What is your Clarinet setup ?

[SteveSklar]

I have three primary clarinets.

a mid 1950s Buffet R13 (the one with the chimney toneholes and flat G# spring),
a Leblanc LL and
a Selmer Centered Tone.

All have their own nuances and flexibilities. I love all of them but my hands prefer the ergos of the LL.

I use a variety of mouthpieces with them such as:
WC Sumner 3, old B Selmer crystal, Woodwind K9, 3 selmer 1920s - 1930s mpcs, early 1930s Buffets/Cheds and a few others that i can't think of in my "A" box

[Gandalfe]

I have three sopranos that I brag about.

A Buffet R-13 Festival with a Morgan mouthpiece
A Selmer Paris Silver clarinet (1918?) with a Hite mouthpiece
A Buescher TruTone (1904?) Albert Silver clarinet
I spend more time talking about clarinets than playing them though.

[Ed Svoboda]

1950's Noblet with either a Conn Steelay mouthpiece or a Selmer Crystal.
1950's Conn - see above

[pete]

I use my wife's 1981 Selmer Signet 100 Wooden with the Selmer C120 hard rubber mouthpiece.

It's a pretty good horn, actually. Needs a repad.

[robertsax]

I have a:

Buffet R13 soprano, recently acquired, for which I have no other information because I haven't taken the time to research its specific pedigree;

and a

Noblet 45 (1950's) Paris which I've owned for a couple of years and know not much more about than the R13 above.

I have a variety of clarinet mpc's, ligatures and reeds, but know so little about how to play the instrument that I'm still trying to determine which combination is best for me. So far, I prefer my Morgan piece (can't remember the model #) followed by a Jody Espina piece that I find relatively easy to play.

After a short test-play, it was obvious to me that the R13 was the better of these two clarinets although the Noblet is a fine playing instrument. I guess I'm blessed with two excellent torture sticks, but the R13 is the long-term keeper as of now.

[eddierich]

I feel a little inferior with only one clarinet! ;)

Buffet R13, Vandoren 5RV Profile 88 mpc., FL lig. and V12 3 1/2 reeds

I'm going to call up Walter Grabner when I get back to the States and try a couple of his mouthpieces.

[SuzyJo]

Leblanc Paris Symphonie VII, Vandoren 45dot, Vandoren V16 3.5 (Bb and A)
Leblanc Paris C
Backup: Leblanc Paris Opus II, Vandoren 45dot, Vandoren V16 3.6

[eefer]

I have lots of clarinets, but I use three sets for most of my work. My main set are Leblanc/Backun Symphonie A/Bb clarinets that I use for orchestra and opera gigs. I use Backun cocobolo mouthpieces with BG Super Revelation ligatures on the clarinets. My barrels and bells are Morales/Backun cocobolo (fatboys).

I have a Buffet R-13 Bb and Eb clarinet that I use for band work. If I use this set for orchestra, I add a Selmer 10S A clarinet. I have MOBA (Morales/Backun) cocobolo barrels and beel on the A/Bb clarinets, and Backun traditional barrel and bell for the Eb clarinet. I use a Backun cocobolo mouthpieces for the A/Bb and a Backun hard rubber mouthpiece for the Eb, and BG Super Revelation ligatures with these clarinets.

My third set are Patricola rosewood clarinets that I use for chamber music. There are four clarinets in the set - A/Bb/Eb/C. They all have Backun traditional barrels and bells. I use Lomax Classic cocobolo mouthpieces for the A/Bb/C clarinets and a Lomax Classic hard rubber mouthpiece for the Eb clarinet. I use BG Super Revelation ligatures on all of these clarinets.

I also have an Evette and Schaeffer Bb clarinet that is a wonderful back-up. It was my first clarinet. I use a Hite custom mouthpiece made for me in 1982 with a Rovner ligature. I have a MOBA (Morales/Backun) cocobolo barrel and bell on this clarinet.

For jazz work, I play a pink Vito Dazzler with an O'Brien OB* crystal mouthpice and a Harrison "X" silver ligature. I use a Backun fatboy-style ivorywood bell and ringless barrel.

I use #3 Glotin and Rico Grand Concert Evolution reeds for all clarinets except the eefers. They get #4 traditional Vandoren Eb reeds.

Nancy

[SteveSklar]

Nancy

first, Welcome to the board :D

secondly .... a pink Vito Dazzler ?

[Gandalfe]

secondly .... a pink Vito Dazzler ?Yes that caught my eye too. And I thought I was really out there with a Silver Selmer clarinet for jazz!

[Roger Aldridge]

Primary: 1970's Couesnon Monopole, Grabner K14 mouthpiece

Back Up: 1960 Couesnon Monopole, Grabner K11e mouthpiece

#3 Legere Quebec reeds and Vandoren Klassik string ligature are used on both.

I am deeply impressed with vintage Couesnon clarinets and feel lucky to have two of them in such fine condition. Whenever my repair tech sees my Couesnon clarinets he raves about the quality of their grenadilla wood and overall craftsmanship. For me, Couesnon clarinets are kindred spirits to vintage Buescher saxophones.

Roger

[SteveSklar]

I just picked up a 2nd 1955 R-13 clarinet. about SN# 4,000 off of my first one. both made in the same year, except the 2nd one is Silverplate ???

Now I get to pick and choose .. can only keep one, unless one is a backup of course :lol:

[pete]

secondly .... a pink Vito Dazzler ?Yes that caught my eye too. And I thought I was really out there with a Silver Selmer clarinet for jazz!
I believe the model name was officially called "Jubilee" (Steve, please correct me if you know better), but I owned one of those Buffet clear plastic clarinets with the copper keywork in about 1990. Actually not a bad little horn. I kept on being told that I should have a Runyon red or blue mouthpiece with it, not my C120.

I found out that Marigaux also made a clear plexiglass oboe (http://idrs.colorado.edu/Publications/DR/DR18.1.pdf/25_obny.pdf).
Traded it in for a YCL-34, IIRC, about a year after I bought it. But I made a splash at every gig I played: at least one person would ask me what kind of instrument it was.

[Dave Dolson]

My main clarinet is a Buffet RC Prestige with a Vandoren 66 mouthpiece, Fibracell soft reed, and Buffet two-screw metal lig. I have an R-13 with foggy nickel keywork (great sound though) as back up, a Silver King metal Boehm clarinet, and two Alberts.

I was really impressed with the Patricola display at NAMM last weekend. Loved their Rosewood models. DAVE

[pete]

I was really impressed with the Patricola display at NAMM last weekend. Loved their Rosewood models. DAVE
Rosewood clarinets are beautiful, but I've always wanted to try one of http://www.uark.edu/ua/nc/NCCollectionP ... erican.htm (http://www.uark.edu/ua/nc/NCCollectionPage/Page/ConnPanAmerican.htm). I think those look absolutely stunning.

[Merlin]

I recently retired my faithful, but very worn Selmer 10s. I'm playing a Jupiter Parisienne clarinet with a barrel made by Pascal Veraquin of Montreal. I also have a very nice cocobolo barrel by Orsi & Weir.

The mouthpiece setup is in a bit of flux on this horn. Vandoren B40 has been my staple for years, but I have a Ron Caravan piece that seems to be working better on it lately. #3 Vandoren blue box, #3 V12 and Legere Quebec cut #3 are all working well. Ligature is usually a Vandoren Optimum or inverted Bonade.

[dirty]

Buffet R13 Bb/A set with a Borbeck custom mouthpiece and Rovner EDII ligature. Right now I'm using Vandoren V12 #4 reeds, but I want to seriously try some Gonzalez in the correct size.

Aside from reeds, I'm very happy with this setup.

[pete]

Howdy, dirty, welcome to the madness. Nice to have you aboard.

[saxhound]

Buffet R-13 (79,xxx)
John Pierce for Jazz
Morgan RM-28 for classical
A box full of others!
Luyben lig
LaVoz MH

Evette & Schaeffer Master Model (22,xxx)

[SteveSklar]

hey a E&S master Model - how do you like it compared to your R13.
i came across a E&S MM from the 50s that had 50s R13 keywork ... amazingly like an identical twin - which some of those apparently were.

[eefer]

Thanks for the kind welcome. It is a "Vito "Dazzler", model number 7312. I get more comments on it than on any of my other instrments (including my saxes (Yanigasawa 991s), oboes ( Gordet, Loree, Kohlert), English horn (Howarth), trumpet (copper "Conn Director"), trombone (King), violin (Gliga), flutes ( rose gold Pearl, Artley "Wilkins", silver Pearl alto, Yamaha 225, Yamaha picc) and my beautiful boxwood Moeck recorders. My next acquisition will be a Hubbard harpsichord (after Ruckers).

I have always been fascinated with sound and musical instruments. I started my collection at age nine with a Franklin player piano. It has ivory and ebony keys and I still have it to this day. And these instruments don't sit around either. I play all of them and keep them in top-notch condition, doing most of the work myself.

Nancy

[Gandalfe]

Welcome Nancy. I was just looking at the Baltimore Flute Choir (http://www.baltimoreflutechoir.com/) last night and wondering why they don't have any sound bites? Oh, and your picture isn't there either. (I know, I'm very nosey.)

[saxhound]

hey a E&S master Model - how do you like it compared to your R13.
i came across a E&S MM from the 50s that had 50s R13 keywork ... amazingly like an identical twin - which some of those apparently were.

I would say they are pretty close - or were. I haven't played the E&S in about five years. I suspect it needs a good overhaul. My parents bought the Buffet for my brother in the early 60's. When it came time to buy me a horn in the mid 60's, the Buffet prices had gone up considerably, so the local shop owner recommended the E&S. I played it till the late 80's, when I finally convinced my brother to sell me his R-13. I haven't done a side by side for a long time, but I always thought the R-13 had a slightly smoother action. Tone-wise they were indistinguishable to my ear.

[Robin]

ya only have one as well... I have a buffet E11 and the mouth peice is a vandoren B40, just got it last year

[WoodwindDoubler]

I have a buffet E-11 with a Vandoren B45 ... Optimum or Reverse Bonade Liggy with Legere 4 1/4 usually.

I'll upgrade to the R13 one day (but first I need a soprano and a bari)

[pete]

Hi, Robin! Nice to have you visit us!

[Merlin]

I have a buffet E-11 with a Vandoren B45 ... Optimum or Reverse Bonade Liggy with Legere 4 1/4 usually.

I'll upgrade to the R13 one day (but first I need a soprano and a bari)

Yow!

Thats a hard clarinet setup. I only use a #3 Quebec on mine, and the tip opening on the B40 I have is the same as the B45.

[WoodwindDoubler]

I have a buffet E-11 with a Vandoren B45 ... Optimum or Reverse Bonade Liggy with Legere 4 1/4 usually.

I'll upgrade to the R13 one day (but first I need a soprano and a bari)

Yow!

Thats a hard clarinet setup. I only use a #3 Quebec on mine, and the tip opening on the B40 I have is the same as the B45.

Ya I seem to really like hard set-ups for some reason .... I'm playing 3 1/2 hards-4s on my tenor with a Vandoren v16 8 ... and bari I like La Voz Hards. LOL

[Merlin]

I have a buffet E-11 with a Vandoren B45 ... Optimum or Reverse Bonade Liggy with Legere 4 1/4 usually.

I'll upgrade to the R13 one day (but first I need a soprano and a bari)

Yow!

Thats a hard clarinet setup. I only use a #3 Quebec on mine, and the tip opening on the B40 I have is the same as the B45.

Ya I seem to really like hard set-ups for some reason .... I'm playing 3 1/2 hards-4s on my tenor with a Vandoren v16 8 ... and bari I like La Voz Hards. LOL

Well, you've heard me play bari...and I certainly don't use a really hard setup.

[Gandalfe]

Well, you've heard me play bari...and I certainly don't use a really hard setup.Sarah gets to work with you; now I'm really jealous! 8-)

[Chris J]

Ebay has been the undoing of me!.....

I really enjoy picking up every one of my clarinets

Leblanc Opus
Evette and Schaeffer (E13)
Couesnon Monopole 1952
Couesnon Monopole early 1960s
Couesnon ? model
Silver King metal
Bb Selmer Paris metal 1930
A Selmer Paris metal 1930 (full Boehm)

RM15, currently Alexander sup #3, EDII

Chris

[Gandalfe]

Welcome Chris. Some people think really highly of the Couesnon Monopole. How does it compare with your Opus? Are the Selmer instruments just metal or silver plated? I've taken to calling mine Selmer Paris silver clarinet.

Cheers.

[Chris J]

Hi Gandalfe

I assume the Selmers are silver plated. By the way they look, I can't imagine them to be anything else, unless you know otherwise. Hopefully photos below:

http://i190.photobucket.com/albums/z110/CJ010101/bells2compressed.jpg

http://i190.photobucket.com/albums/z110/CJ010101/incasecompressed.jpg

As for comparing the clarinets, it is difficult as I am so very familiar with the Leblanc Opus as I have had it for so long. My interest in the Couesnon make has stemmed from the saxophone family. I first got a Monopole II tenor and was just amazed with the sound - so I tried my luck with a Monopole II alto and was not disappointed. In fact Steve Howard ,who set both up, was so impressed (and I think surprised) with what they are capable of - he reviewed both of them on his website. And now I have a Monopole II soprano too. My bari is a much older Monopole, though - around 1930s - whereas the other three are all late 50s / early 60s vintage.

So I thought I would try the clarinets - it seemed I had nothing to loose, particularly as they can be picked up for very, very reasonable prices. The 1960s instrument (I assume from various searches, as there are no serial charts) has been through the good care of Steve Howard, who decided it deserved his hand-made white leather pads. The bottom is not quite as rich as the Leblanc, but the top notes are sweet and clear - it is very easy blowing, but that may be more down to how well Steve has set it up. The 1952 instrument (I know this date as its serial is very close to someone I have contact with who has a confirmed purchase date) I got from Ebay more recently, and one of those rare finds of a well cared for instrument that was oiled, airtight and ready to play (and still did not cost much!). It actually has a wonderful tone and once I have played it enough to justify it getting to Steve to work his magic on it, I suspect it may chase the Opus out of pole position. An odd thought, seeing as it cost less than a tenth of the Opus.......

The 1952 one has a roller on the RH Eb spatula.

It is interesting that another regular poster, Roger, has 2 Monopole instruments, and I believe he favours the younger of his 2, from 1970s.

Chris

[SteveSklar]

Gandalfe
Chris was the one that bought that pair of Selmers from ebay UK last month. Nice catch he got

[Gandalfe]

Yes, as soon as I saw the pictures I realized, ah ha! It's that Chris. I knew he was a player. I guess I didn't realize what collector he was too. 8-)

[tictactux]

Marigaux "RS" Symponie (default)
Amati 211 (outdoors, my old student instrument)
Amati 201 (yucky outdoors, vacation)
Amati 251 (in C, to accompany daughter #1 on piano)
Selmer-Rauber Swiss Army Clarinet (chromed, and ironically a Leblanc stencil, used for birthdays and other showy occasions)
Bundy Alto (workout for lungs and arms)
Bundy Mazzeo (just finished restoring)
Amati Special (Full Boehm, awaiting an overhaul)

The mouthpieces are rotated in random order - Behn Ouverture, Fobes Debut, Hite Premiere, Mitchell Lurie.
I gravitate around a 3...4 Mitchell Lurie reed, with Legere Ontario as the backup for unpredictable situations.

Occasionally, when I open a closet, some others magically appear. Much to the dismay of Dah Missus. I then always have to resort to comparing "shoes" or "handbags" to "instruments".

[SteveSklar]

........ I then always have to resort to comparing "shoes" or "handbags" to "instruments".

I'll have to remember that :mrgreen:

[SOTSDO]

It's been my experience over the past forty years of clarinet and sax playing that most players are playing a reed strength that's a bit high, given their mouthpiece facing and all. While I might go as high as a Vandorn #3 when my chops are up to snuff, normally I stay around #2 1/2 or so, with perhaps a little tweaking of the tip.

Every time that I see a restored Selmer vintage metal clarinet like those, I am tempted to spend the money needed to bring mine up to standard. It plays well enough, but the finish is in bad shape and there's some minor (cosmetic only) damage to the barrel where some mooyuk took a pipe wrench or something similar to it to free up a "stuck" barrel). I've played other "restored" Selmer horns from the golden age of metal clarinets, and know that they are well worth the money, despite what some nay-sayers might otherwise state.

The way to buy a quality metal clarinet is to look for a Selmer with at least some of the "extra" keys on them. These were only produced in "pro quality" (with the "fluted" barrel), and are readily found on eBay on any given day or week. It's probably the best way to avoid the "junk" clarinet trap when purchasing a metal horn. Unfortunately, the one key that is most useful out of the extras is the extra Eb lever, and it is normally missing on all but the relatively rare "full Boehm" horns.

(I'd really like to find a "good" Selmer bass in metal, but I've never seen one outside of an old photo of the two brothers testing horns, so I imagine that my search will be a long one.)

Regarding the Amati full Boehm listed above, I own a high end Amati horn (a Oehler system "pro" level) and, based on that instrument, I'd not bother getting yours restored to "pristine" condition. Mine is there right now, and (aside from the efforts needed to make a "pro" instrument basically playable in the first place), and there's just too much wrong with it to merit the "pro" designation. Chipped tone holes, a poor (and originally unplayable) pad installation, and a generally "cheesy" level of fit and finish make this horn one of my few disappointments in the "music room".

[tictactux]

Regarding the Amati full Boehm listed above, I own a high end Amati horn (a Oehler system "pro" level) and, based on that instrument, I'd not bother getting yours restored to "pristine" condition.
I always restore them myself, the way I want them, so that it feels and sounds right for me. I usually spend some 5$ on the big four or five pads, the rest is made in-house.
Mine is there right now, and (aside from the efforts needed to make a "pro" instrument basically playable in the first place), and there's just too much wrong with it to merit the "pro" designation. Chipped tone holes, a poor (and originally unplayable) pad installation, and a generally "cheesy" level of fit and finish make this horn one of my few disappointments in the "music room".
That's quite disappointing indeed.
I've always been lucky with them - my student instrument was a 211 and I still used it for outdoors gigs; I refurbished a handful of them (2xx and 3xx series (including their stencilled sisters (Corton et al) and pre-Republic models), and none of them was in a worse shape than the ubiquitous Bundies and Vitos I laid my hands on. But how do we say here - the dumbest farmer has the biggest potatoes... ;)
And besides, I'm a mere amateur player, so my expectations quite probably aren't as high as yours.

[SOTSDO]

Well, I dunno about that. I expect a horn to come to me out of the box in at least operable condition. The Amati was cosmetically perfect, but otherwise not ready for prime time. (It was also shipped with a non-German mouthpiece which didn't even fit the barrel correctly...)

Every other one that I have bought fit that definition, even if they need tweaking down the road to get them just right. Not so the Amati monster. The kidskin pads did not close the toneholes correctly in at least three cases, and the rings were just impossibly high above the chimneys to get a good seal. We (the local technician and I) had to fabricate custom cork pads for the vent keys attached to the rings just to get the thickness down to where a ring could be depressed far enough to get a fingertip close enough to seal the chimney.

No way to ship an instrument, in my eyes, at least. If I had been able to land a pro Yamaha Oehler, al of this would be moot. But, no - the damn'd firm would not sell one outside of Germany, and contacts with Germany were ignored.

[tictactux]

[]I agree. Did you get it directly from Amati, or did you get some dealer's "try & buy & 77x rejected" instrument? (my main gripe with try and buy services)[/i]

It had been tried once before (from WWBW), but the pad issue was with the original setup.

[Gandalfe]

lucky who has straw men placed strategically around the globe.Friends are good that way. I've been able to find out of public domain music arrangements that way too. 8-)

[pete]

The way to buy a quality metal clarinet is to look for a Selmer with at least some of the "extra" keys on them. These were only produced in "pro quality" (with the "fluted" barrel), and are readily found on eBay on any given day or week. It's probably the best way to avoid the "junk" clarinet trap when purchasing a metal horn. Unfortunately, the one key that is most useful out of the extras is the extra Eb lever, and it is normally missing on all but the relatively rare "full Boehm" horns.
I did a search on "selmer metal clarinet" and searched titles and descriptions. Nothing. Completed items? Two in the past month. One (http://cgi.ebay.com/Vintage-Professional-Selmer-Silver-Metal-Clarinet_W0QQitemZ180226124933QQihZ008QQcategoryZ119029QQssPageNameZWDVWQQrdZ1QQcmdZViewItem) had the fluted barrel. The other (http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=110235223490&indexURL=0&photoDisplayType=2#ebayphotohosting) had a hole in one of the tenons, a la the Centered Tone. One was $660 and one was $870. That's a bit rich for my blood. And rather uncommon.

[pete]

lucky who has straw men placed strategically around the globe.Friends are good that way. I've been able to find out of public domain music arrangements that way too. 8-)
BTB, I've mentioned before that my wife has relatives in Germany ....

[SOTSDO]

The hole in the tenon is for the articulated G#, one of the features of these higher end Selmer metal clarinets. (The tone hole passes through the normal tenon location.) That's a good thing rather than a bad thing.

The prices are reflective of the relative value of these to other metal horns; i.e., worth a hell of a lot more.

[pete]

The hole in the tenon is for the articulated G#, one of the features of these higher end Selmer metal clarinets. (The tone hole passes through the normal tenon location.) That's a good thing rather than a bad thing.

The prices are reflective of the relative value of these to other metal horns; i.e., worth a hell of a lot more.
/me: Nods fifth-level agreement to both -- although I really do think that 90% of my squeaking issues were with that simular hole on my CT.

However, the point is that you can probably find a much nicer non-metal pro vintage clarinet for a lot cheaper. I think most of the folks that have gone on the internet now know that the Selmer name carries a good pricetag :).

[SOTSDO]

I agree with that completely. These horns are more for those interested in the somewhat arcane history of the clarinet, not for someone who's looking to come up with their one-and-only, day to day clarinet. If for no other reason, the use of a metal clarinet (no matter how good or perfect it might be) in any "serious" setting (i.e., classical or art music) will leave the player open to gentle mocking at the least, and out and out ridicule in some circumstances.

And, as I've said before, it's a lot easier to maintain a clarinet made of wood (as far as cosmetic and odor issues are concerned than it is one made of metal, no matter how careful the "maintainee" is. Most metal clarinets have acquired "old saxophone stink" on a permanent basis, and no matter what you do it's gong to be there. (It hides in the tubing joints, primarily.)

Another factor not commonly realized is that joint corks on metal horns are a "critical path" item. Since the horn's walls are so thin, there's not much of a rebate that can be "cut" into the metal to accept a joint cork. You have to have well installed corks with robust joints made during the installation, and you have to take care to keep them properly lubricated, or you soon have a horn that won't play at all.

[tictactux]

...so what about a brand new metal contrabass, custom made?

...eh?

...with Oehler fingering?

http://www.metallklarinetten.de/1.html

[SOTSDO]

In the last forty five years, I've had to play a contra clarinet precisely sixteen times - with virtually all of them being Broadway show performances for money. Unless there's some gelt, in it for me, you won't find me wrapping my fingers around one anytime soon.

Now, an Oehler bass clarinet, either in wood or in metal - well, that's a different matter.

[pete]

Hey! I played a Bb contra during my senior year of HS. Leblanc paperclip.

[Gandalfe]

Hey! I played a Bb contra during my senior year of HS. Leblanc paperclip.I hope to get my Leblanc Paris contrabass clarinet (aka the paperclip) back from the shop next week. I already have a Walter Grabner mouthpiece for it too. If I can get it to voice properly which out the need to speed years on that skill, I'll be playing it this Summer and Fall. Pete, how hard was it to play and how was the intonation on the one you played?

[pete]

The intonation was very decent. I had the stock hard-rubber Leblanc mouthpiece.

The major problem I had was that the lower brace on the horn (I wanna call it bell-to-body, but it's the brace that connects the lower "joint" to the joint that goes down to low C -- the pictures I've seen of the newer Leblancs have more braces and in different places) kept breaking. It broke three or four times in the year I had it (and was broken when I got it) -- and I'm easy on my instruments. When it was intact, the horn played pretty decent. When it was broken, it was ... challenging to impossible. The Bb to C "break" was also a bit difficult even when the brace was fixed.

Hey, I played EXTREME altissimo on the horn (OK, I only knew fingerings up to F#) for kicks. Yes, the high notes were a bit challenging to play in decent tune. I hear there are some false fingerings that might be more suitable, but I don't think there's much need to worry about it. I do find it somewhat amusing that it's easier for me to hit the altissimo on CB or bass clarinet than on a Bb or Eb soprano.

The amusing thing is that the FASTER you play, the more unstable the horn is. Remember, I'm 6'1" and have been since jr. high. I had to crank that stand (peg) to the top and it wiggled a LOT if my fingers were flyin'. I think the 3rd clarinet players were afraid I'd kill 'em all during the end of "A Christmas Festival" or Holst's "Folk Song Suite".

It was enjoyable to play. The bass sax had a more powerful and louder sound, but the CB clarinet had MUCH better intonation and had a sound that, well, filled the room and insinuated itself into your consciousness. But it was a sound to FEEL more than hear.

I actually didn't care for the low C. I found the additional keywork cumbersome, especially considering I rarely used it.

I think you're going to do well with the horn. I was a somewhat better than average bari player when I switched to the CB and had only played the bari for about 3 years, so it's not like I had overwhelming lung power.

[SteveSklar]

breaking my own rule of having only 3 (well 4) clarinets I've recently added to my stable a Buffet A and a Buffet Full Boehm clarinet. These are both the Master Bore (pre R13) models. I've decided to add one more to the lineup, a 1966 model R13. After that my clarinet lineup should be complete ...

Though a Selmer Series 9 would be nice .. and an Eaton Elite ... and ....

[tictactux]

After that my clarinet lineup should be complete ...
Mind you, those Famous Last Words are already copyrighted. ;)
(copyrighted as a special form of oxymoron, that is)

[SteveSklar]

I did have my disclaimer line ...

...... Though a Selmer Series 9 would be nice .. and an Eaton Elite ... and ....

[Ed Svoboda]

I was talking to one of my brothers today and he was lamenting about having five electric guitars. I said, "oh I have three baris" and he said that's close and then I said "and I have five tenors and five altos and one soprano". He started laughing and said he felt better about the five guitars. :lol:

[Ed Svoboda]

I didn't tell him about the three clarinets, one oboe, and one flute or the bass guitar and the acoustic guitar.

When you include the piano I'm expecting my son to ask to play drums or a trumpet since I don't have those.

[Connical]

I have a Conn 424. I use a slant sig Otto link 3 * , or a Tonalin 2*.
Today I received a Pedler clarinet that I bought on Ebay to get the mpc.
It's a Personaline L4. Has anyone used a Personaline on clarinet before ?
I've heard good things about the sax mpc's, but almost nothing about the clarinet versions.

[SteveSklar]

I didn't tell him about the three clarinets, one oboe, and one flute or the bass guitar and the acoustic guitar.

When you include the piano I'm expecting my son to ask to play drums or a trumpet since I don't have those.

i've got a flute, 2 cellos, Yamaha P90 piano upright, my saxes .. luckily I don't include 'shop' clarinets that are inline for overhauls then sell otherwise i'd have a ton .... :)

[musical-joe]

You guys make me feel deprived with your piles of instruments. When I played regularly I only had my one instrument. Actually I remember people in High School that had to use the schools db clarinet because they didn't have one of their own!

Joe
db (http://bandtoys.net/Woodwind/Clarinet)clarinets (http://bandtoys.net/Woodwind/Clarinet) are still my favorite!

[WoodwindDoubler]

Ya. I'm jealous, I want more instruments!!! I could just quit music school HAHA ... that would give me an "extra" 15-20K per year.

[Gandalfe]

Ya. I'm jealous, I want more instruments!!! I could just quit music school HAHA ... that would give me an "extra" 15-20K per year.I stayed in school but married a very rich girl. 8-)

[WoodwindDoubler]

I stayed in school but married a very rich girl. 8-)

Good plan ... stay in school and marry into money. - I'll just add that to the to-do list ;o)

HAHA!

[Tammi]

My main clarinet is a Selmer Signature. Currently I'm enjoying a Portnoy 3, Bonade or Rovner lig, and either Vandoren trad. 3.5's or V16 3's.

I have 10 other soprano clarinets in Albert and Boehm systems that I doodle around with from time to time.

[clarinetfellow]

I'm new to this site and new to playing the clarinet however my current clarinet is a Buffet E-11 which I bought new and simply love it.:-D

[Dave Dolson]

Clarinetfellow: Welcome aboard.

The original question was about your set-up . . . meaning, what mouthpiece, ligature, and reed do you use? Maybe more importantly . . . why? You may want to tell us your skill-level and what type of music you play with your Buffet.

For example, I've been playing for 50 years - mostly soprano saxophone. But my clarinet is a Buffet RC Prestige (backed up by an R-13, a Silver-King, and a couple of Albert Systems - Conn and Buescher). I use a Vandoren 66 mouthpiece with a soft Fibracell reed and usually a metal two-screw ligature. I play exclusively traditional (New Orleans style) jazz. DAVE

[retread]

In the clarinet case for concert band: Ridenour Lyrique, Morgan RM15, Gonzalez FOF 2.75.
In the alto sax claripack case for big band: Leblanc Classic II, Morgan and Gonzalez. Ligs are Bonade and Luyben.

Note: this does not indicate that I think the Leblanc is better for big band. It means I am too lazy to move clarinets from case to case, and I find both clarinets a pleasure to play.

[eddierich]

My setup has changed quite a bit since I posted it over a year ago. Now I'm playing the same R13 with a Backun Fatboy barrel, Backun bell, Grabner K13 mouthpiece, BG lig, Vandoren V12 3.5, and a Ton Kooiman thumb rest. All of the changes have been positive in their own way and I've never been happier with my clarinet playing.

[Ed Svoboda]

How do you like your Grabner?

I highly recommend his pieces for bass clarinet and am impressed with the Grabner I have for soprano clarinet.

[metbysax]

I play an early 80's Buffet R-13. I have Fobes barrels in 65, 66, and 67 lengths. My two favorite mouthpieces are a early 1960's Ithaca Bay and a Wells mouthpiece with a very peculiar shaped window, kinda like a keyhole slot.

I play Vandoren v12's in 3.5 or 4 depending on chops strength and a Vandoren optimum ligature with the tone plate with two rails.

[Bassoonist]

I have an plastic Accent clarinet. I don't know much about the brand, my mom got it for me back in early 2005 when I really wanted to play the clarinet.

No matter what quality of brand and model it is, it does all it needs to do for my casual clarinet playing, since I don't play it in any ensembles. (nor do I have the skill to at the moment. =P)

[Groovekiller]

Buffet R-13 clarinet, circa 1961. Wells mouthpiece refaced by Erik Greiffenhagen with a Morgan RM-28 facing. I've also used a Morgan RM-28.

I've played clarinets better than mine and I used a Vandoren B46 for years but I never found another B46 I liked as much. You're better off with the Morgan.

[Oboeguy]

Couesnon (Monople?) Bb (and A)
Barrel looks like it could be an old Conn tuning barrel (screws up and down instead of click with a good bit of metal in it. REALLY opened my sound up! But haven't been able to find info on it anywhere.)
Genussa Excellente GE* Mouthpiece
Rico Grand Concert 3's but thinking about V12s and seeing how they do me.

[Heckelphone]

Leblanc 350; Clark Fobes "San Francisco" mpc; rovner lig; Vandoren #3 reeds :-D

[fluteypiccolosax]

crappy plastic vito with a vandoren B45 mp and vandoren 3.5's(shaved a tad)

[RoBass]

Oh, waht a brand pool!

That's mine:

1x Amati maestro m500 (Bb, full incl. flat E)
1x NoName ebonite (Bb, full, appr. 30 years old)
1x Durbin CL-116 (Bb plastic, who's figuring out this brand is a professional at all;-)
1x Weinberger (like the Durbin:)
1x ORFEI (should be Bb, on the way to a museum, it's a "well done" Ucraine instrument, appr. 10-20 yers old and in "fresh released" condition)
1x vintage German type wooden clarinet modified barrel (Bb, for france MPC bored, appr. 1910 student model)

MPCs: a few acrylic and ebonite noname (some vintage models without marking), Selmer C, Rico Royal B5, Rico La Voz, Amati ???, Vandoren B45 lyre

Remark: I'm not a professional musician, I'm a technician with historical scientific background.

kindly
Roman

[bmcclellan]

1x Buffet R13 Bb
1x Buffet E11 A
1x Ridenour Basset A
1x Woodwind Eb Soprano
1x Amati 351 C
1x Conn rubber Eb Alto
1x Leblanc Paris Eb Alto
1x Conn bass to E
1x Yamaha YCL 221II bass clarinet
1x Vito EEb Contra
1x Ridenour BBb Contra


Bobby M.

[Illumination]

I have a Vito Plastic clarinet (not the fanciest horn, but it works very well) with a Rovner ligature and Vandoren 3.5 reeds.

[JfW]

Noblet 40 with a Vandoren B46
as well as an old Selmer Bundy

The Bundy is probably in a better state of adjustment, and it's still easily outplayed by the much more ergonomic Noblet (afterall, two summers ago, a whole colony of ants took up residence in it, with the queen's harem located in the barrel. I haven't yet gone properly through it again as it's a bit sticky)

[SteveSklar]

The Bundy is probably in a better state of adjustment, and it's still easily outplayed by the much more ergonomic Noblet (afterall, two summers ago, a whole colony of ants took up residence in it, with the queen's harem located in the barrel. I haven't yet gone properly through it again as it's a bit sticky)

Where were you storing that Bundy ?

[JfW]

Where were you storing that Bundy ?

on a clean shelf right next to the Noblet.

[SteveSklar]

on a clean shelf right next to the Noblet.

that' scary

[tictactux]

that' scary
<pinches nose and sings>
The ants are my friends, they're blowing in the wind, ...

[Chris J]

<pinches nose and sings>
The ants are my friends, they're blowing in the wind, ...

I would hate to see a joke in your first language...

[Gandalfe]

I would hate to see a joke in your first language...Actually you can see them periodically if you are on Facebook. :O)

[PrincessJ]

that' scary

I didn't think that kind of thing was contagious between Clarinets...

My "main" set up at the moment is the legendary Noblet 27, Vandoren B45 MP, 56 Rue Lepic 3.5 Vandoren reeds and a "standard" ligature.
My other frequently used set up is a Leblanc Bliss 210 with the included Cadenza mouthpiece and inverted bonade ligature which I turned out to really like (I love when that happens!).

[SteveSklar]

i really like the Bonade inverted ligature even though I normally play with a BG revelation.

I have too many ligatures though

[PrincessJ]

Steve, did you have any issues when breaking in the inverted ligature, like having it slide towards the tip?
For the first couple weeks of playing on it, I had that problem almost constantly. It worked itself out though, I remember reading elsewhere that other folks had that issue as well.
Out of my not-so huge collection, it is one of my favorites. :cool:

[SteveSklar]

my Bonade ligs are vintage ones, so no break in period.

I have heard of the problem of them sliding up and I think that is mostly due to the design begin slightly off - the front of the lig gets too tight compared to the back so it has pressure to move up. I have some non-Bonades that do this, one in particular the lig is designed wrong and the back clamps together too soon unless you put it way too far back.

But i've never had a problem with my vintage Bonades

[Gandalfe]

Two-screw ligs of any ilk are not my favs. But when I do use them I have been told to screw down the one closest to the tip first. Works for me in most cases. I have been known to throw away a cheap lig or two though.

[PrincessJ]

the front of the lig gets too tight compared to the back so it has pressure to move up. I have some non-Bonades that do this, one in particular the lig is designed wrong and the back clamps together too soon unless you put it way too far back.


That makes a lot of sense and definitely seems to have been the problem.
I most likely don't have anywhere near the size collection you do, but I have enough of them laying around to be able to determine which ones kinda really stink. I at first thought the bonade was one of them, with that issue, but it didn't take too long to break it in (I practice for 3-4 hours on average per day), and the problem went away quicker with thicker reeds (something having to do with the reed-mp vibration ratio?).
I guess, like wine, they get better with age. :rolleyes:

[Franklin Liao]

Main: Marigaux RS Symphonie Bb/CSGH
Secondary: none...
On Forestone 2 1/2 strength. Yamaha 5CM mouthpiece/Cadenza mpc, Rovner lig.

I used to have the Bliss LB310, which is just the composite horn with a wooden barrel, which would have been a great secondary horn.

I and the Forte C had a love/hate relationship. The horn made me love the idea of having a C but made me hate fighting it over upper clarion/altissimo every time.

Now I dream of a Delrin or Ebonite construct C clarinet (so that the thing cannot shift like wood does), with power forged (non-Chinese compromise) non-tarnishing plating of Palladium or something like that, ergonomically pleasing just as the RS Symphonie is, and will gladly accept a typical French Bb mpc and playing with an even response... something durable and pleasurable to live with. ( Stephen Fox and Alastair Hanson did say that the request is doable, but the thought of it being a one-off scares me out of my wits already, nevermind what that means for my pocket.)

[SteveSklar]

Main: Marigaux RS Symphonie Bb/CSGH
Secondary: none...


with a Marigaux RS you don't need a 2nd clarinet !!

[tictactux]

with a Marigaux RS you don't need a 2nd clarinet !!
Sometimes the environment is too hostile for an instrument of that caliber...

[SOTSDO]

...that you lose it...

[Carl H.]

...that you lose it...
All those who have lost it while playing clarinet, raise your hand!

(raises hand)


updated playlist of clarinets
SML 5star NY meyer/Jimmy Yan reface
Marigaux Lakey/Mike Chesher reface
Yamaha 34 bundy 3

Ridenour A Sumner 3
Buffet A ?? (I like this too much to take it out in the winter here)

Pedler bass Custom oddball hackedup piece
Vito bass Selmer C*purchased from Sherman Friedland as his personal piece.

[Franklin Liao]

It's not as if I am not paranoid about losing it! I can't for the life of me find the ideal secondary though.

[tictactux]

It's not as if I am not paranoid about losing it! I can't for the life of me find the ideal secondary though.

Mine is a Vito VSP. It's a killer instrument, even if it looks as if it sunk with the Titanic.

[PrincessJ]

All those who have lost it while playing clarinet, raise your hand!

(raises hand)




I think I may have lost 60 IQ points (at the least... you know... all that excess pressure in my brain), if that's what you're hinting as 'it'.

[Brian]

At the moment I'm using a YCL-200AD Yamaha Advantage clarinet, and it's really great:]

Not that I have much reference on other clarinets, since I only started 6 months ago!

[Brian]

At the moment I'm using a YCL-200AD Yamaha Advantage clarinet, and it's really great:]

Not that I have much reference on other clarinets, since I only started 6 months ago!

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 :D

[SteveSklar]

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. :)

[Zoe B]

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.

[Gandalfe]

Welcome Zoe. Consider updating your profile (User CP drop down above) to let us know what part of this globe you in. :)

[Zoe B]

Thanks!
There, better? Norway's a great place to do music!

[SteveSklar]

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 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.

[Clarinet-Aaron]

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.

[SteveSklar]

Aaron, welcome to the board. The Yamaha 250 is a nice clarinet.

Rovner makes a leather - or more like rubber covered leather ligature. But there are many Rovner look-alike knockoffs out there too.

[PrincessJ]

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.

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 tarogato 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. :D

[BadAx Cases]

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

[SOTSDO]

...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.)

[BadAx Cases]

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

[HaRon]

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.

[SteveSklar]

Ron,

It's a nice double and I absolutely love the tonal quality of the clarinet.
Of course I like the tenor sax too (and bari, alto, sop).

[Gandalfe]

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! ;)

[SteveSklar]

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) :p

[HaRon]

...It's a nice double and I absolutely love the tonal quality of the clarinet....


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.