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Kaspars

Roger Aldridge

Composer in Residence
Distinguished Member
Does anyone have any theories about why Kaspar (or modern Kaspar style) mouthpieces play like they do? That is, in terms of enabling a dark sound to project so incredibly.

I have not had an oppurtunity to try an original Frank Kaspar piece. However, I am deeply impressed with Walter Grabner's Kaspar style pieces. I've played on many types of clarinet mouthpieces over the years. When I first tried a Grabner K14 it was like a revelation. It was love at first note! I could not get over the amount of tonal "ring" the Grabner Kaspar mouthpiece has. Then, I went on to try his K11 and the new K14e and K11e models. Absolutely wonderful mouthpieces!

One thing that impresses me about this mouthpiece is it has a smaller tip opening (1.08 mm) then what many other doublers typically say they use. Yet, the K14 has a really big sound and it's level of projection enables me to easily be heard in a big band without breaking a sweat.

There is something, indeed, very special about a Kaspar.

Roger
 
I wish I had greater insight into the Kaspar thing beyond the fact that he used a variety of blanks. I know that the really sought after ones are the Chedeville's.

I have some Wells stuff but alas no Kaspar's. I'm very impressed with Walter Grabner's pieces and own a couple of them. I also rather like the Fobes I own.
 
I have some very wonderful playing Ched blank made mpcs. All my old and great playing mpcs have a few things in common. I'm still blueprinting them and determining the deciding factors. But in some instances you'd be surprised at how well one of my crystal mpcs (a really old mpc i believe)plays in comparison to the Cheds.

Brad Behn is a fan of vintage rubber mouthpieces and actually likes the old lower lig emblem Selmers. They are very nice mpcs but in their original facing they have a long facing which makes articulation challenging as you have to change your "style" to accomodate them. With a few minor tweaks they become much more responsive while maintaining that old vintage sound, if there is such a thing. I've yet to try those Vandoren V12 (designed for long facings?) on them.

Not an answer to your original question but i'm certainly am learning alot about them throughout these past few years.
 
One of things I really enjoy about playing with mouthpieces is that there's so many ways to get to a certain sound. I am a believer that there's a whole system that goes into making a mouthpiece. That is to say that the chamber, facing, baffle shape, and material all have some level of importance. I like pieces that have a rich full tone.
 
You aren't hanging around enough sax players! Have you heard some the brittle stuff that's out?
 
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