Klarinet Archive - Posting 000466.txt from 2002/07
From: DGross1226@-----.com
Subj: [kl] Re: Vito Contra Alto
Date: Thu, 18 Jul 2002 18:57:17 -0400
In a message dated 7/18/2002 1:09:06 AM Pacific Daylight Time, "David
McClune" <dmcclune@-----.edu> writes:
<<Do any of you have experience with the new Vito Contra-Alto clarinets?
I understand Charlie Bay has does major modifications on Bundys. Are
any of these realistic musical options?
If I really stretch the small college budget there is a small chance I
could afford a new Selmer rosewood Contra alto.
Any suggestions out there in Klarinet land?>>
David,
I'm not sure about the "new" Vito contra-alto clarinets, but between the
three us who play bass/contrabass/contra-alto clarinet with the Claremont
Symphonic Winds (http://www.its.caltech.edu/~dooley/csw.html) we have an
older Vito contra alto, an older Bundy contra alto, and new Selmer (rosewood)
contra alto. I have played all three and on a totally subjective scale of 1
- 10, with 10 being highest, I would rate the older Vito as a 3, the older
Bundy as a 7, and the new Selmer (rosewood) as a 10. The keywork on our bass
clarinet player's (his bass is a low C Selmer 37) Vito contra alto is crap.
It is very soft and the instrument is constantly out of adjustment. Even
when adjusted, using the same Selmer C* mpc to ensure some test uniformity,
it just sounds "thin" to me.
I bought my older Bundy contra alto for under $1,000 from a jazz doubler in
Los Angeles about 4 years ago and love it. It has the keywork of a Mack
truck, and a timbre which I think is close enough to the Selmer that I have
not seriously looked to upgrade. Folks like Clark Fobes and Steve Roberts
who play professionally MUST have the best for orchestral and studio work,
but for a high level university or semi-professional level wind ensemble, I
would highly recommend the Bundy. I also understand that there the "older"
Bundy's are significantly better than the new Selmer USA instruments, but
that's only hearsay and rumor and anyone who has a newer Bundy is most
welcome to refute my less than informed "opinion."
It goes without saying that the Selmer rosewood contra alto is the
professional's instrument of choice. The fellow in the CSW who owns one
(purchased from Charles Fail Music in Atlanta) also plays alto clarinet parts
on his new Buffet basset horn! (but that's another story.) His Selmer
rosewood contra alto has a much "warmer" sound (sorry, Dan), which is
wonderful for solo and studio work, but I prefer a bit more "edge" in the low
clarinets for wind ensemble work. But as with anything, YMMV.
Another consideration is the "care and feeding" of very expensive pedal
clarinets. Unfortunately I have seen some serious abuse (not intentional, of
course) by students who really don't appreciate just how valuable the
instruments are. Also, adjusting the register linkages on contras is
sometimes beyond the scope of some lesser university instrument technicians.
But that is for you to put into the equation.
Bottom line: in my humble opinion, the best "value" by far is the older
Bundy. And yes, I have played Charlie Bay's Bundy with undercut tone holes,
lightened action, and a few other "tweeks" and it would be in the 9 range.
Don Gross
Contrabass/Contra-alto Clarinet: Claremont Symphonic Winds, Cal State Los
Angeles Wind Ensemble, Caltech/Occidental College Concert Band
Note to Brent Eresman: You should have NO problem taking that Selmer
contra-alto well into the altissimo range as easily as you would a bass or Bb
soprano clarinet. Although I do use a slightly looser embouchure for the
contras, if your horn seals well to low Eb, I would have your instrument
repair tech look closely at the register mechanism. I'm about 99% sure
that's the problem. Also, have a friend hold down the appropriate register
key pads while you play like you check for any pad leaks below those keys.
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