Klarinet Archive - Posting 000947.txt from 1998/10

From: "Dee D. Hays" <deehays@-----.com>
Subj: Re: [kl] Ggod and average BffetR13's
Date: Wed, 21 Oct 1998 18:45:07 -0400

-----Original Message-----
From: Dahs434567@-----.com>
Date: Wednesday, October 21, 1998 3:26 PM
Subject: [kl] Ggod and average BffetR13's

> I am trying to understand why there are about 4 or 5 out of every 20
Buffet
>R13's that are really good. I have been told that when the clarinets are
cut
>from the block of wood the appearance of the sawdust and shavings tell of
the
>density of the wood . The most dense supposedly become Prestige R13
clarinets.
>However, many professionals hand pick R 13's instead of choosing a
Prestige.
>Is this the only reason for the better sound of about 20% of the R13's? Is
>there somthing else about the wood or the cutting of the awood that
accounts
>for a good R13 or a Prestige R13?

You might want to check the discussion on material and density on the
bulletin board. Density should make NO difference.

However this concept of only a handful of instruments being "good" has me
puzzled. Over and over I have read of people trying 20 or 30 of the same
brand and model to find the one they liked (not 20 or 30 different brands
and models but supposedly identical horns). This simply should not be.
However here are some possibilities that have occurred to me.

1. Wide manufacturing tolerances on dimensions. My opinion is that this
is unlikely.
2. Poor quality control. Again I view this as unlikely.
3. Instruments get out of adjusment in shipping and are not properly
readjusted before the potential buyer tries them. This could be very
possible depending on the seller.
4. The purchaser is seeking a characteristic that is not an inherent
characteristic of that brand and model. Again very possible as people often
limit their trials to one type based on someone else's likes or dislikes
without realizing that something else may be better for them. In other
words, some people who tried 30 Buffet R-13's should have tried Selmer,
Leblanc, Yamaha, Rossi, Howarth, etc. It also works the other way. Some
people who are playing the one of the latter might have been happier with a
Buffet.
5. Perhaps a bit of elitism? (i.e. the horn good enough for me is rare).
Let's hope not but there are probably a few people that way.

My bet would be on items 3 and 4. As an example of the former, look how
many of the better retailers advertise that they do a complete setup on the
horn between receiving it from the factory and shipping to the buyer. Also
look at the number of technicians who also specialize in "setting up" new
horns. For the latter (item 4), the following example might be appropriate.
A woman who sits next to me in the community band happens to have an R-13.
Now while the R-13 is certainly a fine horn, it does not seem to suit her.
Here's why. From various reports and a very limited number of personal
trials, the R-13 is slightly harder blowing than some other pro horns
especially in the altissimo register. Now most players can overcome this
and in doing so, end up with good tone coming from the additional breath
support they have developed from working with the R-13's greater resistance.
This woman has asthma and simply cannot provide the air needed. Within
about 1/2 hour of the start of band practice, she is struggling to continue
playing. She is technically a good player but often has to drop out during
sections where the clarinets stay in the upper clarion and altissimo. The
same problem occurs on long sustained notes in all registers. For her, a
very free blowing horn would have worked better even if that meant an
intermediate or even beginner horn.

Dee Hays
Canton, SD

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