Klarinet Archive - Posting 000720.txt from 1999/07

From: Sfdr@-----.com
Subj: Re: [kl] re: mail order - local store policy repairs
Date: Wed, 21 Jul 1999 22:21:01 -0400

<< In a message dated 7/17/99 6:16:51 PM EST, gtgallant@-----.com writes:

<< Repairing an instrument is not
magic, an art, or an impossible task. The skill is
knowing how an instrument is played, the physics
(acoustics) and what each key's function is. Any
competent, handy person can be trained - like a monkey
- to fix an instument. :)
>>

During the 1940s, Hans Moennig spent 40 plus hours setting up a new
clarinet to the standards of great players such as McLane, Weber, Bonade and
McGinnis. Just to give you an example of their clarinet requirements, the
top joint had to hold a vacuum of 3 minutes and the lower joint had to hold
an air vacuum of one minute, due to the use of larger bladder pads.
Currently is it hard to find a new clarinet that will hold a vacuum for more
than 15 seconds on either joint, even with the famous gortex pads.
This was Mr. Moennig's technique for achieving such a high clarinet
repair standard.

1. He would refinish each tone hole with several coats shellac. The
process would seal the porous wood grain and allow the pads to seat securely.

2. He would take a brass tube and check the seal of each skin pad for
holes and leaks before they were installed. Believe it or not Mr. Moennig
discarded 90% of his new pads as the would not pass the vacuum test. Out of
frustration, Mr. Moennig finally started making each pad by hand in order to
insure the proper sealing quality.

3. Next he would sort through pounds of cork in order to find a small
section worthy of making pads for the top joint keys.

4. Mr. Moennig would enlarge each spring cradle to reduce friction from
the spring's contact point.

5. Each spring would be altered in curvature to maximize its leverage
and improve the key fulcrum.

6. The tone holes would be enlarged and undercut to improve the
clarinet's
tuning and resonance.

7. The bore would be altered to improve the register intonation,
especially wide twelfths.

8. The tenon cork grooves were widened to increase socket contact.
Instead of using traditional 1/16" or 3/32" sheet cork for tenons, Hans
Moennig used the thinner 1/64" over thread. By wrapping the tenon groove
with cotton thread first, a solid foundation was formed. His technique for
thread wrapping was very similar the wrap used on oboe reeds. After the
tenon was increased in diameter the thinner sheet cork was glued over the
thread base with minimum compression.

9. Finally, the bell was shortened and the barrel was reamed with a
revered cone taper.

These are just a few of the techniques that W. Hans Moennig used to
enhance the playing of great clarinetists during the twentieth century. If
anyone knows of a chimpanzee, gorilla, baboon or any monkey that can achieve
the clarinet vacuum standards of Hans Moennig, please have them to contact me
as I would like to offer them a job in my repair shop.

Thanks,

Alvin Swiney

Affordable Music Co.

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