Klarinet Archive - Posting 000237.txt from 2005/10

From: "danyel" <rab@-----.de>
Subj: Re: [kl] Re: Clarinets in the afterlife? (blow out vs. paradise lost)
Date: Sun, 23 Oct 2005 20:16:43 -0400

Well, that's exactly what I do and it so happens the modern "high-tech"
instruments don't make it.

>Play the instrument and
> ask yourself..."does it play well"...what else matters?
>
> Forest Aten
>

Let's face it: The alleged science behind modern clarinet making is a heap
of bovine faeces used to advertise new, expensive models. A friend of mine
worked at Buffet in France in the 70s, and later took his 'Meister'-exams in
Germany. He used to work for Keilwert, Moeck, Mollenhauer,
Schreiber/Boosey/Buffet (until recently they were one big trust) and many
others. He gained insight in the manufacturing methods now and back in the
70s . He is in despair. When I bring him one of my historic clarinets for
restoration he keeps raving about the marvels of craft and subtle design he
discovers under every second key. When we compare a new model some customer
left for servicing, like a Buffet or Schreiber or Yamaha or Wurlitzer, it
usually makes us very sad. Mind you, there were some lousy clarinets made in
the past as well, I collected some (No. 1: F. Buisson)!
I have reason to believe that many crucial steps in clarinet making can be
better addressed by an experienced craftsman, taking his time with a few
well-made hand tools than by some new fangled computer-controlled but
ill-programmed devices.

Do you know the chaos prevailing at modern woodwind-factories? Unskilled
labourers hastily assembling the parts, managers taking over from unrelated
industries without any musical background, people frustrated and
demotivated.

There is science for everything, but it's always only as good as the
assumptions behind it and the care with which you apply it. The
revolutionary R13 design of the 50s might have had certain benefits
(intonation, evenness...) but very many drawbacks (sound, character,
mouthpieces).

Best,
danyel

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