Such clarinets are less plagued by humidity and temperature adjustments than wooden gadgets but are heavier. Hard rubber, akin to ebonite, has been used for clarinets because the 1860s, however few modern clarinets are made up of it. Clarinet designers Alastair Hanson and Tom Ridenour are strong advocates of hard rubber. Hanson Clarinets of England manufactures clarinets using a grenadilla compound bolstered with ebonite, called 'BTR' bithermal bolstered grenadilla. This fabric is also not littered with humidity, and the burden is an analogous as that of a wooden clarinet. The reed is on the underside of the mouthpiece, urgent against the player's lower lip, while the top teeth continually touch the tip of the mouthpiece some gamers roll the upper lip under the end teeth to form what is called a 'double lip' embouchure. Adjustments in the energy and shape of the embouchure change the tone and intonation tuning. It is not uncommon for clarinetists to employ the right way to relieve the pressure on the upper teeth and inner lower lip by attaching pads to the top of the mouthpiece or placing temporary padding on front lower teeth, commonly from folded paper. Next is the fast barrel; this a part of the instrument may be extended to fine tune the clarinet. As the pitch of the clarinet within reason temperature sensitive, some gadgets have interchangeable barrels whose lengths vary just a little. Additional repayment for pitch variation and tuning can be made by pulling out the barrel and thus increasing the instrument's length, particularly common in group gambling by which clarinets are tuned to other gadgets such as in an orchestra or concert band.