Klarinet Archive - Posting 000265.txt from 1995/07

From: CLARK FOBES <reedman@-----.COM>
Subj: Selmer Model 37 bass clarinet and Prestige bass clarinet
Date: Thu, 27 Jul 1995 12:28:49 -0400

As long as we are on the subject of bass clarinets I thought I would
post some thoughts on some of the new bass clarinets I have worked on
and played recently.

Because I am a bass clarinetist and I receive bass clarinets from all
over the map to work on I think I have a fairly good perspective on
what is offered.

As a way of disclaimer I will state , as I have in the past, that I am
an authorized Buffet dealer.

There seems to be a small bass clarinet war going on right now between
Selmer and Buffet. Perhaps it is just a coincidence that both
manufacturers have put new models on the market recently. At any rate,
this bodes well for the consumer. I have seen distinct improvements in
both instruments recently and applaud both Buffet and Selmer.

Selmer dicontinued one of it's best bass clarinets ever in the early
'80's when it brought out a revised version of the model 33. I don't
know why they continued calling it a "33" when it had virtually no
resemblance mechanically or acoustically to the previous model. The
most obvious change was in the design of the extended mechanism which,
IMHO, was a rats nest of keys and poor design. With the radical change
in design Selmer had the opportunity to correct the one glaring problem
with the old "33" design - a very sharp 3rd line B natural. However,
they did not correct it and changed the overall tonal quality of the
instrument drastically. I was very unhappy about this change and wrote
to Selmer about it at the time, but they were extremely non-plussed.

For several years I was at a loss to recommend a good instrument. I had
never been a fan of Buffet bass clarinets because of the short twelfths
in the area of A/E2 - C1/G2. Also, the register mechanism of the Buffet
bass clarinets is extraordinarily fickle. The initial offering of the
"Prestige" Low C bass clarinets in the early 80's were a disappointment
as well. I liked the sound, but the tuning schema was much too
compromised.

In early 1990 I was intrigued by the initial offering of Yamaha in this
market. I wrote a review in "The Clarinet" magazine (May/June 1990). My
initial reaction was positive, but I felt some improvements were
needed. I have not played a Yamaha recently, but from reactions of
other players it seems that only a few minor changes have been made.

At about the same time, though, Buffet began working more seriously on
their bass clarinet design and I was sufficiently pleased that I began
recommending them. (My strongest "buy" recommendation was still for a
good used pre 1983 Selmer) The problematic twelfths still existed, but
I liked the overall mechanism and sound. I made a trip to the Buffet
factory in the summer of 1993 and brought up the problem. I was glad
that they aknowledged the problem and said that they were working on
it.

I am not certain when the design change took place, but VERY recent
models of Buffet Low C bass clarinets are not only tuning better, but
have a much more homogeneous sound. Rene Lesieux, the head acoustician
at Buffet, has also recently incorporated some very interesting
"resonance" keys into the design. I think Buffet clarinets can now be
oerdered with up to 6 different options "Mon Dieu!"

In the last two years Selmer has made some refinements in the
intonation of the model "33" that has really moved them ahead of the
pack. After a colleague ordered one from the "Woodwind and Brasswind"
in Elkhart and I had an opportunity to adjust it and play it I was
convinced. I still felt that the mechanism was clumsy, but the overall
intonation and sound was excellent.

Spring 1995 was the announcement and release of the new Selmer model
37. "OH NO!!" I thought. Typical of Selmer, just when they get
something right they ruin it. ( SEE: Mark VI/ Mark VII, Series 9*
clar/Series 10, and mentioned bass clarinet fiasco. )

Well, I have been proven wrong. The Model 37 has the improved
intonation of the last "33"'s and some excellent redesign in the
mechanism. The extension mechanism has been simplified and the formerly
weak right hand linkages have been reinforced and feel very positive.
The only flaw that I have noticed so far is that the lowest E is very
flat. The tone is robust and has an excellent core. In fact, I prefer
the sound in the upper clarion to my beautiful 1976 Selmer 33. I have
not had a chance to play one extensively, but overall my impressions
are excellent!

Clark W Fobes