Klarinet Archive - Posting 000625.txt from 2000/02

From: Richard Bush <rbushidioglot@-----.com>
Subj: Re: [kl] Re: Signature and series 10
Date: Wed, 16 Feb 2000 19:10:42 -0500

> Dear Fernando,

> ....When I was in college (48 years ago) I know a guy who had a
> clarinet which I forgot the brand of it, its B flat note sounds much better. He told me the clarinet was especially built for that note, there is a particular name of that system, unfortunately I do not recall the name. Do you
> know anything about it? Let me go back to the subject, I also want to know how much would it cost for the Signature. Thank you.
>
> Best Regards.
>
> Sincrely,
>
> Wayne

I know of three different mechanisms that attempted to resolve the Bb/register key compromise.

They are:

1) A mechanism that appeared on a Selmer clarinet called the "Omega." This instrument was produced sometime in the '50's. It probably was fitted to their current model of the time, the large bored "Center Tone" clarinet. This
mechanism was basically the same that Selmer has always used on their Bundy alto and bass clarinets. A rocker arm or teeter-totter at the upper end of the register key key spatula allows either the register key or the Bb key to
open. An arm that comes off the thumb ring key actuates the exchange, closing down the Bb pad and allowing the register key to open. If I recall, the bell of this clarinet had a garland of leaves cut into the wood in a pattern that
framed the round Selmer logo.

2) A mechanism called the "Mazzeo mechanism" that Selmer introduced a few years later. Like the Omega mechanism, this too included an acoustically correct Bb tone hole, but in this case utilized an articulated version of the side,
trill or jumper Bb key. This key was actuated by any of the ring keys on the top of the clarinet. The big disadvantage of this mechanism was that no resonance fingerings could be used because closing down any ring key would open
this side Bb. This mechanism was available on their top line, French made instruments and on the Bundy. Some of the more elaborate models had other exotic mechanisms, one being an articulated E /B to F#/C#.

3) The Stubbins-Kasper (S-K) mechanism that Leblanc offered for a short period on both their French instruments and even on a plastic bodied Vito or Normandy, was a different kind of key work. This mechanism used a second vent hole
below the register key that would open along with the register key to supplement the venting for the Bb and clarify its tone. An arm that overrode the linkage between thumb ring and first finger ring canceled out and closed the
second or auxiliary Bb tone hole when the thumb closed the ring for notes in the second register.

I own a Bundy with the Mazzeo mechanism. If anyone has an example of the Leblanc S-K, or the very rare Selmer Omega they'd be willing to sell me for my collection, please get in touch.

>
>

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