@@DaleFedele @Im playing a buffet b12, the included mpc has no branding whatsoever. Im using a cheap "leather" ligature which seems better than the supplied metal one. I'd like to know if the rico graftonite is any good, it gets good reviews for saxophone but not for clarinet. I think i might just get a yamaha 4c or even a 6c (I have a 6c on my saxophone and it plays well). With a rue lepic 3.5 it plays easily in tune but feels a bit too resistant for my liking, with a rico 2.0 its easy to blow but takes too much effort to get it to pitch, especially altissimo notes. Im making good progress but squeaks abound (the instrument practically looks brand new and seems to seal well), so I think a better mpc might help.Cheers!
You´ve got a really nice sound on all your mouthpieces. I would really like to try that metal Meyer piece. It´s always a challenge to play in outside acoustics. You often compromise your fine classical sound to get through on streetplaying. It seems that this mouthpiece could do the job. Unfortunately they are rare and the price is rediciulous. Do you know of other alternatives relating to volume?
Nice! I’d agree on the material from my experience with saxophone mpcs. Also agree on the variety of settings you can find yourself in and the need to play an appropriate mpc, which in my experience is quite different than what is usually recommended.
Rubber is definitely more vibrant, glass is pretty stiff, but metal is very bright. I love rubber with hard reeds, glass with light reeds, and metal for basically just jazz.
I have a collection of about 500 mouthpieces. I do not think but the material has as much of an effect as any of the other variables. That said the one material with the biggest effect my experiences in the crystal. My theory is and as long as the materials dimensionally stable and we eliminate the player as a variable the sound is dictated by the dimensions. The only way I believe the material can affect the sound is with differences of thermal conductivity and boundary effects from microfinish. I think a lot of the preference for material comes from the fact that most cheaply made mouthpieces are injection molded plastic and the more expensive mouthpieces are not. Regardless of the hardware it is a player who determines the sound to the largest degree. I want the 10 to the master class with Robert Marcellus and I'm not sure what know what mouthpiece he was using it looked to be hard rubber. As each student performed Marcellus would give feedback by playing the passage as a student had and then correcting it and playing it like himself. On that one setup a blind old man was able to reproduce not only the attack note shape the ending intonation timing and the Dynamics but also the tone colour. The lesson being highly skilled player can overcome equipment tendencies so why work at the margins with Hardware when you can hit the main target which is you! Of course this assumes that you're playing quality mouthpiece without defect and a reed appropriate to that facing.
Robert Marcellus may have went blind BECAUSE of his setup. There are many who think that! I know of a student at FSU that went blind because of the back pressure of his setup putting pressure on his ocular nerve... Sure, Marcellus could make any setup to sound good (read: force) in a masterclass. But if he were to play that setup every day for a year...how would that change him? He used many Kaspar (Chicago, Cicero, and Ann Arbor) mouthpieces throughout his career, and guess what? His sound changed throughout his career as he adapted to the different facings! Did he always sound good? Sure, but he sounded best in my opinion in the late 60's when he went to slightly closer facings, and his dentures forced a bit more lip strength and a raising of the soft palate. To continue about Marcellus...before he played his Kaspars, he had a wonderful Lelandais/Chedeville by Bonade. After it broke, many told about just how much his sound changed...not just because of Szell/Severance, but because the mouthpiece guided his choices...in many ways in subconscious levels. I can make a Premiere by Hite $25 mouthpiece sound like anything I want. My question is...how hard to I have to work? What stresses does FORCING the mouthpiece to perform certain tasks put on my body? How does that limit my career? And...if I have several gigs in a day, do I have the energy to go home and make dinner after?
Thank you for all of these videos. Going along with materials, do you have any experiences with zinner blank mouthpieces such as the Clark W. Fobes San Francisco mouthpieces? I would love to hear your opinion.
I used to have a bunch of zinners! I've sold them all as time went on but I still have a few. I promise I will get some more over the coming weeks and make a video of zinner comparisons! I will say, with all due respect to Mr. Fobes, I would also recommend Walter Grabner's work on zinners...he does an excellent Kaspar copy. One thing I've found (and I'll discuss this in my video) is that most of the craftsmen that use zinner blanks oftentimes don't market widespread refacing services...so I haven't tried, for example, Fobes, Lomax, Grabner, Hawkins, Ridenour, or others' work on different blanks. So that definitely hinders my ability to separate the work from the blank and the material. Now that the Zinner blanks are no longer being produced...it will be interesting to see how these craftsmens' work will evolve. I think that will make for a fascinating comparison the future as well! Anyway, thank you very much for your comments!!! I'm glad you enjoy these videos
Hey! I really enjoy your videos. Getting to see cool/rare products and also learning more about them! Do you know anyone who might be selling rare items like a metal mouthpiece?
I'm sorry I didn't answer sooner. I'm selling this one I feature in this video right now www.ebay.com/itm/New-York-Meyer-Bros-Metal-Clarinet-Mouthpiece-original-facing-w-lig-/224634495989?mkcid=16&mkevt=1&_trksid=p2349624.m2548.l6249&mkrid=711-127632-2357-0
I agree, material dictates sound. And shape too: a well-cut mouthpiece could bring not only good intonation but a great sound as well... I presume. Although I play with rubber ones, I wish I could try a good metal one. I always had the impression that because of the material and the time it takes to shape a mouthpiece, good metal clarinet mouthpieces where out of the market because it is cheaper to make a rubber/plastic one. The metal ones for saxophone are not cheap and can be really good. Why not for clarinets? Metal is also a noble material. Wood would be perhaps ideal for many, but it wears off. Cristal is also used. Ceramic? Carbon? A combination of rubber and wood? See and hear to believe. But metal appeals to me. Not gold or silver, but perhaps a good bronze mouthpiece. Or any other alloy. Or perhaps a combination of materials? Metal is more dense and heavy than plastic, perhaps another reason to use a mouthpiece of that kind on clarinets. But what if the alloy was lighter and also resonant? I wish I could see one of these. I'm just curious. Greetings and great video!
Do you have any experience with Otto Link Reso Chamber clarinet mouthpieces? I've heard they were directed at the Jazz crowd at the time. It would be interesting to see how it compares to the Meyer.
I love the sound of Reso Chambers for clarinet (and tenor sax of course too!). They are my favorite Otto Links I've tried for clarinet. They have a much darker and silkier sound than any Meyer I've tried.
I'm selling this one www.ebay.com/itm/New-York-Meyer-Bros-Metal-Clarinet-Mouthpiece-original-facing-w-lig-/224634495989?mkcid=16&mkevt=1&_trksid=p2349624.m2548.l6249&mkrid=711-127632-2357-0
As a professional recording studio owner and clarinet player, I like your videos but-while I’m interested in what you have to say, you need to get a lapel mic to pick up your voice and a different mic for your clarinet play. (Another option might be to place your microphone over your head) Clarinets can project. I need to turn it way up to hear your voice, and then the playing is so loud I hit pause. I would love to watch your videos, But it’s too much work. Lapel mics (For a second voice microphone) is cheap and in my opinion would drastically improve audio content. Thanks for all of your effort and good luck.
I'm working on this!!! My newer videos I'm using two different mics...I apologize and I will re-record a lot of my older videos!!! Thank you again so much for the suggestions!
I have several other New York Meyer Bros clarinet mouthpieces (red rubber) with the same high, concave rollover baffle, same tip opening and curve, and they don't come close to the sound on this! It's surreal.
I have tried lakey studio and metalite Imho this has it beat. By the way I'm finally selling this one I feature in this video. www.ebay.com/itm/New-York-Meyer-Bros-Metal-Clarinet-Mouthpiece-original-facing-w-lig-/224634495989?mkcid=16&mkevt=1&_trksid=p2349624.m2548.l6249&mkrid=711-127632-2357-0
@@DaleFedele yes i saw it was for sale. i agree its the loudest mpc i ever heard! please do a vidio on charles bay mpcs. i bet you have some. i just acuried a set for Bb alto and bass clarinet. love them!
I have not, though I have immense respect and awe for Mr. Giuffredi! I have had a number of crystal mouthpieces over the years, included a really rare O'Brien with a rubber bore (!), I just don't seem to get the focus I like. Same goes for Legeres, though I have played gigs with Legeres on original facing Cheds!
@@IsaacOtto Yeah, it's gone. The add is still up, though. Bummer. These are so rare, and nothing compares to those for Jazz and Swing, especially if you're a sax doubler.
Hey Willie, I'm sorry I never messaged back. I am finally selling this mouthpiece I feature in this video here: www.ebay.com/itm/New-York-Meyer-Bros-Metal-Clarinet-Mouthpiece-original-facing-w-lig-/224634495989?mkcid=16&mkevt=1&_trksid=p2349624.m2548.l6249&mkrid=711-127632-2357-0
*I* do not sound like that... it's just a horrible mic. I'm actually playing the Artie Shaw concerto with a regional professional orchestra this weekend, I'll post a recording. Check out my other vids, they're still misleading but less so. I finally invested in a pair of Neumann KM 184's so I hope to have somewhat representative sound soon.
With a big band? Are you kidding me? Especially if the lead alto & tenor players are trying to be heros...I did a Jimmy Hamilton outdoor gig with this and it was brilliant. Now, if I'm playing with a combo? No, unless I'm trying to be like Doreen/NO style. If I'm with a hip ultraclean modern style a la Eddie Daniels? No. Again...Benny Goodman, in front of/in a big band, without mics? Absolutely. I'm going to try to re-record this since I finally got a good mic. Great clarinet sound doesn't always sound good up close.
@@DaleFedele Perhaps but volume as you know isnt simply a matter of mouthpiece it has a lot to do with breath control, voicing, reed, and ligature. I cant tell by hearing through RUclips but it doesn't seem to me to be any louder than the Selmer HS** that Benny Goodman used to play over a big band. Volume isnt more important than tone quality in jazz.
that sound is goosebump inducing. I thoroughly love it!
I have also wondered about metal mouthpieces for clarinet. You sound *exactly* how I imagined it would sound, and now I want one.
I sold it for around $1200
This is awesome...who would have thought, such a great jazz sound
I'm new to clarinet and investigating mouthpieces. I am very impressed with both the sound you are getting and your playing.
Thank you very very much! I'd love to help in your mouthpiece research. What are you playing now?
@@DaleFedele @Im playing a buffet b12, the included mpc has no branding whatsoever. Im using a cheap "leather" ligature which seems better than the supplied metal one. I'd like to know if the rico graftonite is any good, it gets good reviews for saxophone but not for clarinet. I think i might just get a yamaha 4c or even a 6c (I have a 6c on my saxophone and it plays well). With a rue lepic 3.5 it plays easily in tune but feels a bit too resistant for my liking, with a rico 2.0 its easy to blow but takes too much effort to get it to pitch, especially altissimo notes. Im making good progress but squeaks abound (the instrument practically looks brand new and seems to seal well), so I think a better mpc might help.Cheers!
You´ve got a really nice sound on all your mouthpieces. I would really like to try that metal Meyer piece. It´s always a challenge to play in outside acoustics. You often compromise your fine classical sound to get through on streetplaying. It seems that this mouthpiece could do the job. Unfortunately they are rare and the price is rediciulous. Do you know of other alternatives relating to volume?
I like ya cuh G
Nice! I’d agree on the material from my experience with saxophone mpcs. Also agree on the variety of settings you can find yourself in and the need to play an appropriate mpc, which in my experience is quite different than what is usually recommended.
I was gonna say the same about sax mouthpieces; if I play with a metal one, the sound is much louder and brighter.
Great sound!!
How about D'addario mouthpieces? Do you like them?
Rubber is definitely more vibrant, glass is pretty stiff, but metal is very bright. I love rubber with hard reeds, glass with light reeds, and metal for basically just jazz.
I have a collection of about 500 mouthpieces. I do not think but the material has as much of an effect as any of the other variables. That said the one material with the biggest effect my experiences in the crystal. My theory is and as long as the materials dimensionally stable and we eliminate the player as a variable the sound is dictated by the dimensions. The only way I believe the material can affect the sound is with differences of thermal conductivity and boundary effects from microfinish. I think a lot of the preference for material comes from the fact that most cheaply made mouthpieces are injection molded plastic and the more expensive mouthpieces are not.
Regardless of the hardware it is a player who determines the sound to the largest degree. I want the 10 to the master class with Robert Marcellus and I'm not sure what know what mouthpiece he was using it looked to be hard rubber. As each student performed Marcellus would give feedback by playing the passage as a student had and then correcting it and playing it like himself. On that one setup a blind old man was able to reproduce not only the attack note shape the ending intonation timing and the Dynamics but also the tone colour. The lesson being highly skilled player can overcome equipment tendencies so why work at the margins with Hardware when you can hit the main target which is you! Of course this assumes that you're playing quality mouthpiece without defect and a reed appropriate to that facing.
Robert Marcellus may have went blind BECAUSE of his setup. There are many who think that! I know of a student at FSU that went blind because of the back pressure of his setup putting pressure on his ocular nerve...
Sure, Marcellus could make any setup to sound good (read: force) in a masterclass. But if he were to play that setup every day for a year...how would that change him? He used many Kaspar (Chicago, Cicero, and Ann Arbor) mouthpieces throughout his career, and guess what? His sound changed throughout his career as he adapted to the different facings! Did he always sound good? Sure, but he sounded best in my opinion in the late 60's when he went to slightly closer facings, and his dentures forced a bit more lip strength and a raising of the soft palate.
To continue about Marcellus...before he played his Kaspars, he had a wonderful Lelandais/Chedeville by Bonade. After it broke, many told about just how much his sound changed...not just because of Szell/Severance, but because the mouthpiece guided his choices...in many ways in subconscious levels.
I can make a Premiere by Hite $25 mouthpiece sound like anything I want. My question is...how hard to I have to work? What stresses does FORCING the mouthpiece to perform certain tasks put on my body? How does that limit my career? And...if I have several gigs in a day, do I have the energy to go home and make dinner after?
Thank you for all of these videos. Going along with materials, do you have any experiences with zinner blank mouthpieces such as the Clark W. Fobes San Francisco mouthpieces? I would love to hear your opinion.
I used to have a bunch of zinners! I've sold them all as time went on but I still have a few. I promise I will get some more over the coming weeks and make a video of zinner comparisons! I will say, with all due respect to Mr. Fobes, I would also recommend Walter Grabner's work on zinners...he does an excellent Kaspar copy. One thing I've found (and I'll discuss this in my video) is that most of the craftsmen that use zinner blanks oftentimes don't market widespread refacing services...so I haven't tried, for example, Fobes, Lomax, Grabner, Hawkins, Ridenour, or others' work on different blanks. So that definitely hinders my ability to separate the work from the blank and the material. Now that the Zinner blanks are no longer being produced...it will be interesting to see how these craftsmens' work will evolve. I think that will make for a fascinating comparison the future as well! Anyway, thank you very much for your comments!!! I'm glad you enjoy these videos
I'm sorry it's taken me so long but I finally have a bunch of zinners! I'll be making a video very shortly
Hey! I really enjoy your videos. Getting to see cool/rare products and also learning more about them! Do you know anyone who might be selling rare items like a metal mouthpiece?
I'm sorry I didn't answer sooner. I'm selling this one I feature in this video right now
www.ebay.com/itm/New-York-Meyer-Bros-Metal-Clarinet-Mouthpiece-original-facing-w-lig-/224634495989?mkcid=16&mkevt=1&_trksid=p2349624.m2548.l6249&mkrid=711-127632-2357-0
I’m really interested in this mouthpiece, can I dm you on Instagram to talk about it?
@@BlahblahMessi10 yes however Instagram is down. Email me at dalemfedele@gmail.com
Awesome. Just sent you an email!
I agree, material dictates sound. And shape too: a well-cut mouthpiece could bring not only good intonation but a great sound as well... I presume.
Although I play with rubber ones, I wish I could try a good metal one. I always had the impression that because of the material and the time it takes to shape a mouthpiece, good metal clarinet mouthpieces where out of the market because it is cheaper to make a rubber/plastic one. The metal ones for saxophone are not cheap and can be really good. Why not for clarinets? Metal is also a noble material. Wood would be perhaps ideal for many, but it wears off. Cristal is also used. Ceramic? Carbon? A combination of rubber and wood? See and hear to believe. But metal appeals to me. Not gold or silver, but perhaps a good bronze mouthpiece. Or any other alloy. Or perhaps a combination of materials?
Metal is more dense and heavy than plastic, perhaps another reason to use a mouthpiece of that kind on clarinets. But what if the alloy was lighter and also resonant? I wish I could see one of these.
I'm just curious. Greetings and great video!
Crazy Man ! that mouthpiece sounds great!
Do you have any experience with Otto Link Reso Chamber clarinet mouthpieces? I've heard they were directed at the Jazz crowd at the time. It would be interesting to see how it compares to the Meyer.
I love the sound of Reso Chambers for clarinet (and tenor sax of course too!). They are my favorite Otto Links I've tried for clarinet. They have a much darker and silkier sound than any Meyer I've tried.
where would i be able t find one of these mouth pieces??
Any one know any more accessible mouthpiece that can make a similar quality of sound like this metal mouthpiece?
I'm selling this one
www.ebay.com/itm/New-York-Meyer-Bros-Metal-Clarinet-Mouthpiece-original-facing-w-lig-/224634495989?mkcid=16&mkevt=1&_trksid=p2349624.m2548.l6249&mkrid=711-127632-2357-0
As a professional recording studio owner and clarinet player, I like your videos but-while I’m interested in what you have to say, you need to get a lapel mic to pick up your voice and a different mic for your clarinet play. (Another option might be to place your microphone over your head) Clarinets can project. I need to turn it way up to hear your voice, and then the playing is so loud I hit pause. I would love to watch your videos, But it’s too much work. Lapel mics (For a second voice microphone) is cheap and in my opinion would drastically improve audio content.
Thanks for all of your effort and good luck.
I'm working on this!!! My newer videos I'm using two different mics...I apologize and I will re-record a lot of my older videos!!! Thank you again so much for the suggestions!
Can you tell if that mouthpiece has any amount of baffle in it? That could also have a significant effect
I have several other New York Meyer Bros clarinet mouthpieces (red rubber) with the same high, concave rollover baffle, same tip opening and curve, and they don't come close to the sound on this! It's surreal.
the loudest i ever played is the lakey studio and rico royal metalite . have you tried these?
i had to resort to extremes even used plasticover reeds.
I have tried lakey studio and metalite Imho this has it beat. By the way I'm finally selling this one I feature in this video.
www.ebay.com/itm/New-York-Meyer-Bros-Metal-Clarinet-Mouthpiece-original-facing-w-lig-/224634495989?mkcid=16&mkevt=1&_trksid=p2349624.m2548.l6249&mkrid=711-127632-2357-0
@@DaleFedele yes i saw it was for sale. i agree its the loudest mpc i ever heard! please do a vidio on charles bay mpcs. i bet you have some. i just acuried a set for Bb alto and bass clarinet. love them!
Have you ever played Backun CG crystal and Vocalise CG with Legere reeds???
I have not, though I have immense respect and awe for Mr. Giuffredi! I have had a number of crystal mouthpieces over the years, included a really rare O'Brien with a rubber bore (!), I just don't seem to get the focus I like. Same goes for Legeres, though I have played gigs with Legeres on original facing Cheds!
@@DaleFedele Thanks! Can you make a video about the Luyben ligature???
I will make a vid about Luybens and Gigliottis! And maybe Bois. Plastic lig video!
Martin Frost plays BD7 with v12 3 or 3.5 reeds?
He used to play a James Kanter mouthpiece about 1.30mm, circa 2010.
Have you ever run across any more of these? I would love one but they seem to be as rare as hens' teeth...
There is one currently available on reverb.
@@kotmidas4600 I can't seem to find it -- maybe it sold as soon as you posted it :( But thanks for the heads up!
@@IsaacOtto Yeah, it's gone. The add is still up, though. Bummer. These are so rare, and nothing compares to those for Jazz and Swing, especially if you're a sax doubler.
...you sound great !
Hello is this mouthpiece for sale Willie
Hey Willie, I'm sorry I never messaged back. I am finally selling this mouthpiece I feature in this video here:
www.ebay.com/itm/New-York-Meyer-Bros-Metal-Clarinet-Mouthpiece-original-facing-w-lig-/224634495989?mkcid=16&mkevt=1&_trksid=p2349624.m2548.l6249&mkrid=711-127632-2357-0
I would have loved to have heard this on a ”metal” clarinet! :o)
What reed are you using here?
Rico 2 1/2 Orange Box. I usually use V.12 3.5, 3.5+, or 4, and sometimes Vandoren Blue Box too.
Artie Shaw did not sound like that.
*I* do not sound like that... it's just a horrible mic. I'm actually playing the Artie Shaw concerto with a regional professional orchestra this weekend, I'll post a recording. Check out my other vids, they're still misleading but less so. I finally invested in a pair of Neumann KM 184's so I hope to have somewhat representative sound soon.
No offense but it doesnt sound good for jazz at all! Any other mouthpiece you play always sounds amazing~ I play jazz and would NEVER play that!
With a big band? Are you kidding me? Especially if the lead alto & tenor players are trying to be heros...I did a Jimmy Hamilton outdoor gig with this and it was brilliant. Now, if I'm playing with a combo? No, unless I'm trying to be like Doreen/NO style. If I'm with a hip ultraclean modern style a la Eddie Daniels? No. Again...Benny Goodman, in front of/in a big band, without mics? Absolutely. I'm going to try to re-record this since I finally got a good mic. Great clarinet sound doesn't always sound good up close.
@@DaleFedele Perhaps but volume as you know isnt simply a matter of mouthpiece it has a lot to do with breath control, voicing, reed, and ligature. I cant tell by hearing through RUclips but it doesn't seem to me to be any louder than the Selmer HS** that Benny Goodman used to play over a big band. Volume isnt more important than tone quality in jazz.