SELMER ARTYS
SELMER ARTYS
Wow
That is my first reaction on playing on a set of Bb and A Selmer Artys clarinets after they were properly setup.
This instrument is truly one of my favorites modern clarinets from Selmer Paris, though they were discountinued a few years ago. At that time they had the Odyssee, Saint Louis, Recital, Signatures and Privilege (did I miss any ?). 6 models of clarinets can certainly get confusing. In the old days there was one or two models available. I do not know why they discountinued the Artys other than it probably did not sell as well as the other models or there was too much of an overlap in characteristics of another model. But they certainly are a wonderful clarinet that should not be overlooked in the used market.
Not only is the craftmanship first class from Selmer Paris but the instrument offers the capabilities that I look for in a clarinet. This Artys clarinet offers a wonderful tone in addition to allowing me to get the instrument to offer some exceptionally well balanced and sounding dynamics. In other words, one could also use this in a jazz situation, in which they would have the ability of playing louder easier than with other clarinets, assuming a moderately open mouthpiece. The tone is very woody and full and resonant throughout the entire range. The only thing lacking is a significant "ring" which can be found in the more famous Buffet R13s. But if you are not after that certain tonal "ring" then this is a perfect clarinet for those looking for more flexibility than symphonic or chamber music.
A description from Selmer states "Today, the Selmer Paris clarinet range is an artistically open offer. In the very heart of this variety, "Artys", expression of the Selmer maturity and modernity, sets the tone. The Bb and A "Artys" clarinets assert themselves as high quality, all-purpose instruments, covering a wide range of playing options. The profound personality of this model is built up from an amazing playability and a deep, resonant tone. The overall sound and tuning qualities are particularly homogeneous through all the registers and shades ; a great flexibility and a remarkable control complete the global acoustic performances."
My lack of descriptive words would say that their own description of the Artys is pretty accurate. From the deep resonant tone to the flexibility and remarkable control. This clarinet is a Selmer Centered Tone with slightly more resistance and control and the tonal flexibility of a Buffet R13, though lacks a significant "ring" of an R13. In other words, it plays more like a Serie 9 but with better overall flexibility and a fuller deeper tone.
After some extensive though minute setup items the Bb simply sang from top to bottom with a consistent backpressure that provides an excellent feedback to the player. The A was also very good though the low A was slightly stuffy. If one slighlty expands the opening on the 3rd tonehole then the slight stuffiness goes away and the tone becomes more powerful and full as with the range of the instrument. Though one has to be careful as the register E is nice and clear, too much expansion can cause the mid-staff E to be unbalanced a bit.
Interesting side note on measurements of these examples:
Bb - 66mm barrel entry/exit bore of 14.54/14.50, 65mm 14.50/14.51
The entry /exit bore of the upper joint was 14.99 / 14.43
The A barrels: 66mm 14.49/14.34 65mm 14.45/14.34
and the upper joint was 15.03 / 14.57
This shows what Selmer has been doing lately, as in restricting air flow via the barrel (for some reason unknown to me).
Interesting item about the construction. The stopper material used for the throat A key and the register key is a synthetic rubber. This rubber is a nice stopping material but very hard to adjust, ie to thin as the register key was just a bit too closed and by thinning the stopping material one is able to open up the register Bb. Most of the clarinets I work on for tonal issues are mostly related to the keywork, pads, etc being too close to the tonehole. Simply thinning the material helps open up the notes tonally and may provide the quick solution. But in this case this rubber material is like an anti-sanding material.
On a negative side, the middle tenon is metal. The cork on metal will slide easily while playing and I found myself constantly realigning the joints. I have never tried synthetic cork in this fashion but this is the same problem I have had on some past clarinets with a metal tenon. I guess my hands move too much.
This is a winner of a clarinet in my book and certainly on the short list for me from Selmer Paris.
LIKES: nearly everything
DISLIKES: Why did they discontinue this model ?
This was a new model in 5/2002 until 2008 when it was discontinued