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#76 Maruja

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Posted 23 September 2021 - 13:02

I have a Tom Ridenour clarinet, made of rubber. This always makes my friends snigger - they assume it will be all wibbly wobbly - but it just looks like a non shiny plastic or grenadilla.  I bought it for outside gigs, but I am not very enamoured of it...


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#77 barry-clari the second

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Posted 24 September 2021 - 04:55

I have a Tom Ridenour clarinet, made of rubber. This always makes my friends snigger - they assume it will be all wibbly wobbly - but it just looks like a non shiny plastic or grenadilla. I bought it for outside gigs, but I am not very enamoured of it...

Interested : what is it about the TR clari that you don’t like?

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#78 Maruja

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Posted 24 September 2021 - 14:58

Well, I used to go on the Clarinet BBoard (no longer) and the people there thought it was wonderful - reliable, good sound, reasonably priced etc. So I bought one (second hand of course). And I wasn't knocked sideways - perfectly OK, but nothing special. My technician (wonderful man) has the same opinion.  I wonder if it is because in the US they have so much more climate difficulty - too hot, too damp, too humid, too arid - whatever - and this clarinet is supposed to stand up to these changing conditions.

 

It could also be that I am used to Buffets and I think you get used to a certain make - I am not saying that Buffets are better than any other make of clarinet, but it's just what I have always played.

 

BTW did you really write your post at 5.55 in the morning? Early bird!


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#79 barry-clari the second

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Posted 24 September 2021 - 18:13

Well, I used to go on the Clarinet BBoard (no longer) and the people there thought it was wonderful - reliable, good sound, reasonably priced etc. So I bought one (second hand of course). And I wasn't knocked sideways - perfectly OK, but nothing special. My technician (wonderful man) has the same opinion.  I wonder if it is because in the US they have so much more climate difficulty - too hot, too damp, too humid, too arid - whatever - and this clarinet is supposed to stand up to these changing conditions.
 
It could also be that I am used to Buffets and I think you get used to a certain make - I am not saying that Buffets are better than any other make of clarinet, but it's just what I have always played.
 
BTW did you really write your post at 5.55 in the morning? Early bird!


Ah - thanks Maruja. May try one, one day, just to satisfy my curiosity...

My commute is quite lengthy, 90 min plus, and I start early. It passes the time on the train :lol:

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#80 barry-clari the second

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Posted 29 September 2021 - 13:47

Any clari teachers finding at the moment there is a chronic shortage of strength 1.5 Vandoren Juno reeds?!?

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#81 old_and_grumpy

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Posted 16 October 2021 - 09:39

Can I clarify some things about reed strength and mouthpiece opening?  Am I correct that a larger opening would make a reed seem harder?  And thus that the following are also correct:

  •  a medium strength reed might feel soft on a mouthpiece with a relatively small tip opening, medium on a medium opening, and relatively hard on a large opening? 
  • if you have a mouthpiece with a large opening, a soft reed might play fairly well while a hard one would be a tough job
  • the very softest option would be a soft reed on a small opening; the hardest a hard reed on a large opening

 

I know there are other things like rail length and the geometry of the table that also make a difference, I'm not sure how though.


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#82 barry-clari the second

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Posted 19 October 2021 - 14:09

Can I clarify some things about reed strength and mouthpiece opening? Am I correct that a larger opening would make a reed seem harder? And thus that the following are also correct:

  • a medium strength reed might feel soft on a mouthpiece with a relatively small tip opening, medium on a medium opening, and relatively hard on a large opening?
  • if you have a mouthpiece with a large opening, a soft reed might play fairly well while a hard one would be a tough job
  • the very softest option would be a soft reed on a small opening; the hardest a hard reed on a large opening

I know there are other things like rail length and the geometry of the table that also make a difference, I'm not sure how though.

You are right in all your assumptions.
There is very little reason I can see that anyone would want or need to play on any reed harder than 3.5 - if you feel that necessity, it’s probably best to look at the mouthpiece you are using.
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#83 old_and_grumpy

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Posted 19 October 2021 - 16:48

Thanks for confirming that.

 

I had a saxophone when I was a teenager and, at the time, everyone seemed to think it was "cool" to use as hard a reed as possible.  I favour soft and gentle nowadays.


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#84 barry-clari the second

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Posted 20 October 2021 - 07:41

Thanks for confirming that.

I had a saxophone when I was a teenager and, at the time, everyone seemed to think it was "cool" to use as hard a reed as possible. I favour soft and gentle nowadays.


There is still amongst students often a race to see how far up the ‘hardness charts’ they can get in reeds. It is massively misguided and I simply don’t allow any of my students to venture beyond 3.5 : there really is no need for harder in any circumstances.
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#85 old_and_grumpy

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Posted 20 October 2021 - 07:56

I presume there is still a fair amount of enthusiasm for hard reeds out there - Legere used to make a 1.75 (not sure if that was their softest or not) but have now dropped that and their softest reed is a 2.0.  According to their strength charts, that's somewhere between a 2.0 and a 2.5 Vandoren, and getting on for a 3.0 Rico.  Vandoren classics go down as low as 1.0.  I presume it's harder to keep the pitch up with very soft reeds?  Where would you start someone off?  I saw someone online suggesting 2.5 as a good starting point, but I'm pretty sure my kids were started on 1.5 when they were having lessons.


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#86 barry-clari the second

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Posted 20 October 2021 - 08:51

I presume there is still a fair amount of enthusiasm for hard reeds out there - Legere used to make a 1.75 (not sure if that was their softest or not) but have now dropped that and their softest reed is a 2.0. According to their strength charts, that's somewhere between a 2.0 and a 2.5 Vandoren, and getting on for a 3.0 Rico. Vandoren classics go down as low as 1.0. I presume it's harder to keep the pitch up with very soft reeds? Where would you start someone off? I saw someone online suggesting 2.5 as a good starting point, but I'm pretty sure my kids were started on 1.5 when they were having lessons.


1s go gooey too quickly, they are pretty pointless imo.
My students usually start at 1.5, though some move to 2 fairly swiftly. 2.5 seems a bit hard as a starter reed.
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