Just wondering, when I do choose to get another horn, what would be a good upgrade from this? Not that I'm planning on doing that any time soon
What is your Clarinet setup ?
- Thread starter Steve
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Just wondering, when I do choose to get another horn, what would be a good upgrade from this? Not that I'm planning on doing that any time soon
Brian,
Alot of advice will be to have your private teacher identify what to upgrade to.
But, alot of advice will be contingent on your experience and capability and what your budget is like.
Mostly the budget because I could simply say upgrade to a Buffet Tosca and then you would have to choke up about $10k for a new one at retail.
Then you could go to the used and refurbished markets too.
If you have someone that is a top notch player/teacher that you trust they could also select something for you.
Of course, below a pro or entry pro clarinet the selection is gigantic with the new and used markets.
One of the biggest questions is do you plan on playing in the future (college) and beyond? Or are you just looking to upgrade, such as just upgrading the mouthpiece first which can modestly change things. Or simply put that money first into private lessons.
Of course, a simple answer is that if you like the Yamaha clarinets then a good upgrade would be to one of their professional models.
Alot of advice will be to have your private teacher identify what to upgrade to.
But, alot of advice will be contingent on your experience and capability and what your budget is like.
Mostly the budget because I could simply say upgrade to a Buffet Tosca and then you would have to choke up about $10k for a new one at retail.
Then you could go to the used and refurbished markets too.
If you have someone that is a top notch player/teacher that you trust they could also select something for you.
Of course, below a pro or entry pro clarinet the selection is gigantic with the new and used markets.
One of the biggest questions is do you plan on playing in the future (college) and beyond? Or are you just looking to upgrade, such as just upgrading the mouthpiece first which can modestly change things. Or simply put that money first into private lessons.
Of course, a simple answer is that if you like the Yamaha clarinets then a good upgrade would be to one of their professional models.
My good clarinet is a wooden Schrieber (German brand, same factory as the Markneukirchen Buffets) but I don't know much other than that about it, but the serial number is still ledgible, it's 15252. It's pretty old, I've had to do quite a few repairs despite having gotten it refurbished. The sound is gorgeous though.
My secondary Bb is a ratty old Noblet (wooden, as well) that my parents got for me at a band auction seven years ago, it was the first clarinet i ever owned. I'm working on reviving it, but the joint on from the upper body piece has broken off and gotten stuck in the lower body (actually, any advice on getting the joint out without damaging the bore?). I'd love to get it playable again, but I don't need the clarinet, and it won't break my heart to loose it either. the serial number is 24233.
I've got a yamaha bass clarinet as well, on loan from the school band. It's a YCL 221II, and it does the job, although grudgingly-- ABS bass clarinets have always seemed like a bad idea to me.
I've also got a Buffet Greenline A clarinet in the house right now, but on loan from someone else. The thing is a beauty.
As for the other stuff, I primarily use a vandoren B40 mouthpiece on the Bb and A (reserve is the mouthpiece that came with the Schrieber, although the logo is almost illegible-- not the same brand as the clarinet though) and a Yamaha 4C on the bass (it's terrible, but I can't afford a better one) and standard Vandoren 3-3 1/2 reeds. ligature is a vandoren leather ligature.
My secondary Bb is a ratty old Noblet (wooden, as well) that my parents got for me at a band auction seven years ago, it was the first clarinet i ever owned. I'm working on reviving it, but the joint on from the upper body piece has broken off and gotten stuck in the lower body (actually, any advice on getting the joint out without damaging the bore?). I'd love to get it playable again, but I don't need the clarinet, and it won't break my heart to loose it either. the serial number is 24233.
I've got a yamaha bass clarinet as well, on loan from the school band. It's a YCL 221II, and it does the job, although grudgingly-- ABS bass clarinets have always seemed like a bad idea to me.
I've also got a Buffet Greenline A clarinet in the house right now, but on loan from someone else. The thing is a beauty.
As for the other stuff, I primarily use a vandoren B40 mouthpiece on the Bb and A (reserve is the mouthpiece that came with the Schrieber, although the logo is almost illegible-- not the same brand as the clarinet though) and a Yamaha 4C on the bass (it's terrible, but I can't afford a better one) and standard Vandoren 3-3 1/2 reeds. ligature is a vandoren leather ligature.
I made this "L" shaped thing that was a flat piece of heavier gauge metal, with a diminishing tip (like a screwdriver). This allows one to put it in the bore, start wedging it between the two pieces and separate the tenon that is stuck in a socket.
I play a Yamaha 250 Clarinet with a Yamaha 4C mouthpiece, a leathery (Is that a Rovner?) ligature and Vandoren V12 3.5s
I usually do ensemble playing, I don't have solos all that often, and I've been playing this mouthpiece and horn for 7 years, so I've figured out how to make it sound good.
I usually do ensemble playing, I don't have solos all that often, and I've been playing this mouthpiece and horn for 7 years, so I've figured out how to make it sound good.
Mmhmm! That's what I do when it calls for it. As long as you're careful and not too rough with the instrument this is a very "safe" method of dislodging a tenon. If the wood is old and brittle it can get a little dangerous, but with patience it'll come out. I had to get a jammed tárogató tenon out of the middle receiver, it took two hours to get it to budge without damaging the wood. It was in there good. Drew a lot of blood too. But that was an exceptionally brutal task to complete, more so than your average tenon dislodging.
Welcome, Zoe and Aaron, by the way. Glad to have a couple new clarinet people here. Our army is growing.
Hi,
New to the board, I'm a long-time sax player (since 1981) who just picked up his first clarinet!
It's a beautiful Selmer Series 9, circa 1961. I'm using a Borbeck #13 mp, which I like so far. I also have a Vandoren M15, but prefer the open feel of the Borbeck (I'm sure it's a sax player thing). Having a lot of fun learning the new instrument and getting acquainted with the unique challenges.
Thanks,
Russ
New to the board, I'm a long-time sax player (since 1981) who just picked up his first clarinet!
It's a beautiful Selmer Series 9, circa 1961. I'm using a Borbeck #13 mp, which I like so far. I also have a Vandoren M15, but prefer the open feel of the Borbeck (I'm sure it's a sax player thing). Having a lot of fun learning the new instrument and getting acquainted with the unique challenges.
Thanks,
Russ
Watch that finger placement...
...particularly your right ring finger. Doing "finger drills" (holding the instrument and running your fingers up and down the tone holes, without blowing but holding it in place) will help.
Clarinet playing has always gone for a "falling finger" approach to closing off the finger holes, as opposed to the saxophone practice of pushing the buttons. Both are much the same as far as gross finger movements are concerned, but the clarinet approach pays more attention to the pad-like "seal" against the tone hole chimney.
If you are furnished with "fat hands" (as am I), this isn't as much of a problem. Your broad fingers automatically provide a broad, fleshy sealing surface. However, then you have what I call the "angular problem", whereby fitting so much hand into such a limited space (where the first finger has to be in one specific location, the third in another, and the fourth finger has to move around a four-key cluster) can cause difficulties with laying the fingers down so that everything fits while at the same time the "flat" portion of the right hand ring finger properly falls over the chimney. In particular, shifting the little finger from B natural to Eb can cause the other fingers to "roll" and lift ever so slightly from the tone hole chimney. Result: instant squeak, as you have (in effect) opened an additional register key on the instrument.
The first problem (pushing instead of falling) can cause a squawk from any of the right hand fingers. The second (which amounts to a twisting of the ring finger) can make the transitions through the break from B natural on up to Eb problematic.
(I have never encountered a similar problem with the left hand, despite the greater range of motion with the little finger. I think this is because there is no "bunching" of the hand during the effort to reach a key located in a similar fashion to the Eb key.)
(Also, the problem is not encountered in the lower register, probably because the lips are able to keep that portion of the horn better under control.)
Sometimes, moving the thumb rest can help. The Series 9 didn't come with such an animal, and not all aftermarket rests are particularly robust. (My repairman refused to install them, saying categorically that none of the commercial versions measure up to his standards. (Marvin is pretty picky, although he does like to listen to Rush Limbaugh.)
...particularly your right ring finger. Doing "finger drills" (holding the instrument and running your fingers up and down the tone holes, without blowing but holding it in place) will help.
Clarinet playing has always gone for a "falling finger" approach to closing off the finger holes, as opposed to the saxophone practice of pushing the buttons. Both are much the same as far as gross finger movements are concerned, but the clarinet approach pays more attention to the pad-like "seal" against the tone hole chimney.
If you are furnished with "fat hands" (as am I), this isn't as much of a problem. Your broad fingers automatically provide a broad, fleshy sealing surface. However, then you have what I call the "angular problem", whereby fitting so much hand into such a limited space (where the first finger has to be in one specific location, the third in another, and the fourth finger has to move around a four-key cluster) can cause difficulties with laying the fingers down so that everything fits while at the same time the "flat" portion of the right hand ring finger properly falls over the chimney. In particular, shifting the little finger from B natural to Eb can cause the other fingers to "roll" and lift ever so slightly from the tone hole chimney. Result: instant squeak, as you have (in effect) opened an additional register key on the instrument.
The first problem (pushing instead of falling) can cause a squawk from any of the right hand fingers. The second (which amounts to a twisting of the ring finger) can make the transitions through the break from B natural on up to Eb problematic.
(I have never encountered a similar problem with the left hand, despite the greater range of motion with the little finger. I think this is because there is no "bunching" of the hand during the effort to reach a key located in a similar fashion to the Eb key.)
(Also, the problem is not encountered in the lower register, probably because the lips are able to keep that portion of the horn better under control.)
Sometimes, moving the thumb rest can help. The Series 9 didn't come with such an animal, and not all aftermarket rests are particularly robust. (My repairman refused to install them, saying categorically that none of the commercial versions measure up to his standards. (Marvin is pretty picky, although he does like to listen to Rush Limbaugh.)
Thanks SOTSDO
Thats very helpful. I have long slender fingers, so it's taking some practice to get the hole coverage right. But so far I've been able to keep the squawks to a minimum as long as I concentrate.
Your description of the finger action is appreciated because it's clearly different from sax, and not necessarily intuitive. Hopefully with practice it will become so.
Thanks,
Russ
Thats very helpful. I have long slender fingers, so it's taking some practice to get the hole coverage right. But so far I've been able to keep the squawks to a minimum as long as I concentrate.
Your description of the finger action is appreciated because it's clearly different from sax, and not necessarily intuitive. Hopefully with practice it will become so.
Thanks,
Russ
After thinking this over and reading a lot about it I finally decided to pick up the clarinet as a double, playing mainly tenor and alto sax. Going for some lessons every few weeks to prevent some bad habits, but already having loads of fun with it. Focussing on fingerplacement (I already play with low and positioned fingers on sax, don't like 'sloppy') mainly low register for now and working on tone. The rest will come in time.
So my first setup is a Selmer Signet Special I found that I play with the 5RV and 2 screw ligature that came with it. For now some La Voz MH reeds. Hopefully this will bring me a long way.
So my first setup is a Selmer Signet Special I found that I play with the 5RV and 2 screw ligature that came with it. For now some La Voz MH reeds. Hopefully this will bring me a long way.
Depending up on the piece, the clarinet speaks to me too. My favorites are the sop and the bass clarinet. I played the bass clarinet my first year of learning it in community band because we had no bass clarinets at the time. Talk about stress!
Depending up on the piece, the clarinet speaks to me too. My favorites are the sop and the bass clarinet. I played the bass clarinet my first year of learning it in community band because we had no bass clarinets at the time. Talk about stress!
I thought everyone's favorite was the alto clarinet .... slowly he turns .. step by step .... (inside joke)
The tonal quality is about the main reason I decided to go for it, but I need some time to appreciate mine..
I'll take it slow, fundamentals first and up until now I really enjoy exploring the instrument.
Hi all,
My first post as I just registered yesterday.
I have three "nice" clarinets:
Selmer Series 9 Full Boehm ('66) + Vandoren M30
Buffet R13 Full Boem ('62)+ Vandoren M30
and
B&H 1010 (mid-'70s) + Lomax Classic (re-bored)
I bought the 1010 recently for two reasons. Firstly, it's a marvellous, rich-sounding bit of kit that's beautifully and robustly made. Secondly, to learn to play a normal Boehm system clarinet. Full Boehm's all I have known until now.
As you might guess from my name, I'm a sax doubler, so full Boehm does make life a bit simpler.
Bill
My first post as I just registered yesterday.
I have three "nice" clarinets:
Selmer Series 9 Full Boehm ('66) + Vandoren M30
Buffet R13 Full Boem ('62)+ Vandoren M30
and
B&H 1010 (mid-'70s) + Lomax Classic (re-bored)
I bought the 1010 recently for two reasons. Firstly, it's a marvellous, rich-sounding bit of kit that's beautifully and robustly made. Secondly, to learn to play a normal Boehm system clarinet. Full Boehm's all I have known until now.
As you might guess from my name, I'm a sax doubler, so full Boehm does make life a bit simpler.
Bill
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Bill,
One of our own CEs here is a Series 9 players and prefers Full Boehms.
I have a Buffet FB myself but don't use it much. It did come in handy once a few years ago when I sprained my right pinky, and thus had to use my left pinky for all.
Other than that I'm a standard boehm player.
The 1010s are exceptional clarinets. I love the B&H 1010s, and 926s, and it's close cousins, per say, the Eatons. Sooner or later i'll add one of those to my collection.
Welcome to the board
Steve
One of our own CEs here is a Series 9 players and prefers Full Boehms.
I have a Buffet FB myself but don't use it much. It did come in handy once a few years ago when I sprained my right pinky, and thus had to use my left pinky for all.
Other than that I'm a standard boehm player.
The 1010s are exceptional clarinets. I love the B&H 1010s, and 926s, and it's close cousins, per say, the Eatons. Sooner or later i'll add one of those to my collection.
Welcome to the board
Steve
In the last year, I've acquired a profile 88 B45 to serve as my mpc.
Currently still using the Marigaux 351, but I've got a special little C horn that's a work-in-progress with a cottage in West Yorkshire doing what doohickey they do on it.
I have to say, I am a freak of nature with this unnatural affinity of the smaller, much unloved, C horn. My hands enjoy the spacing better than Bb. (that brighter tone, although bothers me naught, is something that I still think can be curtailed...)
Currently still using the Marigaux 351, but I've got a special little C horn that's a work-in-progress with a cottage in West Yorkshire doing what doohickey they do on it.
I have to say, I am a freak of nature with this unnatural affinity of the smaller, much unloved, C horn. My hands enjoy the spacing better than Bb. (that brighter tone, although bothers me naught, is something that I still think can be curtailed...)