Letter to the Klarinet mailing list

Hi everyone,

With all the talk of mouthpieces lately, I'd like to share my thoughts on evaluating them and what influenced my thinking.

The thesis, "Norman Herzberg: An Icon of Bassoon Pedagogy," available for free here:
http://libres.uncg.edu/ir/uncg/f/umi-uncg-1629.pdf

details Herzberg's life and teaching at USC. It contains a wealth of good ideas and concepts, but I'd like to point out in particular the section "Selecting a Bocal" on page 36 in text, 53 from top  (replacing, if you prefer, "bocal" with "mouthpiece").

"Herzberg developed a rigorous procedure for testing bocals. He preferred to play on the best equipment available and was constantly trying new bocals in order to find the best match for his bassoon....There were several rules to be followed. The first rule was that any identifying marks, letters, numbers, or brand name had to be covered. Secondly, the performer himself was to be the primary and ultimate person making the decision."

His test consisted of comparing a new bocal to a reference bocal, "The trial bocal must speak for itself without influence from the player. In Herzberg’s words, 'The differences can be stark and the qualities of the better bocal will be apparent. So will the lesser qualities of each.' The player should then select the better of the two bocals and set the lesser one aside. The player then selects the next bocal to be tested..." Herzberg said that any bocal which passed his stringent test was worth the cost and he would purchase it regardless of price. I agree, but would stipulate that I won't test anything which I can't afford to purchase outright. 

A similar test was demonstrated by David Finckel who was the cellist in the Emerson String Quartet, his Cello Talks video series concluded with this test of bridges and strings:
http://cellotalks.com/post/5137210941/cello-talk-100-bridges-and-strings-for-the-final

The test Finckel uses is appropriate for professionals: he wants to project a particular sound to the audience in the hall which paid to hear him play, that sound can be different from what he hears under his cello. 

As a poor college student I can't claim much experience purchasing equipment, but in the future I will construct my own test in the Herzberg manner. Recognize that the valuation of sound is highly subjective and difficult so keep it simple: only compare two things a time. My test will sound familiar to those who wear glasses, "Which is better in focus? #1 or #2? #2. #2 or #3? #2. #2 or #4? etc." (those who don't wear glasses can construct a bracket like in March Madness). Evaluating equipment is made easier with a clear, objective test; choose equipment that best brings your ideal into focus.

- Rory