Klarinet Archive - Posting 000292.txt from 2004/08

From: "Chuck Currie" <reedguy@-----.net>
Subj: RE: [kl] Morrie's contribution
Date: Tue, 10 Aug 2004 15:19:19 -0400

The acoustic environment of the busy exhibition hall might not be the =
best
place to make up one's mind. Larry did pick up some products and is =
coming
to Vancouver to visit Morrie at the shop.

Chuck Currie
Sax Noir Studio
reedguy@-----.net
www.saxnoir.com
604 254-9625
604 970-2694
2105 E 3rd Avenue
Vancouver, BC
V5N 1H9
=20

-----Original Message-----
From: Blake Arrington [mailto:klarinetteman@-----.com]=20
Sent: Tuesday, August 10, 2004 7:26 AM
To: klarinet@-----.org
Subject: Re: [kl] Morrie's contribution

Nancy said:

If you try them and can't tell a difference in your playing, then you =
aren't

playing at a level that warrants their use.

I can't completely agree with this Nancy. A collegue and I stood for =
20-30=20
minutes listening to Larry Combs try bells. You could tell he was a=20
skeptic. When he played through some excerpts, such as Brahms 3, and =
Carmen

you could tell a difference, but not much. One bell that Morrie claimed =
had

great projection actually seemed to be more diffuse and didn't have the=20
carry of the original Leblanc bell. I don't know if Larry Combs walked =
away

with any of the bells, but hearing Morrie say that you could get a =
different

bell and barrel combination for different repertoire...that made me =
laugh. =20
Ricardo obviously has enough money to purchase 10 bell/barrel =
combinations=20
for different repertoire. As for myself, I would rather have a =
barrel/bell=20
combination that plays all the repertoire well.

Still a skeptic,

Blake Arrington

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