Not all mouthpieces are created the same - a Simple Lesson

[Steve]

shoplifted with permission from (the webpage has pictures too)
http://www.clarinetperfection.com/CLgallerympc.HTM


How to Identify how to play a Mouthpiece (a lesson on how mouthpieces vary and how to vary your embouchure)

In general, there are certain specifications which will make mouthpieces play a particular way (excluding the internal design), the following basic information is provided to assist in understanding that information. This is general information, it may not be specific to a specific mouthpiece as designs vary to overcome certain limitations, etc.

There are 3 important items to a mouthpiece:
[1] Facing Length;
[2] Tip Opening; and
[3] Your Embouchure

[1] FACINGS - a Table Facing is the length and shape of the "curve" that occurs from the table to the tip. The facings helps define the Tip Opening.

In General, the shorter the facing curve the quicker the reed responds, therefore quick notes are easier to play. But, in general, lower tonal qualities are also affected and become not as sonorous as a Medium facing. Whereas, in general, a long facing has excellent low note tonal qualities but mouthpieces are slow to respond. Thus, in general, the best for most players is a medium facing.
Facing Length Approximate Length
Short 15 millimeter (0.59 of an inch)
Medium Short 16 mm (0.629 ")
Medium 17 mm (0.669 ")
Medium Long 18 mm (0.708 ")
Long 19 mm (0.748 ")
Very Long 20 or greater (0.787 ")

[2] TIP OPENINGS - The Tip Opening is the amount of distance from the tip of the reed to the tip of the mouthpiece.
In General, the larger the tip the softer the reed that is used. This is also dependent upon the Facing Length. Manufacturers will use a variety of combinations of long facings and large tips to short facings and large tips, or any variety to obtain a certain response and flexibility. Reeds also play an important factor.

Tip Definition Approximate Opening
Very Closed 0.95 mm (0.037 of an inch)
Closed 1.00 mm (0.039 ")
Medium Close 1.05 mm (0.041 ")
Medium 1.10 mm (0.043 ")
Medium Open 1.15 mm (0.045 ")
Open 1.20 mm (0.047 ")
Very Open 1.25 mm (0.049 ")
Extremely Open 1.30 or greater (0.051")



[3] Embouchure - Why do I list the Embouchure in regards to mouthpieces?
Basically, in order to obtain the "most" from a mouthpiece your embouchure has to take into account the Facing Length. If your embouchure does not then you are basically using a mouthpiece that is vastly different from what is is designed for.

For example, if your embouchure lower lip was always at the 12mm mark then no matter the Facing Length you are going to close up the reed to the 12mm mark (or you will get air leaks after your embouchure) no matter if you are using a mouthpiece with a very long facing of 20mm or a short facing of 15 mm.

This is basically shortening the Facing Length and Closing the Tip Opening because as you tighten your embouchure the reed is closing on the "curve" of the Facing Length and the tip opening is thus decreasing.

So in essence you are "choking" the sound.

Your embouchure would make most mouthpieces sound the same, and all instruments sound approximately the same. If you learn to vary your Embouchure (if you change mouthpieces), you will get the most from each individual mouthpiece and your tonal qualities per mouthpiece and instrument will vary more.

For example, let us assume that in order to use the correct embouchure that your lower lip is 2 mm farther in than the length of the Facing Length. As you used shorter or longer Facing Length mouthpieces you have to be able to identify this.

A quick test to determine a Facing Length is to use a piece of paper, or a playing card. Place this between the reed and the mouthpiece. Your lower lip should be placed about where paper stops. This is a good and quick guide on your embouchure lower lip location. If you have more than one mouthpiece try this test on them and see how they differ.

 

[Roger Aldridge]

Steve,

This is great information!

Have you looked into the size of tip and side rails in relation to what you've already described? I've been curious about WHY Legere reeds work so beautifully on Walter Grabner's facings. I noticed that his rails are wider than those on the mouthpieces I previously used.

Thanks, Roger

 

[Steve]

Siderails are very important on a clarinet mouthpiece and they contradict sax mouthpieces. On a sax mpc having thin rails really helps in response. It also helps on response on a clarinet but at the same time it destroys the tone, makes it more shrill and such.

So thicker rails is good on a clarinet mpc.

when you sand down the facing on a clarinet mpc it inheriently get wider, as the mpc itself if you look at it gets more meaty (just look at the table - the mpc is round!!). If the table or rails gets wider than the reed then you can easily sand down the sides (and polish up) to make the reed fit better.

 

[Steve]

refacing is a new art to me in the past couple years. It started by my desire to find that "perfect" mouthpiece. I started by wanting to learn the design attributes that makes a mpc play the way it does - material, rails, tip, baffle, throat, volume, etc. i've learned some good tips and techniques from very experienced mpc refacers out there. But knowledge is one thing and experience is another. I've only done about 75 up to this point (all clarinet) and you certainly learn more as your do more. I have some test mpcs too where i keep altering them to try different things. Quite a learning experience.