Klarinet Archive - Posting 000732.txt from 1998/08
From: Roger Shilcock <roger.shilcock@-----.uk> Subj: Re: [kl] Fw: Buffet E13 Date: Fri, 28 Aug 1998 10:08:01 -0400
Maybe we need a survey on this. I never saw a clarinet which I remember to
be like this till I saw a R13. I'm pretty sure the old Boosey instruments
didn't have this feature. Personally, I haven't seen enough different
clarinets to be certain about dates, models, and so on.
Roger S.
On Tue, 25 Aug 1998, F. Sheim wrote:
> Date: Tue, 25 Aug 1998 08:09:19 -0400
> From: "F. Sheim" <fsheim@-----.com>
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: Re: [kl] Fw: Buffet E13
>
> How recent do you mean? My 1963 R13 has the pin-hole type of left hand
> levers.
>
> Fred (fsheim@-----.com)
>
>
> At 09:08 AM 8/25/98 +0100, you wrote:
> >Matt:
> >Re the e / b' key - I think the pin-and-hole arrangement is a fairly
> >recent development, and ALL "Boehm" clarinets used to have the levers
> >with a cork-faced contact area. The pins are not wear-proof; my A is
> >beginning to show signs of wear at this point, and the effects seem to be
> >more widespread than those of the cork getting thin. Compared with my B
> >flat (with no pin), the throw of the lever controlling the keycup is less.
> >It looks to me as though some subtle redesign of the keys hereabouts
> >should have been done which hasn't been done. Another potential difficulty
> >is that if something happens to affect the alignment of
> >the side lever, or its tightness on its pivot, there's no way it can be
> >partially compensated for by adjusting the cork. Of course, there are
> >those on this list who (with a vested interest?) might say, "That's good -
> >it means it gets to the repairman sooner ...".
> >Roger Shilcock
> >
> >
> >On Sat, 22 Aug 1998, Matt Palasik wrote:
> >
> >> Date: Sat, 22 Aug 1998 21:01:48 -0700
> >> From: Matt Palasik <mattp169@-----.com>
> >> Reply-To: klarinet@-----.org
> >> To: klarinet@-----.org
> >> Subject: Re: [kl] Fw: Buffet E13
> >>
> >> In my experience the bigest differences between intermediate and pro
> >> models is intonation and key work.
> >> On promodels tone holes are sometimes located a mm higher or lower which
> >> improves intonation especially in the altissimo register. Some more
> >> experienced players on the list could probably explain this concept
> >> better then I. But the keywork is often differnt. On student and
> >> intermediate models, the keywork will havehave corkk spacers to make key
> >> combinations work. I f you look at the connection of the left hand e/b
> >> key there will be a piece of cork at the top of its very end on which
> >> the a connection to the right hand e/b key. the two pieces are seperate
> >> and can easily come out of adjustment with a slight jar. The same is
> >> true for the c/f keys and the c#f/f# keys. now on r13s and many
> >> professional models the keys are joined together. the connetor from
> >> the right hand keys has a small hole in the center into which the left
> >> and key is inserted to make a nearly seemless connection. also on
> >> student models the places where keys over lap and toch each other are
> >> somethines slight larger then they need to be. So if they are a little
> >> out of adjustment they still work. BUt on r13s and others there is
> >> very little excess everything is exact and precise. there is move cor
> >> often but not to keep things in adjustment but to make the keys fuction
> >> better. If you look at student models metal will hit metal the keys
> >> will rest against the body of the instrument. On pro models cork is
> >> added to keep all keys level and off of each other and the body of the
> >> clarinet.
> >>
> >> While the keywork does not effect the sound of an instrument it will
> >> make it easier to play. I am just starting at a repair shoop in my town
> >> and in the past week i have worked on 7 or 8 student models 2
> >> intermediates and then go home and practice on my r13. Even after the
> >> student models are perfectly adjusted and the instrument is playing
> >> wonderful. The keywork is still slightly harder and less fluid then on
> >> a pro model
> >>
> >> matt
> >>
> >> Sheryl L. Katz wrote:
> >> >
> >> > I'd been looking for a clarinet in the key of C for months. After
> looking
> >> > and looking I got a used Noblet 45. This is made by LeBlanc and is an
> >> > "artist" or student model. It's a truly beautiful clarinet and the sound
> >> > and workmanship are fantastic. I've got a Yamaha YCL-72 Bb which is
> >> > supposedly a "professional" level clarinet and I've played R-13s and and
> >> > various LeBlanc pro models and I can't figure out how this Noblet is an
> >> > "artist" level instrument while the others are pro models.
> >> >
> >> > I haven't seen or played the Buffet E13, but based on my experience with
> >> > this Noblet can easily imagine that it might be difficult if not
> impossible
> >> > to distinguish the professional model from a good intermediate clarinet.
> >> > Maybe someone knows something about what really makes these clarinets
> >> > "inferior."
> >> >
> >> > Sherry Katz
> >> >
> >> > >
> >> > >-----Original Message-----
> >> > >From: Debbie Sellers <CB270@-----.net>
> >> > >To: klarinet-owner@-----.org>
> >> > >Date: Monday, August 17, 1998 11:25 PM
> >> > >Subject: Buffet E13
> >> > >
> >> > >
> >> > >Knowing the R13 is a very popular clarinet I went the the music store
> >> > >with all intentions of buying one. I was encouraged, or almost
> >> > >pressured to try the E13. The guy told me he could find no difference
> >> > >in the two except price. I couldn't either, but I don't have the
> >> > >experience to tell the difference.
> >> >
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