as well. Thanks for the new thought....I am going to see what I can do with it :)
Thanks for watching! I fully intended to do an analysis of that…but it is often mentioned that my videos are long, so I let it set how it was. If it were up to me, I would just live stream myself talking about clarinet every second of every day
It’s not really on backwards:) it is an inverted ligature that means the screws are opposite the reed rather than on top of it. There are ligatures of both types. This is a bonade ligature. There are also “standard” versions of it that would look like you are thinking. The two reasons I use this type are 1) the reed does not get “chewed up” by the ligature closing on top of it. 2) I used to have a very long beard that would get caught in the screws when they were in front:)
I am certain I was using an iphone 12 for this. I am not sure what microphone I was using for this specific video. Maybe a Shure 57 or a NEAT Worker Bee. With all that stuff, I have really gotten better at using all of it in the past couple of years. I saw a bit of an older video the other day and threw up in my mouth a little lol
@@TheTabwinner Depending on how mobile your set up needs to be and how much you want to mess with "stuff".... I sometimes use this when I want to go right into my phone - the results are better than the onboard mic amzn.to/3UiZJsV If you wanted a portable rig that can go usb into the computer Rode just put out an new NT1 that looks great. It can do both xlr and usb - probably (from what I have heard) better than anything else out there. amzn.to/3mkd4EK I tend to record audio on to reaper www.reaper.fm/ and then sync it on Davinci Resolve www.blackmagicdesign.com/products/davinciresolve Both products are free to use. It would seem that a good recording straight from the phone would be easiest, but reaper is an incredible product for zero dollars that can clean lots of stuff up. The amazon link are affiliate links - just to be transparent. The others are not :) I hope this was somewhat helpful! Best of luck to you and your students
Poor video. What sounds better? Really ?? Come on. As a musician, by now you are already aware that sound is subjective to the ear. Who cares what the smallest measurable difference In this sound is. A fart is always funny rerdless the size and how disgusting the ass it comes out of. I believe what the audience is expecting to see and hear, is your professional review of your first synthetic reed. Compare that to the years of using natural biological standard reeds. How does the moisture effect the synthetic reed? Can I just start playing without needing to prime it with water or saliva? Will it solve my previous frustrations? Try that......
Thanks for taking the time to express yourself. To be fair, I am confident that nowhere in the video was the question asked “what sounds better”. Even looking at the thumbnail, the question posed is “is there a difference”. My suggestion is that you avoid watching any more of my videos. You clearly don’t have any respect for me or my efforts to put something useful into the world. I am sure will find videos that are not “poor” other places. I hope you find the quality you are looking for elsewhere. Try that…
My understanding as I see it now is a comment posted to the wrong video - due to a glitch error with the screen. This instructional is interesting and informative.
![[Back to Basics] Fix the Fuzzy, Airy Clarinet Sound](/img/n.gif)
Yeah! Sometimes if a reed is unbalanced on the left or right you can off set to either direction to make up for the imbalances. To the right for a reed that’s soft on the right and to the left for a reed that’s soft on the left, it works!
You can definitely hear the difference in example one and example two. Number one is fuller in body but gets pitchy, number two is more airy (still acceptably full) but a bit less pitchy. It sounds as though number two is less likely to squeak out on the high notes. Thats an issue I fight so I'm gonna try it now and see if it makes a difference.
Update: I tried it, I love it. Gap there shall be in my reed.
Glad to hear that it was a useful video for you!:)
Thanks brother two questions!
Do you find the Bonade ligature slips a lot?
Why do you not set tuner to transpose in Bb so it would show what note is actually played?
Thanks again for your time and expertise!🙏🙏🙏
I have had bonades that slip. I haven’t had that problem in years though. So long that I had forgotten about it until you asked.
I leave the tuner on sounding pitch to help me remember the note that is actually being played:) I have gotten very used to it. I work with a lot of people that only will speak in sounding pitch.
I know I'm late to the comment party, but I love the inclusion of the spectrogram. It's good to see the emphasis of the lower even order harmonics when you are in the Clarion register vs the Chalumeau register with odd harmonics dominating.
Thanks for showing deeper analysis.
Perhaps you are not late to the comment party….it starts when you arrive!:)
Thanks for the kind words!
Something I experimented with once was putting a baritone reed on my tenor. Instant Ben Webster! Nice breathy sound, but the gimmick wears thin pretty quick.
Great information, well and entertainingly presented. I mostly play squarx lately (a sort of square wooden saxophone), but the reed stuff applies to it just the same.
cheers from an instrument maker in Vienna, Scott
Thanks Scott!
In MP like yours, that have tip rails very wide, you must put the reed more down to obtain less resistant, and to achieve an easier articulation, because wider rails give more resistance
Agreed the top rail is huge on a bd 4, but I think the reed adjustment that happens accounts for it - given the reed placement on the mouthpiece is consistent during the adjusting.
I do agree with your assessment though my only intent here is to deal with the universal truth of the small difference of reed placement will impact the resistance of that particular set up on that day.
I find a lot of security and a wide margin or error in a big tip rail.
Thanks for watching and contributing compelling and useful thoughts to the dialogue!
@@clarinetninja thank you, you are very kind too. Hugs!
Great. Now do one on the position of the ligature. I like to put the ligature as far down away from the tip of the mouthpiece as I can, so there is just a tiny bit of reed sticking out below the ligature.
I usually push my reeds a little bit higher when they're getting close to the end of their lives.
I put the ligature right below the line that goes across the reed (on filed reeds). This is below the “smiley face” shape where the cane is shaved off. I believe this to be the “standard” way of doing this - or at least the way I was taught. My belief - perhaps a justification for doing what I was already doing (or maybe not) - is that I don’t want air coming out from where the reed and mouthpiece come together (risking squeaks) and having my ligature closer to that point, but not above the vamp, will provide more consistent and stable results. I also believe having the ligature here will marginally head off issues if the reed is warped. Lastly, on a super practical front, the mouthpiece cap bumps against my reed if the ligature is too low.
My ligature is lower if I use a legere because they are thinner and I need more circumference to get the ligature not to bind.
Wow - I had more thoughts on ligature placement than I realized!!! Thanks for awakening that set of thoughts in me:) and thanks for watching my video and commenting!
The overtone analysis shows the even harmonics ARE there, but on some notes the even harmonics are higher intensity. I'll think about my clarinet differently now!
I meant the "even" harmonics
Acoustics - even more on the clarinet - are endlessly fascinating. It’s dun to see a visual representation of what we are hearing. Thanks for watching and commenting:)
Good tips and idea on clarinet reed position.
I noticed the difference that position makes to be even stronger on my plastic reed. Granted, I play saxophone and not clarinet.
you make what I think is a very good point - reed placement with a synthetic reed has far more range of impact than with cane. I agree 100 percent. As to why?......I have no idea
What's the big deal re ligatures? I like the 2 screws on the reed side. You can make adjustments as you play. Have spent money trying others, & how does a gold plated one sound better? Money spent on equipment is better spent on lessons cos then you understand what can make it easier for you on the job.
Thank you for your videos & sharing ideas.
I love that you start this out a la Jerry Seinfeld. I think it frames the seriousness of ligatures perfectly. I became a devotee of the screws in the back of the mouthpiece when I had a super long goatee and it would get caught in the screws and hurt like &$&&)). I also never loved the ways the screws chewed up the reed when they were in the front.
However
None of that has anything to do with function and I don’t think ligatures matter that much (if at all). I am certain they are fun to fool around with a pretend there is a difference. I am not sure if I make it up, but there may be a difference in “feel” and the experience of the player that does not translate into actual difference in the sound.
Essentially I am total agreement with you
After buying the app and trying my Conn Director 63mm barrel on my B.H. 8-10 (using the plumber's tape method) and finding it tunes, I just purchased a B&H 66mm used barrel on Ebay after having to pull out my barrel (and trying a combo of other joints) into the cork to bring into tune. Now I hope 66mm isn't too "extremely" spaced. Will know when it arrives in the next few days. (org. 8-10 barrel 60.5mm)
I am excited to hear what happens next!
@@clarinetninja Bought a Van B45. (dot) and Van V21 reeds They seem to go together well despite my ability. Contemplating 'financing' a ...Wizard as I soak and play each daily for your prescribed short period, reeds marked at each heel end with a lead pencil. Haven't spent any time adulterating (sanding) any of the four I'm experimenting with so far but I sure do savor owning that Wizard contraption after the allotted four day test period. Actually I'm not sure I can tell the diff with my rudimentary skill set but maybe I'll get the chance to impress my granddaughters if they ever come to visit ...sob : } (now you understand my envy... : ) Playing a Boosey & Hawkes 1945 8-10 and a 56' Conn. Director. Both I rebuilt, pads springs purchased hardware from U.K. for the B&K, Conn was mine new from age 10.
@@61mab If it helps to reign in the want for a reed wizard....everything that does COULD be done cheaper. It happens to do what it does well - but for a high price. The ATG and the Reedgeek can do the same thing, with more effort and less consistent results (at first). I consider myelf lucky to have all of this stuff - playing clarinet can be an expensive habit!
@@clarinetninja I've got a few of the Rid. pads and lots of sandpaper just don't trust my adjustments or notice the possible resultant changes thereof or ha therefrom.
How do you get your high notes to sound soothing? Mine sound kind of piercing in a way
Thanks for the kind words! I just made a video to go along with my overtones videos that will help. The “three registers of the clarinet” video is the basic idea. Let me know if that helps. The altissimo can be hard to control at first (and to some degree forever). I am confident you will do it:)
@@clarinetninja :) thank you so much! I really appreciate your videos
A video on reading and understanding the monitors would be very informative and much appreciated .
Just so I understand with 100 percent confidence…are you meaning the screens from the tonal energy app? I want to make what you are suggesting, but I also want to be super sure I make the right thing:)
@@clarinetninjaI would also be interested in learning more about the Tonal Energy app. For example, in this video. What is the difference with the purple column compared to the other 15 green columns.
@@musician1595 I will make a video about that soon
@@clarinetninja thank you. I look forward to it.
check table with glass
check reed by rubbing on paper!
and of course, balanced reed, on straight...and dont twist everything overtightening.
works for me.
and...legere signature eurocut helps a bunch when you need a ...this will work for sure...option
Hey! TH-cam's algorithm just suggested your video to me, and now I'm your newest subscriber. I enjoyed your video. Bifocals and floaters have made it increasingly difficult for me to place my reeds exactly where I want them, and I absolutely notice when they are even a tiny bit out of place.
I was interested to hear you say that you "fought off" a couple of squeaks during your demo. Might you have any tips on how to fight off a squeak? I dont even know when one is sneaking up on me; I certainly dont know how to fight one off. (One just snuck up on me 3 days ago during a concert (Holst, First Suite for Military Band, clarinet solo in the Intermezzo). Very embarrassing.😣 After 60 years of playing the clarinet, I still dont know what causes the occasional squeak, although a tired embrochure seems to make one more likely.
Anyway, I'd love to hear any thoughts you might have on the subject.
I am glad that the TH-cam algorithm brought us together! When I feel a squeak coming on it is in the way that the reed is vibrating. There is a certain way that it gets stuffy where I know the likelihood of squeaking is high. The actual "fighting off" of the squeak has to do with changing my air/voicing to accommodate a reed that is not cooperating. It is one of those skills it would be better to live a life without needing lol I think the only way to develop it is to not be able to do it and squeak at embarrassing times. Sounds like you are on your way :) In one of my videos, I tell a story about the loudest squeaks of my life at Radio City Music Hall. Strangely, I feel more embarrassed about it with my colleagues hearing it than the audience.
I hope this information is at least slightly h elpful
Well, you've given me something to think about while I'm playing. I'll be on the lookout for any suspicious stuffiness and see if I can predict a sneak ... err ... I mean squeak attack. 😁
Thanks!
Hi there , thx for the very instructive video. Whats the app you re using for notes detection ?
That is the tonal energy app
@@clarinetninja thx a lot for sharing
A bit off topic, but as you mentioned at the end of the video, the slightly more "complex" (in a good way) sound you get when putting the reed slightly to the side; I usually get this effect by adjusting the sides on the reed (with sandpaper / reed geek / knife) to be not exactly equal, but almost. That way you can do slight changes in your embouchure to make the sound brighter or darker by slight shifting between the sides without squeeking. Too much difference in the sides of the reed and it will just be hard to play.
That's interesting. I know people that play (intentionally) uneven mouthpieces for what I can only assume are the same reasons. My system would ruin it because I would adjust the reed to be even feeling (which would then make the reed adjustment uneven on any other mouthpiece). I definitely think that something "unusual" in the sound can be intriguing and beautiful. I have certainly had mouthpieces with that "something" - but the same "something" made them unusable in the long run. Its probably better to do it with the reeds like you do!
How about this as something to ponder....playing a legere (or any other synthetic) creates a very balanced and even reed. If on an even mouthpiece there will never be a balance issue with them. Does this create a sensation in the player that makes them feel like the sound is "boring" or bland in some way? I have found that with synthetic reeds, there is something wonderful about playing on a truly balanced reed, but also something not super satisfying about it as well. Thanks for the new thought....I am going to see what I can do with it :)
No comparison of the computer results? Awww.
Just learning... Found this interesting! Tx!
Thanks for watching! I fully intended to do an analysis of that…but it is often mentioned that my videos are long, so I let it set how it was. If it were up to me, I would just live stream myself talking about clarinet every second of every day
I've done this for 50 years
What brand is your ligature in the video? The screws look upside down compared to others.
Why is your ligature on backwards?
It’s not really on backwards:) it is an inverted ligature that means the screws are opposite the reed rather than on top of it. There are ligatures of both types. This is a bonade ligature. There are also “standard” versions of it that would look like you are thinking. The two reasons I use this type are
1) the reed does not get “chewed up” by the ligature closing on top of it.
2) I used to have a very long beard that would get caught in the screws when they were in front:)
@@clarinetninjaOhh okay thanks!
Great teaching.
Thank you!
What kind of microphone and camera are you using?
I am certain I was using an iphone 12 for this. I am not sure what microphone I was using for this specific video. Maybe a Shure 57 or a NEAT Worker Bee. With all that stuff, I have really gotten better at using all of it in the past couple of years. I saw a bit of an older video the other day and threw up in my mouth a little lol
@@clarinetninja
Thanks for the info.
I'm looking for a better way to record my students auditions for All State and the local youth orchestra.
@@TheTabwinner Depending on how mobile your set up needs to be and how much you want to mess with "stuff"....
I sometimes use this when I want to go right into my phone - the results are better than the onboard mic
amzn.to/3UiZJsV
If you wanted a portable rig that can go usb into the computer Rode just put out an new NT1 that looks great. It can do both xlr and usb - probably (from what I have heard) better than anything else out there.
amzn.to/3mkd4EK
I tend to record audio on to reaper
www.reaper.fm/
and then sync it on Davinci Resolve
www.blackmagicdesign.com/products/davinciresolve
Both products are free to use.
It would seem that a good recording straight from the phone would be easiest, but reaper is an incredible product for zero dollars that can clean lots of stuff up.
The amazon link are affiliate links - just to be transparent. The others are not :)
I hope this was somewhat helpful! Best of luck to you and your students
smashed it
well, I love super geeky clarinet videos so I guess there is no choice..
Nv put the mouthpiece pad at near the top end of the tip. Response suffers.
the first sounded better
Poor video. What sounds better? Really ?? Come on.
As a musician, by now you are already aware that sound is subjective to the ear. Who cares what the smallest measurable difference In this sound is. A fart is always funny rerdless the size and how disgusting the ass it comes out of.
I believe what the audience is expecting to see and hear, is your professional review of your first synthetic reed. Compare that to the years of using natural biological standard reeds.
How does the moisture effect the synthetic reed? Can I just start playing without needing to prime it with water or saliva? Will it solve my previous frustrations?
Try that......
Thanks for taking the time to express yourself. To be fair, I am confident that nowhere in the video was the question asked “what sounds better”. Even looking at the thumbnail, the question posed is “is there a difference”.
My suggestion is that you avoid watching any more of my videos. You clearly don’t have any respect for me or my efforts to put something useful into the world. I am sure will find videos that are not “poor” other places. I hope you find the quality you are looking for elsewhere. Try that…
The info he gave in this video was very much needed for me. To each their own my friend.
My understanding as I see it now is a comment posted to the wrong video - due to a glitch error with the screen.
This instructional is interesting and informative.