Welcome to my channel! Please visit frequently for new videos to help YOU get better at the clarinet! Also, please enjoy my videos of live performances. Thanks for watching!
Great! I’ve experimented with varying extremes of break in procedures, and your process is pretty much exactly what I’ve settled on as well. More than this hadn’t yielded better results for me, and definitely not playing reeds in for at least as long as you describe has been disastrous! I can get away with more with my saxophone reeds, but not clarinet!
Yes! I really enjoyed the older incarnations of those liguatures. I had a student who had real issues with the latest versions in terms of build quality, but that might have just been the one we ordered. Thanks for watching!
Thanks for the review. I've had a BD2 for a couple of weeks now. I have a range of vandoren and selmer mouthpieces but no custom jobs. I found that the mouthpiece felt more open than it actually was (like you) and especially when I compared it to a M15 and M13 lyre. For my embouchure, mouth/throat and clarinet, I didn't find the issues you described. It readily responded over the whole range and had a focused tone like the M15. I really really like it. I use vandoren 56 Ru le pic or d'addario classic reserve reeds on a full Boehm Leblanc LL clarinet.
That's really interesting. The design is radically different from the M15, and is definitely not my cup of tea, but as I've noted in many videos, everyone is different, and my review is strictly my opinion. Thanks for watching!
I have. I I think adjustable barrels are a really interesting proposition, but I haven't found any that rival the ones that Tomoji Hirakata made for me. Thanks for watching!
Great video...!!! Of the ligatures in this video, the Rovner Van Gough checks all of my boxes. Price for this--as most Rovners--is reasonable (NO Silverstein for me as price alone is a deterrent), Rovners last for years, etc. Okay, I have used Rovners for many years, and I do have a bias. But...I have never tried the Van Gough. A suggestion for all clarinetists that have the issue of ligature caps that are too large and do not fit the case: try the Silverstein Omnicap mouthpiece cap. It fits over the tip, is not bulky, and will protect the mouthpiece and reed. I use them for all of my mouthpieces, and my only issue is that if you are not careful, they can get lost. Looking forward to more videos like this...
That’s a really good idea. I also see there are some cheap knockoff versions on Amazon. Good thing, because the Silverstein cap is quite expensive for what it is. Thanks for watching!
@@john.kurokawa: Yes there are cheaper copies of the Silverstein, but cheaper does not always equal better. YES, I am biased and spoiled... :) :) :) Seriously, always good to try.
@@davidnaden I'm only talking about the cap, lol. I have several of the knockoffs and they do just fine. They actually look identical to Silverstein's cap, but for a fraction of the price.
In my opinion, the lower lip should be supported by the teeth, or on the teeth, as you say. I prefer a gentle smile with the lower lip and a slight frown with the upper lip. Thanks for watching!
As a side note to my other comment, I am now a very happy owner of a set of Yamaha CSVR-ASP clarinets! I sat with Tomoji Hirakana, who went with me note by note until the entire instrument played and sounded very even, with much less resistance than my old Buffet set, and is now much more reed and mouthpiece friendly! Thought I'd let you know because you also play CSVR clarinets :)
Congratulations! Tomoji is AMAZING. You're going to love them. I think the CSVR is one of the best clarinets on the market, and I'm proud to have been one of the many consultants on that project! Enjoy!
@@john.kurokawa I absolutely love them, and he is amazing! I didn't know you were a consultant for the CSVR project, but it makes a lot of sense. I know many players who love both the CSVR and the ASP variant, as it is very flexible without leaning towards either extreme. Were you a Yamaha artist before the CSVR?
@@amay.clarinet Yes. I played the CSG models. In fact, I’m seriously considering them for my next set. David Shifrin was using them when they were new and he showed them to me when he was playing the Mozart concerto with my orchestra. I was very taken with them and haven’t looked back since. Enjoy
@@john.kurokawa awesome! Do you find the CSVR and CSVR-ASP to be that much different in how they play? I'm also curious as to your thoughts on the CSG, and what you like the most about those. I haven't had the opportunity to try either the base CSVR or the CSG models yet.
@@amay.clarinet Yes. For myself, I actually prefer the original CSVR- it's a little freer and easy for me to play. I had Tomoji put a custom low F mechanism on my A clarinet as I feel it is absolutely essential on these models. He did an amazing job- it looks almost stock. The CSG's actually have the same lower joint as the CSVR (so I'm told), but the upper joint and barrel are different. They just blow different- hard to describe. But I played them for about 10 years. Great clarinets. Extremely stable intonation and even sound. I love 'em.
Have you tried the Rovner dark? I know it's a budget model, but after comparing it to how many other ligatures (Versa, Silverstein, Vandoren optimum, and a few more) work for me, I've actually found that it actually feels better than most. It holds the reed to the mouthpiece extremely firm if I want it to (can take mouthpiece off clarinet and reed stays) and it is durable enough to last me 6 years with no signs of deterioration. I also think it looks quite nice and clean on the instrument :)
I loved your analysis on different types of mouthpieces and how much ligatures affect them. Overall, I quite agree with your thoughts for these ligatures, both in terms of feel and sound. I'd like to add my two cents, as someone who enjoys playing 2 setups, 1) a very closed/flexible mouthpiece with a medium reed (M13 Lyre) and 2) a medium-open/"hold" mouthpiece with a medium-resistant reed, but also as a student who's not quite adjusted fully to either particular setup. I find that on the M13 Lyre and all my favorite closed tip mouthpieces, my ligature choices were based on the kind of sound and feel I was going for; a good balance of overtones, aka vibrancy in the sound, with just enough resistance to control dynamic and color. For me, that meant a metal ligature (currently a bonade inverted) works well with a 3½ blue box reed. It requires a lot of sensitivity with my air stream, embouchre, and voicing, but it allows me to sing with that balance of higher frequencies I look for in this setup. On my Kanter and other favorite open mouthpieces that emphasize the fundamental a lot more, I found myself going for a less resistant ligature that also emphasizes the fundamental a bit more, and encourages a more gentle feel and sound for the way I play these mouthpieces. The only exception I've found to this so far is the B40, where I prefer a metal ligature (Bonade non-inverted). I think this is because, despite being a relatively open facing mouthpiece, soundwise, it harkens a lot closer to the M13 Lyre and my favorite closed facing mouthpieces. This all to say, I think that someone used to one mouthpiece type or another would find the other type to be less affected by the same factors, because they are already so different. They require different physical and tonal approaches, especially when you compare mouthpieces that encourage "vibrancy" or "hold" using just your air/embouchre/voicing, and those that encourage "darkness" by biting and constricting the vibrations of the reed. My own preference is one that doesn't require biting, so I know very little about those mouthpieces that encourage it, such as the Vandoren BD and HD series. However, for the more old-school mouthpiece which are designed for minimal jaw pressure (there is still so much variation in these), I find that, regardless if it is a more fundamental emphasizing mouthpiece or overtone emphasizing mouthpiece, they are a lot more sensitive to ligature and reed changes. I think I only came to this conclusion, though, because they are what I'm used to. Fantastic video overall, as always, Mr Kurokawa!
Thanks Amay! I am certainly in agreement that different ligatures suit different mouthpieces and reeds. I haven't played the B40 a ton, but many of the B40 players I know prefer metal ligatures as well. Thanks as always for watching!
Saxophonist here, I much prefer my Ishimori woodstone ligature to anything else I’ve tried. Gives my sound a nice ring and I find it makes it much easier to work with when it comes to tonal flexibility.
Aloha John! What perfect timing as I am currently trying to change ligatures too. I use the traditional older Harrison which I love. However I just recently switched to using the Legere French Cut Reed and the reed tends to slip no matter even if I tighten it all the way. I am currently using the Rovner Versa as it does hold it and response is ok. I am awaiting my Silverstein to arrive as I read online that this ligature will hold the Legere reed firmly. I do want to try the Woodstone Ligature too but it’s so expensive and being that I just paid for the Silverstein. It will have to wait. I do prefer metal ligatures though. Do you have any ideas or suggestions? Thank you so much! - Elden
Hi Elden! I don't actually use synthetic reeds, but have a few ideas. There are some vendors in the states like Meridian Winds that carry the Woodstone- they might be cheaper for you. Just be careful about over tightening the screws on a Harrison- you can snap them really easily! If you like the Rovner Versa, then I would use it- I just don't like it for myself. I would guess the Woodstone would hold a Legere very firmly as it has a wooden point of contact on the reed. Have you tried a D'addario H? They're not incredibly well made, but a lot cheaper, and they do tend to grip the reed a little more firmly due to the design changes from the original Harrison. I'll be curious to know how the Silverstein works with synthetic reeds. Since Silverstein makes their own line of synthetic reeds, I would imagine it would work pretty well; I just couldn't get over how easily the ligature would slip off the mouthpiece. There will be another ligature video coming on metal ligatures. Stay tuned! In the meantime, best of luck and keep me posted on your ligature search!
A professional woodwind player in Ohio who is a former student of Robert Marcellus says Marcellus used to break in his reeds very slowly, only playing them for a short period of time each time for over a month, and was able to get some reeds to last years this way. I have been experimenting with a longer break in process lately, and, although I haven't worked my way up to more than a month of break in yet, I do seem to be getting more stable, long-lasting, and more playable reeds this way.
Yes- I know Gene as he's subbed in my orchestra and I've played gigs with him in Cincinnati. I've seen that video- I've not heard that about Marcellus, but I have heard anecdotes that the Morre cane was so good back in the day that Marcellus would on occasion take reeds out of the box and just play them. I think finding a good break in routine is essential. Thanks for watching!
Woww, I taught myself a bit of the clarinet, ( I grew up playing viola), but when uu said about how much of the reed to leave naturally outta the mouth, I almost was shocked. No other clarinetist on RU-vid, showed that to me. Ohh myy, I wanna try the clarinet again. Maybe, if I get even better, I can join a community adult orchestra. Thanks sir, chao.
Thank you, John. It's been a few decades since I played the clarinet. This short review of reeds is clear, concise, and well taken. One question: What reed number should I start with?
Honestly, it depends on your mouthpiece and what brand of reed you’re playing, but a Juno 2.5 to 3.5 might be a good way to get started. Thanks for listening!
M13 (and lyre model) facing is without doubt one of the best facings out there. Donald Montanaro participated in the development of it, and plus the M14 and M15, based on one of their Chedeville. But the purpose of this model? Nobody knows. It has the worst of the HD series. It does not have good centering and the sound is dull. But it has none of the good things about the M series (colour, eveness, clear sound, inmediate articulation). It would be good for Vandoren to get back together with great clarinetists and develop something of quality...
The big sound concept you mention is very interesting. Students should be made to listen to Harold Wright's recordings. Close facing mouthpiece, double lip, beautiful sound and legato without transferring effort to the performance. Every time he played his luminous sound went through the orchestra and filled the room.
Hello, I'm sorry when you curl your lower lip over your teeth, the dentures or the chin come out unintentionally, so the dentures and chin should stay in their normal position, just raise the dentures or the dentures and chin so they don't stick.
Thanks for this video. I've been curious about the BD2. Do you or anyone in here have any thoughts how it compares to the M15? Or the Fobes Nova? Those are my current mpcs, and I doubt I would be able to find a BD2 locally to try against mine. Thx
Personally, I much prefer the M15 to the BD2 as it is much better suited to my style of playing. The new interior design of the BD2 completely changes the playing experience. I have tried any of Clark’s Bb pieces in a while so I can’t comment on that, sorry. Thanks for watching!
Did you try the BD2 with a somewhat softer reed? In general, the more resistance in the mouthpiece and/or instrument, the softer the reed to balance with this. Of course the facing of some mouthpieces might have a limit to how soft a reed you can use.
Yes. The problem was that a softer reed improved the response somewhat, but then the mouthpiece had no hold whatsoever and the reed would collapse against the facing in the altissimo. I experimented with 3’s all the way to 4.5. Additionally, I found it difficult to balance a reed on this type of mouthpiece design- going any lighter didn’t seem to help. 😕 Thanks for watching!
Nice video, John - brings to mind the following limerick: The clarinet’s great for the labor Of Mozart, of Schubert, of Weber; But when Schoenberg lets fly With the E-flat up high, You’d rather not have him as neighbor. 🙄😂
Larry!!! Great to hear from you and thanks for the kind words. As an Eb clarinet ‘owner’ and not an Eb player like you, that limerick applies more to myself. 🤣 Please give my best to Ralph and thanks for watching!
Thanks! I learned a lot about the different aspects one can test for. There is just one that I don’t understand. What am I listening for in flexibility?
When I test a mouthpiece, reed, or clarinet for flexibility, I'm looking to see if I can easily play a wide range of dynamics and a wide palette of colors. Some mouthpieces can play very loud or soft, but are very 'one color.' I hope this helps. Thanks for watching!
John! great stuff as always! I have missed seeing you here in the interwebs. Glad you are back. I agree with you on everything you say here. I have often wondered (just from a thought experiment standpoint), what if there was no choice and we were issued a mouthpiece from some kind of state authority (yes a dystopian future in this thought experiment)? Part of your video illustrates this in that you sound great and very much like yourself on both mouthpieces. I have many of Ramon's moutpieces and have used them with great success as well as many Vandorens. I am currently using a BD4. I doubt I actually sound much different on any mouthpiece "in the ballpark" - BUT in direct alignment with what you say - what it takes to make that happen is the crucial and game changing difference. I am always glad to hear someone say what I think but a lot better than I say it for myself :)
Jay! Great to hear from you and great to be back. I have a whole backlog of your videos to catch up on, and am looking forward to it immensely! As always, I appreciate the kind words. Ramón actually has a new line of mouthpieces since 2021 that he's making out of some entirely new blanks, as well as some new more open models- I'd recommend them to anyone. Are you going to be at the convenient in Dublin this summer? Thanks, and I'll see on the intarwebs!
I found it interesting that the BD2 is advertised to be the facing of the M13 Lyre on the BD blank. I didn't find it sounds or play even close. I found that I had to use insanely hard reeds to prevent it from getting quite bright and edgy. This isn't something that I've found myself doing with the M13 Lyre; I like that with the M13L I can keep the sound together with my corners and voicing as opposed to relying on the reed strength. The BD2 might just take a long time to get used to; it's an... interesting mouthpiece. I'm not a fan of how the BD2 is a lot more dull than the M13L. The M13 Lyre doesn't necessarily play easily, but I prefer that zing of the M13 Lyre. You make the BD2 sound much nicer than I was able to though. :) Regarding your hard reeds journey, I can definitely relate to that. When I started playing too hard reeds for myself, I was biting a lot, and while I prefer to play double lip as much as possible now for the smooth legato and how it prevents biting/choking off the sound, that came from a year of trial and error, injuries and recovery, and meticulously recording myself to find which sound I actually like. It also created a habit of trying to force too much air into the clarinet, distorting the sound. I find this review quite fascinating for a couple of reasons. If I played Vandoren mouthpieces, I'd definitely play the M13 Lyre, just for the flexibility and center it gives me as a player. I never really appreciated this until my lesson with Burt Hara, who pointed out that in my setup at the time, it required me to work too hard to keep the sound centered without biting. However, I now play a medium-open Kanter mouthpiece with a V12 4, occasionally a 4½ but really a 4 is what I've found works best for me. I couldn't play those reeds on any Vandoren mouthpiece; they're simply too hard for the way Vandoren designs their mouthpieces. But with the BD2, I even put a V12 5 on, and it sounded too bright and edgy and unfocused. Bright not in the protection/lively sense, but in that unnatural, unbalanced way that is quite difficult to control for me personally. I tried lighter reeds, different cuts, and couldn't personally find a balance. I'm sure there might be some people who find this mouthpiece to work well; I think Greg Raden plays the BD2 now, or at least he was trying it, and he sounded quite nice on it. Finally, your point about the unique sound; I spoke with Michele Zukovsky about this just this weekend. She mentioned how even just 20-30 years ago, everyone had their own sounds and nobody was trying to sound like the other. Everyone just sang through their instruments in their own unique ways. But now, it seems like everyone, especially in the younger generation, but I'd say it extends to much of the clarinet world, are trying to sound quite homogenous. The BD mouthpieces may have had something to do with that, as well as the "harder, darker, bigger" ideology, as Yehuda Gilad puts it. It kind of leads everyone down the path of everyone sounding like struggling clarinetists as opposed to singers with our own voices. Brilliant video, Mr. Kurokawa. I enjoyed it very much.
Thanks Amay! I 100% agree with Michele Zukovsky. Finding your own voice and what is natural and correct for your own body is key. As to 'harder, darker, bigger' I would say that a darker and bigger sound doesn't necessarily project, but a beautiful sound will project. Besides, if someone came up to me after a concert and said I was 'bigger', I'd be pretty offended. 🤣 I also agree re: homogenization. If a mouthpiece makes me sound like everyone else, then I don't want to play it. I want the equipment to enable me to find my own voice on the clarinet. I hope this younger generation will aspire to greater artistry, not just trying to sound like everyone else. The clarinet world seems to be unique in that regard. Thanks as always for watching, and have a great summer!
@@john.kurokawa very well said! I definitely agree about the projection too; I think a "bigger" sound really just refers to the fundamental, not the overtones, which I think are the part that project the most. I could be wrong though; I've definitely not played in as many halls as you or other professionals. Curious to know your thoughts about that!
Being able to play a good vintage Chedeville mouthpiece, and mouthpieces inspired by it, I would completely agree that the overtones are what aid the most in projection. Unfortunately, I've fallen into the trap sometimes of picking a setup for it's 'up close' quality, only to find that in an orchestra or even with piano, that type of mouthpiece lacks the 'legs' or momentum to carry the sound out into the hall. I think a healthy balance of fundamental AND overtones are what makes a sound beautiful. The degree to which that balance is achieved is unique based on each person's concept and the design of their mouthpiece. Although I didn't care for the sound of the BD2 at all when I was sitting behind it, I was very startled when I listened to the recording. It still wasn't much to my liking, but I was surprised how much I pushed my concept onto that mouthpiece. It was still way too dull and thuddy for me, but it had more highs than what I felt sitting behind it.
@@john.kurokawa this is a fantastic point! When I listen behind my own setup, it sounds quite gentle, but also a little darker than I might like at times, but when I listen to my recordings, I realize it's actually quite balanced, and that I don't have to work so far to bring the "ping" into the sound as I thought when I only listened behind it. Also quite interesting how when trying equipment, we will always strive to make our sound concept, or our voice, come through. Much better than to try to succumb to the "sound of the mouthpiece". Re balance of fundamental and overtones: that makes sense; it's what allows the sound to be alive yet covered when necessary I think.
I agree with the sound. The problem I encountered with the BD2 is that when I put on a lighter reed for response, the mouthpiece didn’t have any hold at all and got rather bright and screamy. I suppose that might have been one way to do the review, but I wanted to try and represent the mouthpiece in the best light. This is a real problem and a difficult decision anyone who plays this mouthpiece has to make- do you choose response or hold? I’d rather have both! I agree that Ramón’s mouthpiece has more ping, and that’s probably why it projects so much better- the center and focus is built in. Thanks for watching!
@@amay.clarinet Something he's going to announce later- he designed the blank for more open facings. The one I'm testing in the video has a Kaspar 13 facing on it which is very comfortable, but I also have a close tip version that I love. It's probably going to be my main mouthpiece- I'll be giving it a test run in orchestra this weekend.
AK ligature is supposed to mimic how thumb would work as ligature.. I generally have a preference on Bonades but I may try the AK soon. I love this video!
My high D on my Eb Clarinet is actually sharp. The most in tune fingering for me is to play the standard fingering without the pinky. And in some cases an overblown open G. Just depends.
