Klarinet Archive - Posting 001221.txt from 1999/05

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] clarinet choice? Comparing Old and New
Date: Thu, 27 May 1999 04:21:49 -0400

The substrate alloy for plated keys is not the same as the metal used for
UNplated keys. No doubt, it is cheaper. Does M. Kloc have something to say
on this?
Roger S.

On Wed, 26 May 1999 Sfdr@-----.com wrote:

> Date: Wed, 26 May 1999 16:29:16 EDT
> From: Sfdr@-----.com
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: Re: [kl] clarinet choice? Comparing Old and New
>
> In a message dated 5/26/99 8:49:08 AM EST, kissingerjn@-----.EDU writes:
>
> << In a discussion of vintage instruments at the website for his stores, Bob
> Ackerman mentions that R13s with serial numbers from 70000 to 100000 (made
> between 1962 and 1968, according to the serial number list on Sneezy) are
> often
> sought after. Would you agree with his lower limit?
>
>
> I would recommend serial numbers as low as 42,000. However there are
> good and bad horns in all series. Hans Moennig stopped selling them after
> 125,000 or so because he did not like the changes that were made on the
> keywork. He said the spring on the throat G# was too short and did not
> provide an even tension on for the key. Next he did not like the needle
> string instead of the flat spring on the Left hand C#-G# little finger key.
> Nor did he like the tension of the short C# spring on the lower joint which
> anchored on the wooden slot and not the key spring cradle. Since that key
> was so much longer than the other keys, Mr. Moennig thought it should be made
> in the proportion to the key. And most of all, Mr. Moennig hated that Buffet
> no longer offered Clarinets with unplated keys. Every horn that he ordered
> had unplated keys as they were not as slippery as nickel or silver plated
> keys. The unplated keys were also easier to file and bend for the Moennig
> Setup. He spent hours changing the spring cradles and hinge fulcrums. When
> he finished adjusting a horn, the action of the closed keys like C# and Eb
> was just as light as the open keys such as C and B. Eh also removed the
> wings on the bridge keys as they added dead weight to the delicate key. his
> theory was "The lighter the key, the less spring tension required," thus
> giving the player better mechanical action.
>
>
> Do you know if there were
> any specific changes in design or manufacturing techiques around these dates
> to
> explain why this particular period is associated with especially good
> instruments?
>
> The wood was cured longer. The post were threaded in the wooden body
> and not pressed fitted with a set screw. The spring cradles were square in
> shape and allow for closer hinge contact. The bore opening was concentric
> with the outside diameter of the horn. The tone hole chimneys were smooth and
> level especially on the Throat G and E tone holes. The springs were longer
> and thinner and not shorter and thicker. The octave vents were acoustically
> correct in design. There were no reamer or chatter marks in the bore or on
> the pad seats.
>
>
>
> Finally, IYO, are E13s from this period also likely to be
> particularly desirable?
>
> I know nothing about this Model. I will leave that question to Mr. Klose.
>
>
>
>
>
>
>
>
>
>
>
>
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