Klarinet Archive - Posting 000166.txt from 2001/12

From: Bill Hausmann <bhausmann1@-----.net>
Subj: Re: [kl] Clarinet Bores - not me - the internal dimension kind.
Date: Sat, 8 Dec 2001 07:21:52 -0500

At 09:22 AM 12/8/2001 +0000, Tony Wakefield wrote:
>Thanks guys for the inspiring dissertations on the effects of material on
>tone :</
>This was no doubt encouraged by my Rendall disclosure, (see 1 above). I am
>more than inquisitive with bore size compared to material, (see 2 above) and
>what <this> does (if anything) for tone. If any acousticians have done
>any/some study re this, I should say that it would be interesting, if not
>vital to the student in his/her choice of instrument. Bore size does not
>seem to have as much priority in a student`s (or anyone`s) list of important
>items, when going for a better instrument. Perhaps it should have.

In general, the trend these days seems to be toward smaller bores, which
are REPUTED to give a "sweeter" sound. Buffet, with the polycylindrical
R-13, probably started this trend. Many well-respected older clarinets,
particularly the Selmer Centered Tone, Balanced Tone, and Series 9, are
large bore instruments (about .590). Large-bore instruments seem to be
favored by jazz players for their big sound (Note the Leblanc Pete Fountain
model at .590, for example). Even in the student lines, though, bores are
decreasing. The standard .584 Vitos have recently been joined in the line
by new, smaller cousins, and the newest Selmer USA models are down to .563
from the older models (.574 or so, I think, and in the case of the
Bundy/Selmer 1400, .590). I use an old Bundy 1400 for jazz playing myself.

Bill Hausmann bhausmann1@-----.net
451 Old Orchard Drive
Essexville, MI 48732 ICQ UIN 4862265

If you have to mic a saxophone, the rest of the band is TOO LOUD!

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