Klarinet Archive - Posting 000746.txt from 1998/09

From: Stephen Heinemann <sjh@-----.edu>
Subj: [kl] Subject: Re: klarinet Digest 19 Sep 1998 08:15:02 -0000 Issue 504
Date: Mon, 21 Sep 1998 17:00:27 -0400

ad light kerosene) to
give a "drying oil" effect. Your test is inconclusive as stated
- try it on
a piece of glass. If you are left with little to no residue then
you are
using a drying oil and it's not "soaking in". if you are left with
a puddle
then you are correct - the wood is adsorbing the oil. In either
case I'm not
sure if oiling is a good thing unless you have a really "dried out"
piece of
wood. Perhaps Mr. Kloc or some other expert could give us some idea
of how
you tell that a clarinet needs oil since I seem to remember that
he did not
say to never oil but only if it is really needed.

-- >>
HI,

I am agree with you when you say that you are not sure if oiling
is a good
things unless you have a really dried out instruments. Like I already
said a
new piece a wood doesn't need oil, when I say new piece a wood I
mean from 1
to 6 years. Of course it depend where you are living and it is where
I said
that sometime the wood need some oil. If you notice that the inside
is dried
out you should put some oil. You have an easy way to check this,
take you
instrument and take out the barrel, then look at the tenon part you
will see
the thikness of the wood from outside to inside in one time, if the
outside is
dry it can be only the fact that some watter staying and the acide
you have on
that give a kind of clear brown look, this doesn't need oil it is
not dried
out. If the center look clear brown and that when you pass your nail
and you
feel that is rought, you should put some oil or have somebody do
it. When I
put oil on instrument I use a feather and I just put the top of the
feather on
my oil solution and I do one pass. Then I wait for two or three hours
to see
if the wood soak the oil, and if the color change. And I do this
prosses until
the wood look dark brown and shinny. I never put tones of oil because
I don't
want the oil go into the undercuting to not rune the pads and facilitate
dirth
when I sawb the intrsument. The oil I use is a solution of Paraphine
oil,
almond oil and orange peel essence. We use this at Buffet when we
have the
instrument in the vat before we work on it. The orange peel essence
is like a
acide reaction to the wood that will soak out the dirth you have
on the fiber
and then the oil will take the place. I like it because it is natural
and it
is not hurting the wood like some petroleum solution that is to hard
( this is
only my opinion).

Hope this help

Musically Yours

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

------------------------------

Date: Mon, 21 Sep 1998 09:10:25 EDT
From: Felix1297@-----.com
Subject: Re: klarinet Digest 19 Sep 1998 08:15:02 -0000 Issue 504

In a message dated 98-09-19 04:20:14 EDT, you write:

<< This is getting interesting :).I personally find difference significant
with
normal barrels. That is why I was so surprised when the very people
that
make special Buffet and Chadash barrels (at the Buffet factory)
say, that
they are identical. Was I misinformed?
Harri
-- >>
Hi Harri,

Who told you that at the factory and what was the situation you have
been told
this, was it during the tour or was it from a sales personne. I would
like to
know. Like I said the A and Bb bore are different so you have to
have
different Barrel to fit on. Now some musician have no problem to
play on a Bb
barrel with their A and they are sounding great with it and have
no problem.
You have to think to of the dimension and type of bore you are using
on your
mouthpiece. Some of the player want to have the same feeling on the
BB and the
A and by using the same barrel it helps.

Musically Yours

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

q

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