Klarinet Archive - Posting 000122.txt from 1996/09

From: CLARK FOBES <reedman@-----.COM>
Subj: New vs. old, Prestige vs. R-13, Opperman Barrels
Date: Thu, 12 Sep 1996 19:34:41 -0400

Dear Colleagues,

I have been lurking and as it is Saturday and beautiful I have
decided to come out of my hole for a brief moment.

We have had the discussion of New vs. Old on this list before, but
I thought I might add a FEW notes that had not been previously
discussed. Someone brought up the point of owning an older Buffet that
played better than several new instruments etc.

I have to say, that as an experienced crafstman of 20 years, "they
don't make 'em like they used to!". And I'm glad they don't.

Generally I think that Buffet has been getting better in overall
acoustic and mechanical design over the years, as have most clarinet
makers. I do see a trend toward less durable plating and a lack of
emphasis on careful setup. But hey, after sales repairwork is keeping a
lot of us busy!

I overhaul at least 100 clarinets a year and do touch up work on
many more. I ocassionally run across an older instrument that really is
a gem. But I sell about 3o new Buffets a year and I find many new gems
too. If one disregards for the moment the variables of undercutting and
considers that a clarinet has four pieces with either steps or chokes
at each juncture and subtle variations in bore dimensions, it is no
wonder that two R-13 clarinets can play wildly different. I am fairly
certain that at the Buffet factory bells and barrels are matched to
bodies by play testing, but I think it is unlikely that upper and lower
joints are matched in the same manner.(Anyone who may know more please
correct me) Sometimes a match happens that really beats the odds and a
"Super" instrument is born. Of course one hopes that as the instrument
breaks in it will maintain or enhance those unique properties.

In the case of Buffet R-13 clarinets, I have noticed changes in
general playing characteristics of serial number groups, particularly
in the area of tuning parameters. The groupings as I have perceived
them are based on my experience only and is not meant as a definitive
statement about Buffet clarinets. Also I very rarely work on
instruments with serial numbers earlier than 85,000 so my list starts
there.

85.000 - 110,000 very flexible, but twelfths are wide

111,000 - 224,000 great sound especially around 145,000. Tuning
parameters better. C#/G# key spring changed
to needle spring from flat spring.

225,000 - 300,000? Definitely a new bore design around 225,000.
These instruments have a different resistance,
but play better in tune. B natural still sharp

300,000? - present I have not been able to definitively place the
change, but the middle B is much better in tune
on these new models

As to the difference in R-13 Buffets and Prestige R-13 I have
spoken to Rene Lesieux about the "perceived" differences in these
instruments. He maintains that the bores are identical, but the
difference in sound comes from the silver plating and the tenon caps. I
had not considered the effect of the tenon caps until our discussion,
but it makes perfect sense. With the restriction of the caps the bore
can not open up and may even become smaller over time. This , I
believe, is the reason that most Prestige clarinets have a more compact
and, in some cases, restricted tone quality.

Opperman barrels. I don't know that I could distinguish the color
of Mr. Oppermans barrel from the black and white photo in "The
Clarinet", but I believe they are made of African blackwood. The oval
is his trademark. Mr. Opperman was one of a few men who has carried on
the limited tradition of making clarinet barrels. He is also a
mouthpiece maker and I am certain that he came up with the same
conclusion that I have. The barrel and mouthpiece work together to
otimize response, sound and tuning. It is impossible to make one
without becoming interested in the design and influence of the other. I
know David Hite made barrels for a few years and Guy Chadash makes
both.

Clark W Fobes