Klarinet Archive - Posting 000053.txt from 1996/12

From: CLARK FOBES <reedman@-----.COM>
Subj: MODEL 37 BASS CLARINETS
Date: Mon, 2 Dec 1996 15:48:50 -0500

I have read with great interest much of the discussion of the new Model
37 bass clarinets. I do have a few things to contribute.

First, before ANYONE gets mad at me for my forthrightness I will
publish this small disclaimer.

#1 I am NOT a Selmer dealer and do not wish to be.

#2 I AM a Buffet dealer and continue to beieve very highly in their
products.

#3 The following opinions are mine alone

#4 If you are considering purchasing a new instrument you should
never rely on information from the Internet or any other 2nd hand infor
mation alone. Do your research and try as many differrent instruments
as possible.

Now, for the OPINION part of this message.

I was extremely displeased with the changes that Selmer made to the
Model 33 bass clarinet around 1983. I wrote a letter to Selmer
detailing what I thought some of the flaws were and asking as politely
as I could how much feedback they tried to get before going into
production. I have to say the response to my letter showed that the
powers at Selmer were completely non-plussed. Of course, I have no
chair in a great orchestra and at the ripe old age of 30 was not very
well known as a technician either.

I stuck to my guns and hounded Selmer every once in awhile when the
opportunity arose. I can only imagine that the extreme expense involved
in the major retooling to make the new instruments dictated that they
stick with their design until they recouped the capital outlay. Still I
could not recommend these new instruments to my colleagues.

Finally in 1995 I began to see some improvements, paricularly in
the tuning schema, of the model 33. I also felt that these adjusted
Model 33's had a more robust tone. I still disliked some of the
features of the new mechanism, but I could once again with good
conscience recommend the Selmer bass clarinets.

In May of 1996 I played a model 37 for the first time and was
extremely impressed with sound and intonation. There have also been
major modifications to the mechanism in the lower joint that makes this
instrument viable again. In my opinion, Selmer has put themselves on
top again with this new instrument. It is not without it's flaws, but
most that I have played have been exceptional instruments.

I am chagrined that even though I noticed the slightly sharper
throat tones I did not attribute it to a shorter neck until Bill
Helmers of the Milwaukee Symphony pointed this out. I found that
excellent intonation was achieved from pulling the neck about .25" more
than on my old Model 33 (ca. 1976). Bill noticed that the sound was not
as good when the neck was pulled as much. Most likely the increased
distance of the inside slide from the choke in the neck changes the
turbulence and resistance. It should not be much of a problem to obtain
tubing of the proper diameter and make a .25" insert.

Clark W Fobes