The lip position and pressure, shaping of the vocal tract, selection of reed and mouthpiece, amount of air force created, and evenness of the airflow account for many of the clarinetist's ability to handle the tone of a clarinet. A highly skilled clarinetist will supply the best lip and air pressure for each frequency note being produced. They may have an embouchure which places a good force across the reed by carefully controlling their lip muscle mass. The airflow will also be cautiously controlled through the use of the strong stomach muscles as opposed to the weaker and erratic chest muscles and they're going to use the diaphragm to oppose the stomach muscle tissues to obtain a tone softer than a forte in preference to weakening the abdomen muscle tension to lower air pressure. Their vocal tract may be shaped to resonate at frequencies linked to the tone being produced. Most gadgets overblow at twice the rate of the fundamental frequency the octave, but as the clarinet acts as a closed pipe system, the reed cannot vibrate at twice its common speed because it can be creating a 'puff' of air at the time the old 'puff' is returning as a rarefaction. This means it can't be bolstered and so would die away. The chalumeau check in plays basics, whereas the clarion sign up, aided by the sign up key, plays third harmonics a perfect twelfth higher than the basics. The first a number of notes of the altissimo range, aided by the sign up key and venting with the 1st left hand hole, play fifth harmonics an immense seventeenth, an ideal twelfth plus an incredible sixth, above the basics. The clarinet is hence said to overblow at the twelfth and, when moving to the altissimo check in, 17th. By comparison, nearly all other woodwind instruments overblow at the octave or just like the ocarina and tonette do not overblow at all.