Klarinet Archive - Posting 001320.txt from 1999/05

From: Sfdr@-----.com
Subj: Re: [kl] Re: Moennig Spring Adjustments
Date: Fri, 28 May 1999 17:13:32 -0400

In a message dated 5/27/99 8:26:13 AM EST, Felix1297@-----.com writes:

<< have you seen lately a new Buffet clarinet? you are talkink about the
spring tension beeing not good compared to the old model and I take this one
personnaly and I have to respond on behalf of the two technicians who are
working with me in Libertyville were we do the final set up of each
instruments. Tom Fritz and Steve Abbott are great,skilled technicians and I
am very fortunate to have them with me. They are doing an amazing job with
the set up of the instruments and let me tell you that more and more people
come in Libertyville to try out instruments before they buy it from the
dealers >>

Dear Mr. Kloc,
I am not questioning the repair ability if your staff nor am I
questioning your ability to set up new clarinets. Please don't take it that
way. The reference that I am making has to do more with the physical changes
that have taken place regarding the keys and Springs of clarinets. The
mechanical limitations of the newer shorter needle springs are a major factor
in the efficiency of the key action.
In 1932, the G# key hinge tube of the A clarinet had a length of 32mm
and a spring length of 28mm. In 1965 the Buffet A clarinet had a 25mm G# key
with a 21mm spring. Now on the new R-13 Clarinets the Key tube is 21mm and
the spring is 14 mm in length. My point is, today's clarinet have springs
that are Identical in thickness but half the length of the original Buffet
design. Hans Moennig theory was, "The longer the spring the better the
action." He felt that the longer springs had more leverage and provided more
travel pressure without snapping. Also because of the increased length, the
repairman could put more curvature in the spring for least contact and less
friction on the spring cradle. The shorter springs on the newer horns do not
allow enough flexibility for key travel. And because of there shorter length
in relationship to the same diameter, the newer springs are quite a bit
stiffer. Even if you loosen the spring tension a little, the pressure at the
beginning of key travel is not the same as the pressure of the key stopping.
This set up adds finger stress when playing technical passages.
To remedy this problem Hans Moennig would unsolder the spring cradle
from the key and move the cradle down the hinge tube (away from the spring
post). This new placement allowed Mr. Moennig to install a longer spring thus
giving that key Maximum leverage. He also felt that steel spring wire had a
better feel than the pointed blued steel pointed style springs. He also moved
the cradles on the ring keys and the E-B pad Key in order to lengthen the
needle spring.
In addition to making the springs longer he also changes them in
relationship to the key fulcrum. The closer the spring cradle was to the key
tube the less resistance there was in the mechanical action. For Example if
the groove in the spring cradle was 4mm for the key tube, Mr. Moennig would
refile it to a 1mm placement from the tube. It is just like a See Saw. The
closer you are to the center pivoting point, the smoother the ride. Having
unplated keys at that time made the filing and soldering of keys much easier
to perform.
He preferred a flat spring on the C#-G# key as opposed to the short
needle springs on the newer clarinets. If he really liked the player he
would install a flat spring on the low C# key. That key was his biggest
problem. Mr. Moennig felt that key springs should not make contact with wood,
ever. Wood does not provide a decent bearing surface to anchor springs.
Instead Mr. Moennig would grind off the spring holder and replace it with a
spring cradle thus matching the mechanical design of other keys on the older
clarinets. I saw him replace the Throat tone A flat spring with a longer,
thinner one after redrilling the spring screw hole closer to the pad.
These simple mechanical modifications that Moennig copied from the
22,000 series clarinets made technical playing much more efficient and less
resistant. I once asked him why he spent so much time remaking the key action
on new Buffets? Mr. Moennig answered, Because it needed to be done and if I
don't do it, who will? What impressed me the most about his work was his
consistency and pride. I saw him set up two R-13 clarinets, one for Harold
Wright and the other for a high school student. Mr. Moennig allowed Mr.
Wright to try them first since he was a professional. Harold bought both of
them because he could not decide which one played better. The Moennig
philosophy was, "If the instrument is not good enough to be played in a major
orchestra then it is not good enough for a ninth grade student to play in the
Catholic School Band.
As Harold Wright was leaving with the two new horns, he asked Hans
Moennig, "How can you sell such a great horn to a ninth grader?" Mr. Moennig
Replied , "Buddy, You were in the ninth grade once, weren't you? Mr. Wright
then added, "Gosh Hans, I would like to try some of your Plastic Bundy
Clarinets one of these days." Mr. Moennig smiled and said in his heavy
German accent, "Now those will cost you extra!"
These simple key and spring modifications may cost a little to
install on new clarinets, but they sure will make playing a lot easier.

Thanks again,
Alvin
Swiney

Affordable Music Co.
P.O.
Box 4245

Virginia Beach, VA 23454

757-412-2160 fax 412-2158
E
mail sfdr@-----.com

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