Klarinet Archive - Posting 000528.txt from 2002/10

From: GrabnerWG@-----.com
Subj: [kl] Taming some wild throat tones
Date: Mon, 21 Oct 2002 02:11:34 -0400

I think I mentioned, several times in fact, that I purchased a C clarinet this summer. It is a lovely late 1960's Buffet Evette-Schaefer, that was played very lightly, if at all, and has rested in a nice temperature and humidity controlled environment for many years.

I consider myself very fortunate to have found this instrument.

The only flaw I could find in the instrument was some tuning problems in the throat tones. My throat tone A was just plain flat, as was the G#. To make matter worse, the G and F immediately below were sharp! There was a 10 cent discrepancy between the G and the A. Very noticable! UGH!

A C major scale could come out sounding a trifle weird.

I had a trio gig last thursday, and I decided that before I went, it was time to fix some things.

The first thing I did was to check the basic tuning of the instrument. I liked the placement of the B and C above the A, and the clarion register was acceptable. The lower chalumeau had a little sharpness, but very typical of the Buffte horns of the period. Nothing I couldn't lip down, or fix by pulling slightly at the middle joint.

The first thing I did was to concentrate on pad heights, to see if the A and G# were opening far enough. Unfortunately, the pads for the A and G# were not too close, so sanding down corks was not going to be an option.

I determined to open the tone holes slightly to see if I could raise the pitch. I worked first on the tone hole for the G# as I figured this would also influence the A, if only slightly.

Using a sanding rod (a metal rod with a slot in the tip to hold a flap of sanpaper), I used a small strip of 400 strength sandpaper, keeping it wound cylindrically about the rod. I carefully turned this inside the tone hole, staying perpendicular with the body of the instrument. After every three or four turns, I check the pitch emitted form the tone hole.

After about twelve turns, the pitch of the G# had raised about 5 cents. I also checked the A, it had risen about 1 cent.

I then did the same procedure with the tone hole where A is emmitted, frequently checking the A and the Bb. I was then able to get the A even with the G#, this also fixed the Bb which had been flat, but not quite as much.

Checking with the tuner, I was then quite comfortable with the C, B, Bb, A, and G#.

The G and the F were still sharp however.

I found that there was some space available for lowering the height of the thumb and first finger assembly before the tone lost quality.

I would up adding cork the equivalent of the thickness of a piece of scotch tape, under the lever that directly controls the height of the thumb ring, and also controls the height of the first finger ring and the pad directly Under the A key.

DOing this dropped the G, F#, and F about 5 cents, just about where I wanted them.

Phew! Large sigh of relief.

I went to my gig and played fairly well in tune.

Comments? Suggestions?

Walter Grabner
www.clarinetxpress.com
mouthpieces, repairs, adjustments, tuning

---------------------------------------------------------------------