Klarinet Archive - Posting 000485.txt from 1996/12

From: Neil Leupold <nleupold@-----.EDU>
Subj: Re: NEW BASS CLARINETS
Date: Wed, 18 Dec 1996 00:51:49 -0500

On Tue, 17 Dec 1996, Steven E. Klimowski wrote:

> I would like to know how the new Selmer model 37 bass clarinet compares
> with the Buffet Prestige.

I conducted a comparison search of the Selmer 37 vs. the Buffet Prestige
about a year and a half ago. I obtained on trial, simultaneously, two
37's and two Prestiges in order to compare the models and make a decision
about which one I was going to purchase. I was aided by the knowledge
and experience of Clark Fobes.

In terms of sound quality, the Selmer produced a much more focused and
compact sound than the Buffet. The Buffet's sound was what I considered
"gentler" and warmer..."softer", if you will. I had to consider what
kind of sound I was looking for in a bass clarinet, thinking about how it
would project in a concert hall and how it would be perceived by an
audience member.

In much the same way that their respective sound qualities were disparate,
the keywork reflected this as well. The Selmer's keywork design was much
more efficient and compact than the Buffet, even in comparison to the earlier
Selmer 33 model. This was the first time I had embarked on the journey of
bass clarinet selection, and my bias leaned heavily toward Buffet, because
I already owned a Prestige A/Bb soprano set of instruments. The Buffet's
keywork was much more visually appealing than the Selmer's, seemingly in
the same ornate style of shape and curvature that characterizes Buffet's
soprano instruments. This familiarity struck a chord with me. I don't
know if different metals or processes are used in manufacturing the keys
on the respective instruments, but the keys on the Buffet, however, felt
as if they would be subject to bending or damage much more easily than
those on the Selmer. It was as if not only the Buffet's sound was "softer",
but that the metal of which its keys were constructed was also literally so.

In terms of mechanical design, the Selmer had a lighter, more responsive
touch compared to the heavier Buffet Prestige. The Selmer design was
more integrated, where certain key functions were combined to reduce
the complexity of the mechanism and make it actually easier to play,
particulary in the lowest range of the instrument. The most critical
difference in mechanical design was with respect to the register mechanisms
on the two models. As was the case in other areas of the instrument,
the Selmer's register mechanism was efficiently and compactly designed,
highly efficient compared to the Buffet. The Buffet's mechanism,
alternatively, appeared very much prone to misalignment and maladjustment
over time, requiring continuous and repeated visits to a technician due
to the complex and cumbersome nature of it's double-octave configuration.
This impression was confirmed by testimony from Clark Fobes that he had
spent many an hour adjusting that mechanism on Prestige bass clarinets
over the years.

Beyond acoustical timbre, the more vital issue regarding sound was the
relative intonation on each model. Selmer justified its reputation of
superiority in this area, much better in tune with the oscilloscope and
much better in tune with itself compared to identical tests performed on
the Buffet. Intonation being my primary consideration during the
selection process, I found my bias moving back toward a neutral position
and then leaning in Selmer's direction. All other areas of consideration
were subject to my personal experience and preferences, but intonation
was based on math and science, and there was no way to perceive the
difference in intonation between the two instruments in any other way
beyond the facts. The Selmer was a better instrument in this regard.

I weighed the subjective issues of aesthetics (quality of sound,
appearance, physical touch) against the scientific issues of design
layout, mechanical efficiency, and intonation. There was one final
issue: cost. The Selmer's price tag was $700 higher than the Buffet's.
My personal aesthetic leaned very heavily toward the Buffet due to its
"prettier" keywork design and its "softer" timbre -- and my checking
account also urged me in Buffet's direction. Clark Fobes dissipated
some of my bias about the more strident timbre of the Selmer by
demonstrating his ability to produce a more moderate and pleasing
sound. Over time, I knew that I would grow as a player, acquire a
different mouthpiece, and ultimately be able to produce the sound
which Clark was getting -- a sound easily acceptable in any major
US orchestra. There was no getting around the intonation comparison
between the two instruments, and Clark's personal experience with
Buffet's register mechanism added more points to Selmer's scoreboard.
My brain told my checking account to leave the room for a minute -- go
check on those annuities accumulating in the living room -- and I
bought the Selmer while it was away.

Neil