Klarinet Archive - Posting 000648.txt from 2004/07
From: Nancy Buckman <eefer@-----.net>
Subj: RE: [kl] Noblet 45 Eefer
Date: Sat, 17 Jul 2004 10:04:39 -0400
At 08:42 AM 7/17/2004, you wrote:
>The Buffet E 11 is an intermediate granadilla instrument that goes for less
>than $1200 from IMS or Woodwind/Brasswind. My C clarinet is an E11 set up
>by Morrie Backun and it is a good instrument.
Chuck,
The problem is that people want something for nothing. A Noblet body is a
very good piece of work usually, but it costs money to buy the Noblet
even. People have this odd idea that if they buy a C clarinet or even an
Eb clarinet, that it won't get played enough to pay for buying it. I have
four Patricola soprano clarinets (A, Bb, C and Eb) and each one has brought
me the opportunity to play more gigs than I can schedule. I played
Buffets before these four clarinets and never sounded as nice on them, even
though many would consider them to be good instruments. With clarinets, it
isn't so much what you buy, as it is what you do with it "after" you buy
it. Folks want to spend $500 and get an instrument that plays
perfectly. I don't know of any fine musical instrument that is a cheap
instrument. You get what you pay for. If you want an instrument that is
responsive and without pitch problems, well, you just have to fork
something over to put you hands on something like that.
I am not a professional player, but I can tell you that I play much better
than I ought to be able to play because I spent some money for good
equipment and a little more money on a good set-up by a competent tech. In
my pre-Morrie days, before I played on the instruments I have now, I was a
very mediocre player. I still lack technical ability, but I sound good
when I play. I have never had lessons, but because of Morrie's help I am
able to execute much more technically difficult passages, with better
articulation and without grunts and whiny thinness of tone, than just one
year ago. Instead of worrying whether the notes "will" sound, I have time
to worry about "how" they sound. If the audience doesn't like what they
hear, they don't come back to hear again.
I have learned that change is good. I changed instrument brands when
nobody had even heard of Patricola (who in *$#* are they?). I changed
ligatures and was told I needed to pick something and stick with it. Four
ligatures later, I am using a BG Super Revelation. I played Hite
mouthpieces for twenty years. They don't play well on my Patricolas and
after a long search I settled on Greg Smith mouthpieces......until six
weeks ago. Just by chance, I tried a Lomax Classic. It has given a nice
ring to my sound and fits the shape of my mouth better. I have changed
from the bells and barrels that came with my instruments, to Morrie's bells
and barrels. They have added that third dimension to my overall sound that
was so lacking before. While I use Legere reeds most of the time, I am
finding that the new brands of cane reeds are so much better than they used
to be. That is a lot of change in just under one year. It was frustrating
while I was making those changes too, because I had to change my
embouchure, reposition my tongue and learn to use the inside of my mouth
more to make what comes out of my clarinet more appealing. And to think
that all it took was some money and extra effort on my part. I didn't have
a teacher (I have never really had lessons, just a session here and there
with someone for some pointers). People just have to understand that a
$500 instrument won't get what they want. It will give them frustration
though. I am constantly telling people that they need to try all the new
things that come out. One doesn't have to spend him/herself out, but one
must spend something. Playing on the same old and/or cheap equipment
leaves you sounding like someone playing on "old and/or cheap
equipment". "Investments" cost money.
Nancy
Nancy Buckman
Principal Clarinet/Orchestra AACC
eefer@-----.net
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