Gleichweit Bass Clarinet Mouthpieces
Gleichweit Bass Clarinet Mouthpieces
Johannes Gleichweit opened up the current incarnation of his mouthpiece practice in 2019, though his experimentation with mouthpieces dates back at least 15 years earlier. His goal is to create a wide range of mouthpieces that are tailored to individual players' needs. As such he has a HUGE variety mouthpieces to choose from. I've curated the ones I think are most likely to appeal to the most players, since I really don't want 75 slightly-different-in-esoteric-ways Gleichweit mouthpieces sitting around the shop.
These bass clarinet mouthpieces are unique. Compared to everything else I've tried, they feel quite different to play, but provide a really nice, centered sound. Some are harder to control than others, and would not necessarily be for early-stage players, but which provide a really huge sound-color palette.
A Flat Table
One interesting feature of these mouthpieces is that they have a FLAT table. Most mouthpieces have a slightly concave table, which is designed to accommodate when reeds get wet — and the back of the reed gets slightly convex (pretty clever, actually). Then, with the slightly concave table and convex reed, everything seals perfectly. Now, if you use synthetic reeds, they never warp, so the concave mouthpiece table becomes slightly less efficient because a minuscule (but important) amount the air will pass between the synthetic reed and the table. That's why Gleichweit mouthpieces immediately feel awesome when you play a synthetic reed on it.
Facing differences
The Gleichweit 19 is the most "normal" of the group, and plays really great on Vandoren Traditional #3 reeds. The tip opening (1.98mm) is a little larger than the B40 (1.93mm) though the length is quite similar (Gleichweit measures it at 26mm, whereas Vandoren calls it "Medium-Long" — they're basically the same I think). But the sound you get on the Gleichweit has a wider color palette than the B40. It's kind of like having a B40 and a B45 in the same mouthpiece, if you can imagine that. You just need to choose the right approach and you can get both colors.
The Gleichweit 22-3 is a big mouthpiece. A wider tip opening, and longer facing than anything Vandoren makes, it clocks in with a 2.26mm tip opening and a 31mm length. This mouthpiece will punch any bari sax in the face if it gets too close, but it also has its softer side: even using a #3 reed, it can produce a warm, dark sound with the right embouchure control. I use this analogy a lot, but it is like having a 120-color crayon box instead of a 96-color box; you still have the same "Burnt Umber" crayon, but you've gotta find it.
And holy hell, the Gleichweit Stephan is an insane mouthpiece. Developed for Stephan Vermeersch, they clearly pulled out the chain saw to open this thing up. HUGE mouthpiece: 2.31mm tip opening and a 32mm length. Still, you can play a the same "middle-of-the-road" reed on it, and somehow it doesn't feel like you're driving a Mack Truck. Apparently, this is one of Gleichweit's most popular bass clarinet mouthpieces. I can understand why; using the same crayon analogy, it's like having this.
With these mouthpieces we offer a one-week trial. If you don't like it, return it and we'll refund your method of payment, minus the 3% card transaction fee and 2-way shipping costs.
Fun fact: Gleichweit was one of the early pioneers of using O-rings instead of cork for mouthpieces. He even has a patent for it.
FAQ
Q: What is the best reed to use on these?
A: Vandoren Traditional bass clarinet reeds, strength 3 or possibly 2.5. You can even go as high as 3.5, depending on your embouchure. If you like Légère reeds, I'd recommend somewhere in the 2.75-3.25 range.
Q: What is a "facing length," and why should I care?
A: Each mouthpiece has a different distance between the tip and the table (the flat part of the mouthpiece that the reed sits on). This length has a bearing on how much of the reed gets to vibrate. Assuming the same tip opening, shorter facings mean less of the reed vibrates...which means the reed feels harder. Longer facings have the opposite effect. This is how you can have a huge tip opening (like the Stephan) and still have the reed feel "normal".
Q: How long is your trial period?
A: One week from the date you receive your mouthpiece(s). Important note: We ship internationally, but we do not accept international returns.
Q: If I return them, do I have to pay a fee?
A: Shipping fees (2-way) and a 3% credit card transaction fee (which Visa/Mastercard doesn't refund us) is withheld. Everything else goes back to your method of payment. Important: if the mouthpiece is scratched (by your ligature or your teeth) or has any damage, I'll have to return it to you, and we won't be able to issue a refund. So be careful!
Q: I have another question you haven't answered here.
A: No problem. Contact me!
Não foi possível carregar a disponibilidade de retirada.
I had been playing on a Selmer Concept bass clarinet mouthpiece for about five years and enjoyed it, but I recently decided to try something new. I ordered the Gleichweit bass clarinet mouthpieces—22-3 and Stephan—from Earspasm with the plan to test both and return the one I liked less. However, they were both so good that I decided to keep them.
I've since used both mouthpieces in concert settings, and here are my impressions:
I'm using the same Legère Signature 2.75 reed as before. Both mouthpieces offer a wide and flexible dynamic range. When playing softly, the sound doesn’t become thin or buzzy as the Selmer Concept sometimes does. With both the 22-3 and Stephan, my tone is warmer and rounder from ppp to fff. That said, I find I can shape my embouchure more flexibly on the Stephan, allowing for a wider variety of tone colors.
With either mouthpiece, I can play at a louder dynamic than I could with the Selmer Concept. The 22-3, in particular, seems to pack more power. Colleagues and audience members have remarked on how loud my sound is—though this might be more about how well the sound projects through an ensemble than just sheer volume. It's important to get used to them and to seek feedback from fellow musicians and conductors about how your sound blends and balances.
Overall, both of these mouthpieces are excellent additions to my setup. I’d definitely recommend anyone who is looking for something new to check them out.
I’ve been playing clarinet for a little more than 20 years, but I'm pretty new to bass clarinet. When I went to try out bass clarinets and mouthpieces with Michael, I really thought I was just going to walk out with a B40—until I played on it and sounded like hot garbage. It just did not work for me, which was surprising for me.
I did not sound like hot garbage on the Gleichweit 22-3.
I'm able to get altissimo G pretty much effortlessly which I didn’t expect would happen at all on bass. The lows and mid-range are wonderful, as well. Also love that it works well with synthetic reeds because I've been playing mostly on those lately.
I know Mike wrote above that these mouthpieces aren't necessarily for early-stage players, but if you're a clarinetist with some experience looking to double on bass, this is definitely worth the money.