Klarinet Archive - Posting 000782.txt from 2004/08

From: Bill Hausmann <bhausmann1@-----.net>
Subj: Re: [kl] Selecting a clarinet
Date: Tue, 31 Aug 2004 23:05:33 -0400

At 01:56 PM 8/31/2004 -0400, John J. O'Neill wrote:
>Every time I consider buying a new clarinet, I am confronted with a
>zillion questions and a resultant confusion that stops me in my tracks.I
>hope that list members will tolerate all my questions, and perhaps
>even answer some of them. Here are my questions:
>
>1. Is there any 'correct' way to select a new clarinet, besides playing
>as many of them as possible?

Nope. That is pretty much it.

>2. What characteristics do you look for during a trial period? Also, in
>what order should you rate these characteristics?

A tone that pleases YOU is probably the most critical factor. Ergonomic
factors, how the instrument and its keywork fit your hands and work with
(or against) you mechanically, are probably the next most important
consideration.

>3. If tone is first, how much of the actual instrument determines its
>tone? (For some reason, I believe that tone is determined by the barrel,
>mouthpiece, reed, ligature, and the individual's oral cavity.) The rest
>of the instrument (upper and lower joints and the bell) only provides
>space for the vibrating air column that produces the characteristic
>clarinet sound.

It has been said that the closer to your brain it is, the more important it
is. If that is true the mouthpiece and barrel are very important and the
lower parts of the clarinet less so. Still, I find it fascinating that
buyers of a certain VERY popular brand seem to find it irresistible to go
out and replace the stock barrel right away, whereas those who purchase
less popular competing models find the stock barrels perfectly
satisfactory. It is as if they buy that popular brand IN SPITE OF known
flaws. If it was so good, why does it need modification?

>5. Do our top players really choose a brand-name instrument for its
>playability, or is it all about money? I realize that top players can make
>a shoehorn sound good, but what about the rest of us who are limited by
>cost, geographical location, talent, etc?

You'd like to think so, but I often wonder what would happen in true
double-blind tests. Would they still chose the same brand? For those of
more limited means, the used market should be explored. Don't go in BLIND,
but if you do your homework you can often get a first rate pro instrument
at little more than student instrument price.

>6. Is a Buffet better than a Leblanc, than a Rossi, than a Patricola, than
>a Yamaha, ...? (I am thinking of changing brands.)

Selmer is best, of course. Unless you prefer one of the others. So the
best idea is to try as many as you can and SEE which one you prefer. And
try as hard as you can NOT to be influenced by the brand stamp. At the top
pro level, overall quality levels are quite comparable.

Bill Hausmann

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

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