The Best Clarinet Reed Battle Royal
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- เผยแพร่เมื่อ 12 ก.ย. 2021
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This clarinet reed comparison takes things to the next level. Not only can we compare how the clarinet reed sound, we take a look at the overtones present by computer analysis. Can we clarify the differences in what we hear with what we see? This video will provide some clarinet reed comparison entry points that you have never seen before.
#clarinet reed
#clarinet reed comparison
#Clarinet reed differences
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My equipment:
Vandoren BD4 amzn.to/3Hl7AxT
Vandoren V12 #4 amzn.to/3hlux9r
Bonade ligature amzn.to/35slBwA
The reeds
Vandoren V12 amzn.to/3hlux9r
Vandoren V21 amzn.to/3tdG5RV
Legere Signature amzn.to/35wsJrx
Legere European Signature amzn.to/3hrPMqO
D'addrio Reserve amzn.to/35wsJrx
D'addrio Reserve Classic amzn.to/3vjsw60
Silverstein Alto Primo Ambipoly amzn.to/3tzqJqH
Clarinet Ninja approved products
Links are affiliate links - a great way to support the channel!
Mouthpieces:
Affordable professional Bb clarinet mouthpiece:
Vandoren BD 4 amzn.to/3iSEmAc
Vandoren 5RV LYRE amzn.to/3H1mECA
Vandoren M30 amzn.to/3J6ExTs
Student mouthpiece:
Fobes Debut Student clarinet mouthpiece amzn.to/3QUpCgX
Vandoren V12 reeds:
#3 amzn.to/3J6ExTs
#3.5 amzn.to/3WvJHLD
#4 amzn.to/3J7LJhY
Vandoren Traditional (Blue box)
#3 amzn.to/3J7LJhY
#3.5 amzn.to/3ZKTGPY
#4 amzn.to/3QTusLm
Books all clarinetists should have:
Baermann third division amzn.to/3j2fTsd
Kell Staccato studies amzn.to/3wkLisZ
Jean Jean Vade Mecum amzn.to/3J9U6cO
Rose 32 etudes amzn.to/3J9U6cO
Rose 40 etudes amzn.to/3GWDwdW
Kroepsch 416 progressive studies amzn.to/3wj48kb
Reed equipment:
Ridenour ATG reed finishing system amzn.to/3XqF7zu
ReedGeek Universal G4 reed tool amzn.to/3HnjWZC
400 grit sandpaper amzn.to/3H1oof6
600 grit sandpaper amzn.to/3j2hiyZ
Vandoren V12 Reed Trimmer amzn.to/3H7K8r6
Vandoren V21 and 56 Rue Lepic amzn.to/3GLkC9I
Vandoren Traditional amzn.to/3kjMQRi
Vandoren Black Master/Black Master Traditional amzn.to/3HcErs1
Vandoren White Master amzn.to/3kl4hRz
Reed cases:
Vandoren Hygro case Bb and Eb reeds amzn.to/3koZmPo
D’Addario Woodwinds Multi-Instrument Reed case amzn.to/3XubIVg
Rico Reed Guard Bb clarinet amzn.to/3J1h06d
Ligatures:
Bonade inverted silver plated amzn.to/3wlJdNy
Vandoren M/O ligature amzn.to/3XPYNNg
Vandoren Optimum Ligature amzn.to/3QYvOof
Rovner Mark III amzn.to/3J6H7ZE
I like the sound of the Legere Euro clarinet reeds. Some excellent players use them and sound great on them. I could never get used to the feel of any Legere reed on clarinet, though I have switched to Legere Signatures on alto sax and never really looked back.
I wanted the euro signature to work for me because others sounded good on them. I could not get them to work for me. After this video the French legeres came out and they are my favorite legere. Still using a v12 though
@@clarinetninja , tried the French Legeres on Alto sax and the tips felt too soft to me, relative to the standard Signatures or American cut, but different instrument. My issue with the the clarinet Legere Signatures is that they seemed to take more embouchure effort than cane for the roughly the same blowing resistance and the intonation was noticeably less stable for me across the range than good cane reeds (like Vandoren).
Interesting and helpful. Many thanks.
Excellent. I learned so much from watching this video. Kudos. Thank you.
Thanks for watching and taking the time to comment:) I had fun making it and have more on the way!
Awesome review, thank you!
Hi Mihail! Thanks for watching and for the kind words!
Seems like you were the most comfortable @playing with the V•12 ..
Great Vid Man!! Good Information!🎼🎛GoodWork!
If not already done, maybe they could genetically modify reed cane for a better sound quality
That's really interesting, I liked how you sounded on the silverstein the most actually. Great vid, subbed, keep em coming!
Thanks Andres! I appreciate you watching and the comment! Everybody hears the clarinet different and that probably the most interesting part of it for me. I am trying to get some more videos out…life can make it hard….
@@clarinetninja Yeah definitely, and material choice is such a personal thing when it comes to playing. I've been using V21s myself for almost 7 years now, and I've yet to try anything else that has "fit" me and my setup better, for whatever reason. Anyways, enjoy the holidays man, take it easy!
Thank you,good & informational video. On speed 2x I could watch the whole video
V-12 for me. After 25+ years of playing and testing of many reed brands(for the fun for the most parts including some ridiculously expensive hand made ones etc.) I always come back to V-12. Best balance of clear,resistance and focus from top to bottom,easy to work with,long lasting after you've balanced the tip(every reed brand needs balancing to your mouthpiece and your playing). Played them I think since 1998.
I couldn’t agree with you more. The V-12 is always home base for me. I have played (as you have) many others for times - maybe a year at a time - but always end up back on a v12 #4
Since I have learned a way to work on reeds and balance them/get the most from them, I’ve become less picky and open to more reeds. I believe that with time I could be comfortable on different setups.
@@425gaberico blue tape number 1
For traditional Greek clarinet Albert system
Have you done a comparison about Greek traditional clarinet vs western or classic please
Do you know the Greek traditional clarinet community
?? Κανείς μαθήματα μέσω σκάιπ κάνετε μαθήματα μπορείς να με κανείς add. Vasilpetrop
rico blue tape number 1
For traditional Greek clarinet Albert system
Have you done a comparison about Greek traditional clarinet vs western or classic please
Do you know the Greek traditional clarinet community
?
Fantastic!
Amazing!!
Thanks Angela!
At 8:15, when you say,”third overtone” you mean the 12th above the fundamental, right? So the 3rd harmonic, 1st overtone. I’m not trying to be nit-picky, there’s a reason I’m asking. I have a theory on why you think the “third overtone” (assuming it’s the 12th above the fundamental) is the one that matters the most for playing in tune. This gets into the physics behind the clarinet, so hopefully I can explain this clearly without over complicating it too much.
Since the clarinet is a cylinder closed off at one end (look up what that means in a physics context, when it comes to sound waves), it is physically impossible to over-blow the octave (please provide proof if I’m wrong). The first overtone it will over-blow to is the 12th. It is far easier to manipulate the tuning of the 12th than the fundamental, due to the underlying scientific principles behind the sound. If you don’t believe me, try it for yourself with low E and middle B. When you play that middle B, You aren’t playing the middle B as the fundamental, you’re playing the 12th of the low E, where the low E is still fundamental. I wonder if the 12th being so crucial in the clarinet’s ability to create sound is directly linked to your hypothesis on the 12th’s relation to tuning and reeds.
I love this comment more than I can say. I appreciate the insight that provides a more easily understood and more thorough explanation of what I mean. There are components of the “real” things that are happening that I know are true but I cannot prove. Those things can be frustrating - but I am not shaken in my beliefs:)
Thank you for taking the time to more fully explain things with you greater understanding of what actually happening. I agree with everything you stated and admire your access to explanations!
I'm sure its all very interesting but it means very little unless you have that app and understand what it all means. To me, even with headphones, they all sound the same, but that's because you're a pro player. I've only been playing a few years. Also I got tired of inconsistent reeds so I got a Légère European Cut strength 2.5 a few years ago. Game changer!
I look at the bar graph but the percentage of time and in tune catches my eye! Is that a bad idea for assessing tone? Thanks again for your time and expertise!🙏
What software do you use to check a harmonic series 😅
That is the tonal energy tuner app. It’s amazing
Hi!nice video very good info!
I have the same opinion for Silverstein reeds too!I think was wasted money.
I m playing now only European signature.
But this I managed after I found mouthpiece to support the reed with no issues
The combination of reed and mouthpiece is everything! I totally agree. After enough time playing any reed we would probably end up sounding the same as always, the difference being how hard it is to make it happen. It’s hard to prove that I. A video though! Lol
Thanks for watching
I appreciate seeing the harmonics...I am retrying brands and cuts right now and I always go back to Vando 56...are you not a fan of those? I'm gonna retry some v12 this week. Thanks for the video.
Hi Ferm!
Thanks for checking my video out. For me, I like to re-evaluate reeds every year or two, which is why I had this particular variety of reeds sitting around. I should have included a 56. I played them for a while a few years ago and I am certain there are some in my home. I selected the ones I did because they were in arms length as I sat at my messy desk.
The issue I had with the 56’s was that they tended to warp consistently. I would have to flatten the backs, at a much higher rate than most of my reeds , in order to get them to seal. Perhaps the boxes I bought (all from the same supplier at the same time) were just made from an odd batch of cane. I did like the sound when I had one working right.
I have a video of my reed working process ready to go, but I have been having some personal challenges since the day after this one was edited (seconds after), and it’s been hard for me to accomplish things. I will put it up soon. There are two tools I use that get pretty consistent results. Keep an eye out for it. I will put it up soon.
After using many reeds for months to years at a time, I always end up back at home (for me) on a V12 despite some wonderful characteristics of other reeds.
Hello, have you tried the Peter Leuthner reeds? If so, what is your opinion?
Hi Paco! I have never tried them. There is so much exciting stuff to try…I will put those on my list of things to investigate:)
it appears some reeds play the second harmonic stronger than the main note in the higher keys.
What is the most comfortable for you?
@Amelia Rose No worries! 😂
@Amelia Rose Now will read your comment.
I really enjoyed this video! I haven’t used this feature on te before, but now I am curious! Thanks for sharing:)
Thanks for watching! tonal energy is the best thing ever
Vandoren Rue Lepic 56. 3.5+ strength for me. Yes. It is 3.5+, not 3.5.
Reed strengths have become far more specifically named since I was a kid:)
Try Gonzalez FOF # 4. Based on the old Morre reed profile which Marcellus used to recommend.
Hi John I have played those reeds a while back. I remember liking them. I tend to always end up back to v12’s after affairs with other reeds. These reeds were seriously just the ones in arms reach when I had the idea of making the video:) I will be fooling around with this component of the tonal energy app with all reeds I try from now on
@@clarinetninja The biggest difference between V-12 and Gonzalez is the tip and the profile. Having studied with Marcellus, I was always trying to replicate the "Marcellus sound". Gonzalez has a steeper profile and a thinner tip, which, I think also tends to focus the sound a bit more when you get a good one. Also the quality of Gonzalez cane is 1st rate, Of course, the mouthpiece makes a huge difference. I play on a Kasper which was refaced by Greg Smith. Nothing like the sound of a Kasper in my opinion.
Kaspers are special. I have a Goldbeck that I am slowly having Ramon Wodkowski turn into something I like. It’s not quite there yet. Greg Smith is great, somebody I have not met yet but will do when I get the opportunity. Part of the fun of playing clarinet,for me at least, is checking out all the equipment. Every couple of years, my playing has changed enough that it is worth going through new things and old to see how I feel about them now.
@@clarinetninja I guess Im more conservative than you are, at least as far as equipment is concerned. I played 2nd to Kalman Block years ago in Pacific Sym. and he was always changing equipment... reeds, mouthpieces ect. Drove me crazy. It is hard enough to play in an orchestra without having so many moving parts.
John! I just googled you and read you bio. I also went to CSULB. Studied with Gary Bovyer and know Leo Potts from my time there. Small world!
I saw that oboe reed at 0:14! ;-)
haha! shooting B roll can accidentally reveal bad life choices! don't worry - I gave that up a long time ago
hi what was your te tuner settings?
Hi Michael I have the tonal energy tuner app set to calibration A=441 (I took my tuner video down because the sound was bad and I have not made it again....yet) I think we should always practice at 441. I have the Analysis button highlighted and then the drop-down menu on harmonic. It would have been good for me to show that in the video! It's hard to execute one of these things flawlessly!
Thanks for watching, I hope you got something useful from it!
@@clarinetninja Hi Ninj thanks for the quick response. I enjoy your channel and find your teaching methods very easy to follow. the info on the tuner settings is much appreciated. I found you while snooping around on the computer(at 77 not much else to do)when you started the Hite series. I had the same results as you with the Legere's, sad really. I also play a A=441. thanks again Mike
@@michaelsutton3651 it means the world to me that you found my little channel! I am trying my hardest to make good content that is fun , interesting, and useful. Your kind words mean the world to me
@@clarinetninja what’s so good about practicing at 441? Not really practical here in the uk as we play at 440.
@@Cornodebassetto I don’t feel comfortable speaking with confidence about ensembles in the UK and the clarinets played there. My understanding is that there are people playing clarinets that are similar to mine while some people play instruments that are quite different than mine.
My experience reflects back to me that, while at times an ensemble may tune to 440 they rarely if ever actually remain there past the tuning part of the rehearsal or performance. If I adjust my clarinet to a genuine 440 pitch, the first note I play is always very flat (unless it happens to be the third of a major chord and then for one note it’s cool).
Additionally, in terms of getting the clarinets we play here to a place where they play in tune with themselves strikes me as much more aligned with successful clarinet playing than putting the clarinet somewhere it does not really want to be pitch wise.
I think that if somebody, at least in the us, practices at 441they will be in the best place to succeed in the most number of real life applications. Orchestras here tend to settle at 441 when things get going if they don’t start there. If an orchestra really holds it to 440, the exceptions in my playing career have been subbing in the Met opera and the Philadelphia Orchestra. I can pull out slightly more at the barrel and bell and everything is good.
If I were to practice at 440 as my home base, it would be practicing slightly off from where I am actually required to play in most professional situations. If I know ahead of time that I am going into a situation where 440 is going to stick, I do practice there in order to align myself with it so I can succeed when I am there. That is far more the exception than. The rule after 25 or so years making my living doing this.
It strikes me that you will not agree with this, and that is ok, but I hope I have been able to answer your question with some completeness even if we don’t wind up in agreement.
Thanks for watching my video and for commenting. I appreciate it very much.
I like to play Rico Royals
Those have always been fun to play. Do they still have the stickers on them?
@@clarinetninja No..and they are hella stuffy on my set up and super buzzy. I sound like bees swarming.
I don't understand you monster guys who can play a 4 reed. I have 6 different mouthpieces, have been playing for years, and still play 3's and 3.5's. A four on any clarinet (I have 3), with any mouthpiece with a 4 reed would be unblowable for me.
I will be the first to admit that I use a more resistant set up than most. For the music I play and the way I play the clarinet, it feels great to me.
There is a huge variance with how we all play clarinet, what music we want to play, and how we want to sound.
If a 3 or 3 1/2 is working for you - I wouldn't give a second thought to the discomfort with a 4
Haha 2nd comment! Panda back at it again!
Panda!!!!!!!