Klarinet Archive - Posting 000736.txt from 1998/08

From: <Felix1297@-----.com>
Subj: [kl] Re: klarinet Digest 25 Aug 1998 12:54:55 -0000 Issue 423
Date: Fri, 28 Aug 1998 10:08:05 -0400

In a message dated 98-08-25 09:07:05 EDT, you write:

<<
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
> >>
Dear All,

For the date or time we started to put the pin sytem on the lever and I will
get back to you. Now Matt said is A clarinet with this system is not as good
as the one without it when it comes to little plays and feeling if I
understoud right. How old is your A clarinet,I ask this question because we
started with Metal pins wher we had fishskin for the noise and now we are
using Nylon pins on all our Soprano and Harmony Clarinets and it is very easy
to replace.For info to the repairperson on the list if you have to change the
Nyplon pin do not use crazy glue to fixe it into the lever the chemical
reaction will make the Nylon pin brake like a glass.We are using a special
mixture and I will be glad to provide any one with it.Just let me know. I have
a tip for the little play too.Sometime you have a tiny little play under your
finger that drive you nuts the way I fixe it is simple(If I can do it it is
simple :-) ) . Take the two lever out mixe grease with fine oil ( you can use
key oil) and put the top of the nylon pin on the mixture,take a torche or a
lighter and heat some glue gun stick ( the Japan glue we are using at Buffet
for the pad is terrific for that,It is a kind of melted glue) and apply a
little drop on the Nylon pin ( because of the mixture on the pin it will not
be sticky) and put back each lever on their little hole when the glue is still
hot. It will make a joint that will be very soft and flexible and make the
play dissapear. Soory if it is not clear but I can explaine wine and cheese
combination better if you want :-)

Musicaly yours

Francois Kloc
Woodwind Product Specialist
Boosey & Hawkes Musical Instruments Inc.

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