Klarinet Archive - Posting 000222.txt from 1995/02

From: CLARK FOBES <reedman@-----.COM>
Subj: Re: Cracks, Warrantees and other misconceptions
Date: Fri, 10 Feb 1995 03:31:50 -0500

I believe all major manufacturers of clarinets have some type of crack
warranty policy. The Buffet warranty reads "...Woodwind Instruments are
covered by warranty against cracking for a period of one year from the
purchase date. Wood sections which crack within six months of the
purchase date will be replaced free of charge. Wood sections which crack
within six to twelve months of the purchase date will be pinned, banded,
or replaced at the discretion of Boosey & Hawkes Buffet Crampon Inc..."

My experience with Boosey & Hawkes is that they prefer to replace joints
if they have cracked within the twelve month warranty period. However,
remember that internal dimensions of upper and lower joints can vary a
great deal. In fact, I believe that it is primarily the bore
configuration that we respond to when we make a personal determination
that clarinet X plays better than clarinet Y. By replacing a cracked
joint one may drastically change the playing characteristic of the
clarinet and the overall intonation. Also, one must remember that
Buffet's only stated obligation is to replace the joint. Generally,
transferring old keys to a new joint is not possible without a complete
repad of the joint and refitting of keys. With shipping charges and
labor added the price of the "free" warranty service is more expensive
than pinning.
I feel it is almost always preferable to pin a cracked clarinet than to
replace the joint. A good job will usually stabilize the crack and does
not affect the sound one bit.

Clarinets do usually crack within the first months, but I have also
pinned a fair number of clarinets that are several years old and thought
to be out of the "danger" period. So purchasing an older clarinet does
not guarantee it will be crack free.

Clarinets crack in one or more of the following instances:

excess moisture
extremely dry ambient conditions
rapid expansion of wood along bore walls (playing without
proper warm up)
sudden impact (dropping or batting practice)
super heated or humidified breath syndrome (My personal theory)

Wood is hygroscopic, part of its duty in the living tree is to transfer
water and nutrients . The "seasoning" process for preparing wood for use
in musical instruments is not just to dry the wood, but to slow it's
ability to transfer moisture.( I confess that I am not an expert on wood
technology , so if anyone wants to expand on this they are welcome) As
wood dries it shrinks (and warps) when water is applied it will swell.
My experience with making over 200 barrels at this point is that the
longer I allow the wood to dry, the more stable it is and the less likey
it is to change when subjected to playing. I buy my wood from a very
good dealer, but I still let it it sit at least 6 months before turning
it and then let it sit another 4 - 6 months turned and bored before
actually machining. Once the barrel blanks are made they may sit up to 3
months before I put in the final bore. one year to 18 months from
purchase to finish seems ideal.

I do not want to comment on how many years manufacturers allow wood to
season before using. I do know that part of the process by one maker
is to dry the wood down to a very low moisture content and then
partially re-hydrate the wood under pressure. I am uncertain as to what
solutions are used in the re-hydration, but my understanding is that it
is some type of oil (Which would mean it is not really re-hydration for
all you nit-pickers}. This process is thought to make the wood more
impervious to moisture.

The bottom line is that new instruments are much more susceptible to
moisture absorption than older instruments. When clarinets crack from
too musch moisture it usually occurs at the top tenon or in line with
the register tube. Invariably the barrel joint is too tight and as the
tenon swells against the unforgiving, metal banded mortice it cracks. Be
aware of overly tight barrel joints on new instruments and have your
local repairman (hopefully at the location of purchase) take a bit off
the barrel mortice.

I have not seen too many clarinets crack from lack of moisture, because
I live in such a humid climate. I have noticed that when I play in very
arid areas (like the Sierra mountains) that my instruments shrink
sufficiently to cause keys to bind. I would imagine that in a climate
that is constantly dry a neglected instrument could dry out to the point
that the wood collapses and cracks. I have noticed that in the East and
Mid West that most buildings are over heated in the winter. Cold air is
dry to begin with and this super heating dries it out even more. My
advice is to keep a wet DAMPIT in your case (not the joint) during any
dry periods

I still believe that most cracks are a result of clarinets being played
when they are too cold. When one blows into a cold clarinet the bore
walls expand very rapidly and if the clarinet is cold the outside
surface cannot expand at the same rate and so splits or cracks. Just
yesterday a player came in for a problem and pointed out a crack in the
upper joint. "I never noticed that!!!" he exclaimed. Exactly, cracks
don't usually develop over time, they happen rather abruptly. Agreed,
they may increase in length if unattended.

The best way to avoid this scenario is to warm up your clarinet in your
arms or under your coat before blowing into it. My rule of thumb is that
if it feels cold to the touch it is too cold to play.

And last , but not least...

The Fobes theory of super warmed or humidifed breath.

My last theory on clarinet cracks is one that I have only recently
developed and I am trying out on other repair people to see if it makes
sense. I have been repairing clarinets in San Francisco for about 15
years and have developed a very loyal clientele. Consequently I have
customers whose instruments I have taken care of for many years. It has
been interesting to note that many people who crack clarinets don't
crack just one clarinet, they crack every instrument they purchase. I
have a very good friend and colleague who I perform with regularly and I
can vouch that he is one of the most careful and methodical persons I
know. Yet, he has cracked every Bb clarinet he has ever owned (3). Bad
Luck? Coincidence? Another customer and friend has not only cracked 3 or
4 clarinets, but also his bass clarinet! Bass clarinet cracks are rare.
I began to call my friend "The Breath of Death". I have at least half a
dozen clients that seem to demonstrate this ability to repeatedly crack
clarinets.

My theory is that some people due to there particular internal make up
may produce warmer or more humid breath than others. This may sound
preposterous at the outset, but make this simple test. Blow into the
palm of your hand using an "oo" vowel and repeat the process with an
"ah" vowel. The "ah" breath is warmer. Is it possible that people that
play with more open throats send warmer air into their instruments? I
have also noted that at least two of the people that demonstrate this
syndrome also play a little on the low side of the pitch and must use
short barrels. A larger oral resonating area does produce lower pitch.
I wonder if that in these cases the breath that is produced is so warm
and or humidifed that the ambient temperature in most halls would never
be sufficient to mitigate the temperature differential.

Clark W Fobes