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 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