ford

Posted by chowbow in Arts

Ford Probe Ford Puma - Ford Ranchero - Ford Ranger Ford Scorpio - Ford Shelby - Ford Sierra - Ford Skyliner - Ford Sport Track - Ford Sunliner -

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nebulizer mouthpiece vandoren mouthpiece asymmetric

Posted by chowbow in Uncategorized 2

TOP TEN MOST IMPORTANT concerns when selecting a good reed:

1) Quality of cane
2) Quality of cane
3) Quality of cane
4) Quality of cane
5) Color
6) Grain
7) Thickness vs. reed strength
Contour-shape
9) Curing, maintenance, preservation
10) Serendipity: good luck..! bonne chance..!

vandoren mouthpiece
nebulizer mouthpiece
asymmetric mouthpiece

1) - 2) - 3) - 4) QUALITY of CANE - holds the key to finding a good reed. The point can not be stressed enough. A good piece of cane can usually be spotted by visual inspection.
5) COLOR - the cane should have a golden - almost buttery - appearance. There may be bark marks (often a good sign), i.e. water marks which produce dark beige and brown streaks, stains, speckles and other markings on the bark on the lower half of the reed. However, the vibrating top half should be richly hued. Avoid reeds that look very pale, sandy or whitish beige, or greenish in hue. Avoid reeds which show patches of discoloration on surface of vibrating slope, or streaks of discoloration on the back
6) GRAIN - should be uniform, from bottom to top, with evenly spaced larger grains extending all the way to the very tip (without them a reed may play well but will not last)
7) THICKNESS - in general, a good reed tends to be thin at the heel. But thickness of the basic reed stock does not relate to reed strength. The latter is an issue primarily germane to the choice of mouthpiece (see below)

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parke mouthpiece mouthpiece puller alto mouthpiece

Posted by chowbow in Society

Let us consider next the rim of the mouthpiece. Figure A [above] shows a mouthpiece with a desirable amount of roundness of the rim; it is especially well suited for beginners but is also used by many professional symphony players.
The various cup designs have been chosen for their ability to produce any sound desired by the player.
The different cup depths within one diameter allow the player to easily change mouthpieces to perform in a different context.
The backbore designs complement the cup shapes and further assist in the “fine-tuning” of the sound.

The WARBURTON system allows the player the opportunity to personally “balance” his equipment, a process that heretofore was not within grasp!
strident, warm, shrill, etc. - ALL of the sound and nuance of timbre, volume and pitch comes from the reed alone. The mouthpiece/saxophone-clarinet body acts like a passive filter/resonator. A fine instrument will dampen and filter out most of the unwanted elements of the sound while adding resonance to the desirable qualities of the vibrating reed.

parke mouthpiece
mouthpiece puller
alto mouthpiece

In sum - THE REED IS A TYRANT which takes charge of everything. But at least we can limit its tyranny to a considerable degree, i.e. the vibrating range of the reed’s autonomy can be influenced by the embouchure, mouthpiece and instrument.

— Now to the GOOD STUFF —
REED OVERVIEW
pt to show you how to make a good bees wax mouthpiece for your didj. The mouthpiece of your didgeridoo will require constant maintenance, depending on how much you play your didgeridoo.

It’s shape will also have a large effect on your ability to play the didgeridoo So we recommend that you learn to form a good mouthpiece.

The best size of the mouthpiece depends on your mouth and we advise you change the shape and size of the inside edge of your mouthpiece until you find it easiest to play. The size and shape of the mouthpiece can make a big difference to the ease of playing or even the ability to get the base sound.

You can get yourself some beeswax from Hardware shops, Arts and Crafts shops or Health Food shops.

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tuba mouthpiece - alto saxophone mouthpiece

Posted by chowbow in Business & Economy

Yamaha 14B4 Trumpet Mouthpiece
This is a great everyday mouthpiece that you would use for 60-80% of your playing. It has a nice tone, the flatter cushion rim (size ‘4’), combined with the medium smaller cup (size ‘B’) allow versatility between the octaves without sacrificing sound on the low notes. Nice flexibility capability. This might be your end-all mouthpiece, or at least a nice place to start your exploration. Order this mouthpiece distribute outstanding saxophone and clarinet mouthpieces and woodwind accessories. Remlé Musical Products, Inc. has been under the direction of Elmer Beechler’s daughter, Judy Beechler Roan, for the past sixteen years. We believe we make the best mouthpieces in the world for the professional musician and players who want to play well for the simple pleasure and joy of it.
A former employee of Bach once told me that when mouthpiece sales were down, he would then “as a keepsake of their visit to the Bach factory” give people the tool we commonly refer to as a hand reamer, or jeweler’s reamer (five, four, or three sided English pin broach).
Parke-Hagstrom Trumpet Mouthpiece

tuba mouthpiece
alto saxophone mouthpiece

This professional mouthpiece has been customized by John Hagstrom of the Chicago Symphony Orchestra. It is a very flexible, rich sounding, and free blowing mouthpiece. This mouthpiece is designed to allow you to express the extreme fortes of Wagner or the delicate pianissimos of Debussy while retaining tonal control. It is not just for orchestral music! This is a very nice ‘upgraded’ everyday mouthpiece. Order this mouthpiece
As late as the 30’s and into the 40’s mouthpiece sizes did not appreciably change or increase. I believe that Harry Glanz played a Bach 6C through out his career in New York. Adolph Herseth won his job in Chicago playing a Bach 7B. While some say Georges Mager played a very large diameter (as offered in the Schilke model 20D2D), I have been told by others that the diameter was actually much smaller in the early part of his career and that he went larger only later.Needless to say, the shape of the outside of the mouthpiece, provided there is adequate thickness of metal in the wall, has nothing to do with its playing qualities.

Finally, it is a physical impossibility to provide all the ideal features in any one mouthpiece; at best, a superior mouthpiece is an intelligent compromise of the major factors. The performer, thus, should strive for the optimum combination of factors. These will vary with the individual and the demands of the job and its playing standards. As a whole, one should favor tone quality and accurate intonation to ease of playing high notes unless the latter is a “must”. No mouthpiece is perfect, and no mouthpiece will sound better than the player behind it. The player is still the major variable.

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