Klarinet Archive - Posting 000354.txt from 2009/02

From: X-BakerBotts-MailScanner-tom.henson@-----.com
Subj: RE: [kl] Cork Repair & Wax
Date: Tue, 17 Feb 2009 22:35:40 -0500

Hello all,

I have been out sick for a few days and thus could not respond earlier,
but I see that Clarni Bass has his own opinion about my suggestion. One
that he is certainly entitled to have, but I have to ask if he has even
seen wax used on corks based upon his response.=20

I am not claiming to be an expert repair person, but have discussed the
use of wax on corks with those that I feel are experts. I do have more
repair experience probably than the average clarinet person just by
having done so much work on my own clarinets over the years and picking
the brains of those repair persons whom I trust. However, I offered this
suggestion as one that had not been discussed regarding a temporary way
to tighten up a loose fit between a tenon cork and the socket.=20

Based upon the statements that Clarni Bass has made, I find that I can
not agree with his conclusions and feel I should say why.

First, I am not trying to suggest that this is a permanent method for
cork repair. In fact, I said this was another temporary fix. Yes, any
cork that is worn down will go back to that same state no matter what
you do until such time as you replace it with new cork. However, I do
know some custom makers that use this even on new corks as I have
stated.

Definition of custom maker: One who makes an instrument to order based
upon the desire of the individual ordering it. Thus they make the
clarinet custom to that order or individual. The instrument is generally
not even made until such customer orders it from the maker. Example,
adding key extensions, plating options other than silver, types and
lengths of barrels, type of wood used to make the clarinet, custom hand
made cases, etc, etc.. This would definitely not include the big 3,
Buffet, Selmer, and Leblanc (except Leblanc by Backun directly from
him).

Custom makers: Backun, Stephen Fox, Wurlitzer, Leitner & Kraus, Martin,
Foag, Schwenk & Seggelke, Eaton, Howarth, Rossi, Gerold Klarinetten,
Belcanta, Clarissono, Hammerschmidt (several), Meinert, Stephan
Leitzinger, Meinel, Mollenhaurer, Harald Huyng, Johanna Kronthaler,
Wolfgang Dietz, and probably many others you have never heard of. And
yes, all of these make either Boehm, Reform Boehm, or Oehler system
clarinets, or all of the above.

Quoting Clarni Bass's own statement:

"It is not a good idea to follow someone's advice JUST because of their
name/reputation. It is ALWAYS better to analyze and try the IDEAS
yourself based on facts, logice, etc. "

I agree in principal with this statement, but I think it is flawed
because it is so vague. If we do not take advice from a repair person
that is accepted in our community as an expert just because he is
considered an expert (reputation), then where do you get the second part
about analyzing and trying the ideas yourself based upon facts and
logic?=20

Where do those facts and logic come from in the first place if they do
not come from those before you that have tried this and learned what is
or is not possible to do (safely)? I don't think you can simply pull
these facts and logic out of thin air. They have to come from somewhere.
I guess the argument is from where, and my answer is from a source you
trust. Whether that is a printed repair manual or a repair person that
you have worked with first hand and trust.=20

Granted, we are talking about cork repair here, but what if the subject
was undercutting tone holes. Do we not believe anything ever written on
this subject until we first try it ourselves by undercutting the tones
holes on our own clarinet to prove if it works or not? Good luck,
because you will most likely need a new clarinet after you are through
trying and analyzing. I hope that this is not what Clarni Bass meant
when he said to analyze and try the ideas yourself before accepting
them.

Folks, if you don't think my suggestion is worth trying when you have a
loose cork, then just hit the delete button. You will not hurt my
feelings, really. But I have to give credence to using wax on corks when
people like Morrie Backun, with whom I have discussed this topic in
person, along with Wurlitzer and Leitner & Kraus (custom makers from
Germany). With these persons and firms I have first hand knowledge that
they use wax on new corks when doing an overhaul or making new
clarinets. These are not the type of repair persons who would put
something on a cork just to make it shine. There is a very valid reason
they do this and I have tried to explain why.

Based upon my own trying and analyzing, I can also say;=20

Yes, paraffin wax (when melted and rubbed into the cork) does adhere to
a clean cork, but it does not last forever. You need to re-wax as it
wears off. The cleaner the cork, the better it adheres.
No, it does not grip the wood. Paraffin wax is used by many industries
as a low pressure seal and lubricant. Hold a bar of paraffin wax in your
hand and you will understand how slippery it is. It also does not grip
because you will still use a small amount of cork grease over the wax.
Very small. Sorry if this was not clear.
Yes, a damp rag will remove most of the cork grease from your cork,
assuming it is not hopelessly ruined by the overuse of cork grease in
the first place. In which case you need a new cork anyway.

Lastly, Clarni Bass seems to assume that clarinet makers only use a
single type of cork. On this you are mistaken. Yes, cork is cork, sort
of. But there are actually different grades of cork with different
density (hardness), resilience (springiness) and porosity. In discussing
this topic with Wurlitzer, I found out that they use as many as five or
six different grades of cork on a single clarinet. The cork on the
tenons, while the thickest cut, has the most porosity so that it will
hold the grease well. It even has natural holes in the cork, selected
just for this purpose. The corks on the adjustment keys are sliced very
thin and thus must be harder and with no holes that would weaken them
over time. They then use different grades of cork depending on the
specific key and also depending on if the cork is attached below the key
or above it. Bumper corks are another type as well. We are, of course,
talking about organic cork here from trees, not synthetic.

Sadly, the commercial cork that you buy at a retail outlet is some of
the worst quality cork you can get. I was told by one repair tech that
they have a source for cork that allows them to inspect the quality and
return any that is not up to their standards. It is pretty amazing just
how long a high quality cork will last, but don't expect to get it from
anyone else other than a cork distributor or maker and are willing to
buy in larger quantity than the average home repair person can buy. When
I asked what the source was, they simply told me it was in Portugal,
where most all quality cork is harvested.

Tom Henson

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