 The Clarinet BBoard
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Author: Hugues Fardao
Date: 2021-10-14 21:55
OK, Selmer just launch his new clarinet today, with a right thumb correction key for lower notes :
https://www.youtube.com/watch?v=pGz4oUnzdmM
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Author: Paul Aviles
Date: 2021-10-15 05:38
About 2 minutes into this highly produced video I started thinking this thing will run about $10,000 US dollars. By the time I got to the end of this massive add I started thinking we are talkin' perhaps $12,000.
Anyone know?
Also, the low E correction cup SHOULD be about the size of the other large four pads on the lower joint and located on the bell. Three cheers for Selmer's effort...........just no cigar.
I can only hope it plays as well as the first iteration of the Privilege which I loved ......... and then they changed it.
................Paul Aviles
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Author: ruben
Date: 2021-10-15 12:57
Paul: Here in France, it's going for about 15 per cent more than the Privilége. The cost of African blackwood has shot up by 30 per cent in the last couple of years and clarinet prices reflect this.
rubengreenbergparisfrance@gmail.com
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Author: Chris P
Date: 2021-10-15 15:36
The Muse in Bb with standard keywork (N.1B 18 keys, 6 rings) retails at €5490.00.
Yes the low E vent SHOULD be on the bell and a full-size tonehole as seen on Oehler systems, only they've done what Yamaha and others have done by simplifying things and fitting a smaller vent on the lower joint to do a similar thing, only this compromise can create more hiss.
Yamaha fitted a W shaped baffle in the low E vent to reduce the hiss on their Boehm system clarinets fitted with the low E/F correction key. The low E vent on the Muse has a tall bush fitted which may help improve the quality of the vented low E, just as fitting a bush to the C#/G# tonehole can improve the quality of the note issuing from that compromised tonehole.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2021-10-15 16:35)
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Author: Paul Aviles
Date: 2021-10-15 20:06
Since the Privileges I have seen here in the States were around $8000.00, I'l assume from the above that we're talking around $9,200.00, which is not as much as I would have thought.
Seriously though, there are almost NO dealers in the States that deal in Selmer anymore. If you check the "Find a Dealer" on the Selmer website there are a ton in Canada and only one in Michigan representing the entirety of the US. What's up with that?
..................Paul Aviles
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Author: Chris P
Date: 2021-10-15 20:12
€5490.00 is $6364.15 going by today's exchange rate which is nowhere near $9200.00.
Where have you got that figure from?
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Chris P
Date: 2021-10-15 20:28
Here's Selmer's current UK prices in US$ including VAT (@ 20%):
Prologue Bb - $1970.66
Prologue Bb with LH Ab/Eb lever - $2160.31
Presence Bb - $3410.86
Presence A - $4120.97
Presence Bb with LH Ab/Eb lever - $3658.97
Presence A with LH Ab/Eb lever - $4370.51
Privilege Bb - $5482.76
Privilege A - $6423.88
Signature Bb - $5951.89
Signature A - $6875.90
Recital Bb - $5725.17
Recital A - $6709.06
The Muse slots in between the Privilege and Signature in terms of price.
https://howarthlondon.com/instruments.aspx?family=810&brand=9
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: farabout
Date: 2021-10-15 20:32
Paul Aviles wrote:
> Seriously though, there are almost NO dealers in the States
> that deal in Selmer anymore. If you check the "Find a Dealer"
> on the Selmer website there are a ton in Canada and only one in
> Michigan representing the entirety of the US. What's up with
> that?
>
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>
>
> ..................Paul Aviles
>
https://www.kesslerandsons.com/
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Author: Paul Aviles
Date: 2021-10-15 22:05
The suggestion that the Muse is 15% more expensive than the Privilege is where I got my number. You can still see $8000 price tags on Privilige clarinets being sold here. So maybe instead of a weekend in Las Vegas, it would be cheaper to take few weeks to tour Europe.......
IF
the Muse is worthwhile.
................Paul Aviles
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Author: Paul Aviles
Date: 2021-10-15 22:10
Thanks for the reminder about Kessler. They don't list the Muse yet. Their price on the Privilege is $6490. There Signature price is $6510 (odd and not much of a "carve out" left).
If the Muse winds up 15% more than the Privilege at Kessler, then that would be $7464.
We'll see.
...................Paul Aviles
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Author: Chris P
Date: 2021-10-15 22:13
Why is there such a massive mark-up on French instruments being sold in the US?
I thought the UK was rip-off city.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: farabout
Date: 2021-10-15 22:40
Paul Aviles wrote:
> Thanks for the reminder about Kessler. They don't list the
> Muse yet. Their price on the Privilege is $6490. There
> Signature price is $6510 (odd and not much of a "carve out"
> left).
>
>
> If the Muse winds up 15% more than the Privilege at Kessler,
> then that would be $7464.
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>
>
>
> We'll see.
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> ...................Paul Aviles
>
Which is still a whopping 38% below your initial outrageous estimate of $12k list.
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Author: farabout
Date: 2021-10-15 23:05
How resilient/resistant is their Evolution(ary) integrated resin interior lining to the recurring thermal, mechanical & other cha(lle)nges?
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Author: farabout
Date: 2021-10-15 23:37
Paul Aviles wrote:
> Also, the low E correction cup SHOULD be about the size of the
> other large four pads on the lower joint and located on the
> bell. Three cheers for Selmer's effort...........just no
>
Why didn't they simply drill a (keyless) hole in a bell, likewise Ridenour's C-clarinet?
Off topic, I am surprised that no one has thus far commented on the apparently fused upper+lower joint (often misnamed as a "single piece" horn; https://www.youtube.com/watch?v=-nTZFBnMtzo).
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Author: Paul Aviles
Date: 2021-10-16 07:49
Not sure how Ridenour makes that work. The middle line B should be wildly sharp.
Of course speaking of Eb clarinets.....there is that Clark Fobes extension that has gotten some positive reviews which helps with resonance.
.............Paul Aviles
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Author: farabout
Date: 2021-10-16 08:01
Paul Aviles wrote:
> Not sure how Ridenour makes that work. The middle line B
> should be wildly sharp.
>
It's not (on my Lyrique C)
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Author: Chris P
Date: 2021-10-16 19:38
I'll just ask this question again, maybe this time I might get an answer.
Why is there such a massive mark-up on French instruments being sold in the US?
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2021-10-16 19:39)
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Author: anonrob
Date: 2021-10-16 20:14
There are several Selmer dealers in the St. Louis area, only SaxQuest has a website, but there are other dealers. I will say they don't stock many if any professional instruments because of the cost and limited market, but they are certified dealers.
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Author: farabout
Date: 2021-10-16 22:11
Chris P wrote:
> I'll just ask this question again, maybe this time I might get
> an answer.
>
> Why is there such a massive mark-up on French instruments being
> sold in the US?
>
Is there?
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Author: Chris P
Date: 2021-10-16 22:35
Read my previous comments.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: farabout
Date: 2021-10-17 01:32
Am still awaiting if anyone will comment on the Muse's fused upper+lower joint (often misnamed as a "single piece" horn). Given the fact that Selmer Presence "2-piece" Bb/A model has already resolved the C#4/G#5 issue with a raised hole, I cannot resist wondering why did they design Muse as a 'single piece'?
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Author: prigault
Date: 2021-10-17 01:47
farabout wrote:
> Am still awaiting if anyone will comment on the Muse's fused
> upper+lower joint (often misnamed as a "single piece" horn).
> Given the fact that Selmer Presence "2-piece" Bb/A model has
> already resolved the C#4/G#5 issue with a raised hole, I cannot
> resist wondering why did they design Muse as a 'single piece'?
Doesn't look like a one piece horn to me.
Just a blackened ring on the lower joint.
Look at 4:00, it is very clear that there are two pieces, with the standard correspondence keys.
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Author: Paul Aviles
Date: 2021-10-17 01:51
The "unibody" seemes like a bridge too far for just about every manufacturer except Rossi...........so I looked closer at the video. If you freeze at 2:36 you'll see that the ring (carbon fiber?) is black.....but it's there.
..............Paul Aviles
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Author: Chris P
Date: 2021-10-17 01:56
Perhaps there was no need to comment on something as glaringly obvious as a black socket ring. You only get answers if you ask questions and that question was never brought up.
Then again, actual questions requiring answers have been asked and haven't received replies.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: farabout
Date: 2021-10-17 02:26
Thank you prigault, Paul & Chris for pointing it out the detail which I couldn't figure out with my heavy myopia (@ -7).
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Author: farabout
Date: 2021-10-17 02:46
Back to the remaining open question: can anyone offer 2 (or more) cents about the stability & durability of the resin interior lining? How resilient is the novel resin/grenadilla combo to the ambient temperature changes, as opposed to grenadilla proper? Would the interior resin lining be prone to separate from the exterior grenadilla body (long term)? Why did they chose to apply the resin only on the upper part of the upper joint, which segment is the most heavily stressed by temperature, and therefore most prone to crack? One must consider the fact that though the said resin might somewhat alleviate the influence of inner humidity, it will however not eliminate the inside & outside temperature stress.
Post Edited (2021-10-17 02:58)
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Author: m1964
Date: 2021-10-17 03:18
Chris P wrote:
"Why is there such a massive mark-up on French instruments being sold in the US?
I thought the UK was rip-off city."
Perhaps, there is a Selmer distributor (like the Buffet USA) that makes a sizable mark up on the instruments.
I was told by a US Buffet dealer that they pay for a Buffet clarinets as much as the European retail price.
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Author: Paul Aviles
Date: 2021-10-17 03:39
Interesting points about the lining. Rossi does exactly the same thing with their horns. As a thought experiment it would seem the temperature issue would still be a problem. I wonder if they apply any of that resin to the interior of tone holes, another great place to prevent the horn from the vagaries of wood distorting over time. I don't know if any manufacturer ever experimented with hydrophobic coatings but that might be even more effective than resin.
...............Paul Aviles
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Author: farabout
Date: 2021-10-17 04:15
Certo. Yet, if the manufacturer's general strategic goal is to prevent cracking, why don't they simply switch to a synthetic (ie, hard rubber, plastic, acrylic) body (eg, Ridenours' Lyrique & Jared De Leon's 3D-printed horns), at the fraction of cost/price compared to wood?
Given the fact that, timbre- and intonation-wise, the material does not matter one bit, why bother with expensive fancy concepts such as Greenline, Evolution & likes? Are we to expect the upcoming launch of multi-layer resin-grenadilla-cocodrilo-boxcar-silver-gold-platinum-rhodium-titanium-kryptonite-craptonite clarinets, eventually?
Post Edited (2021-10-17 07:35)
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Author: Hugues Fardao
Date: 2021-10-17 07:03
I love Selmer but all the advertising around their "Evolution" system, a resin in the upper joint avoiding cracks... well, Yamaha did it years ago with their "Duet+" system. The upper joint body is drilled out slightly larger and then a resin is droped in it.
It seems the difference is that "The final boring is then done in a traditional way" (Selmer) while "Thermoplastic ABS resin is injected into the cavity, instantly forming the inner shape of a clarinet" (Yamaha). Selmer re-drills the bore, Yamaha covers the bore, but hey Selmer : resin injection is not your idea.
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Author: kilo
Date: 2021-10-17 16:12
Quote:
Yet, if the manufacturer's general strategic goal is to prevent cracking, why don't they simply switch to a synthetic (ie, hard rubber, plastic, acrylic) body (eg, Ridenours' Lyrique & Jared De Leon's 3D-printed horns), at the fraction of cost/price compared to wood?
This is the age-old question. There'd be a lot more African blackwood trees still growing in the forest and a lot more money in clarinet players' bank accounts. Assuming, of course, that the instrument makers passed the money saved in material costs on to the buyers. I like the idea that Buffet recycles their sawdust and shop sweepings but they sell their composite horns for the same price as their solid wood ones.
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Author: smokindok
Date: 2021-10-17 19:17
My first oboe was a Buffet 4052. Grenadilla with the bore lined with a resin material called “Luracast”, so Buffet has been doing the resin lined bore for quite some time.
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Author: Chris P
Date: 2021-10-17 20:04
Buffet have never done this on any of their oboes whereas Schreiber have been doing this for decades. The only Buffet instruments with lined bores are their bassoons which have ebonite lined descending bores as opposed to a cast resin lining.
Your Buffet oboe wasn't made by Buffet - it was made by Schreiber who also made Buffet's line of student model clarinets from the B10 to the E12 as well as the B&H Regent II and Evette clarinets among others. As Schreiber are better known for their bassoons, they've been lining the descending bores of their bassoons in this same manner to protect the maple from rotting and transferred this method to their oboes to prevent the top joints from cracking.
Only with the Schreiber-built Buffet student level oboes, they also resin lined the lower joint which isn't necessary and if anything, makes the middle socket weak leaving only around 1mm of wood supporting the resin lining which is brittle.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Max S-D
Date: 2021-10-17 22:36
> Why is there such a massive mark-up on French instruments being sold in the US?
Selmer's North American distributor seems to add a pretty massive markup to the instruments and accessories. Most of them, at least. This has been the case for years. Mike Lowenstern's article from 12 years ago about how Americans can save money or at least break even by traveling to Paris to buy a Selmer bass clarinet is, I'm pretty sure, still full of valid information, even if all of the numbers are higher now.
For example, the Selmer Concept bass clarinet mouthpiece is priced at $389 at Woodwind and Brasswind here in the US and $189 at Thomann in Germany, both comparably massive mail-order operations. That's over TWICE the price. No wonder the Concept isn't even worth consideration for American players. It's cheaper to get one shipped to you from Thomann than to buy from a domestic retailer.
Selmer's Low C bass clarinets are listed on Thomann's site starting under $10,000 US. WWBW has them listed for over $16,000. WWBW doesn't have them in stock either. In talking to retailers in the US, the distributor probably doesn't have any on hand, either, so they'd be ordering one from Paris anyway.
The markup percentages vary from product to product.
- A Series III tenor saxophone costs $5,500 at Thomann and $7,600 at WWBW
- A Selmer Signature clarinet costs $4,400 at Thomann and $5,500 at WWBW
Price differences for Buffets are similar. An R13 with silver plated keys is $4,200 at WWBW and $2,850 at Thomann.
It always seems to me that Selmer and Buffet's North American distribution strategies are screwing the consumers, local music stores and the brands themselves over in the US. When it's cheaper and faster for me to take a European vacation and buy a saxophone on my trip than to walk to my local music store, that's a problem for music stores.
Even if you are fastidious about paying import duties (and you should be), that's not going to come close to the price of buying in the US.
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Author: smokindok
Date: 2021-10-17 23:07
Chris P. said: "Your Buffet oboe wasn't made by Buffet..."
Yes, Chris, you are, of course, correct. I should have clarified that, though it is sold under the Buffet name, it is indeed like the clarinets, made by Schreiber. It is a Schreiber feature, on oboes made for Buffet.
Though I replaced it with a Howarth, the 4052 wasn't too bad of an instrument. I suspect the newer 4062, the "Prodige", is decent, too, for a budget priced instrument.
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Author: farabout
Date: 2021-10-18 03:54
Ergo, let's run a poll. Though I may guess that a vast majority of this board's participants (myself included) would be eager to get our hands & chops on Muse, how many of us would indeed be willing to trade in our current horns for the swanky Selmer's bells'n'whistles semi-tarred newcomer?
Post Edited (2021-10-18 03:57)
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Author: farabout
Date: 2021-10-18 04:59
kdk wrote:
> Can I get it for free?
>
> Karl
Maybe, but only with feathers upon the evolutionary tar
;-)
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Author: Dm Zisl
Date: 2021-10-20 05:10
@ farabout
“ Ergo, let's run a poll. Though I may guess that a vast majority of this board's participants (myself included) would be eager to get our hands & chops on Muse, how many of us would indeed be willing to trade in our current horns for the swanky Selmer's bells'n'whistles semi-tarred newcomer?”
Guilty as charged :-) I did think about such possibility.
For the record, I have a Privilege 1st generation set + a backup Bb Privilege also 1st gen., and 7 years later, I still love these horns.
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Author: farabout
Date: 2021-10-21 22:27
Paul Aviles wrote:
> The Sax Stable in California has the Muse listed for $6,579.00
> (MSRP of $11,779.00).
>
About the same as Selmer's Privilege, Signature & Recital (@ Kessler), and way below the truly outrageous $8-9k range of Backun's MoBa & Lumiere, and Cra(m)pon's Tosca & Divine (ibidem).
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Author: Patrick
Date: 2021-10-22 03:12
When I was living in Rhode Island, I talked with one of the local music shops that did keep high end instruments on hand. I asked him about Selmer’s and he said he could always order them for customers to try out. It never hurts to ask what a local music store can do.
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Author: Hugues Fardao
Date: 2021-10-23 23:11
Just tested today, a Selmer day in a town at 100 Km from my home, I took my car and let's go.
The Muse is indeed easy and flexible, very very even, perfect accuracy with left hand notes, excellent free blowing, responsive and very comfortable keywork, they do not lie in the advertising (at the same time at the price it retails...).
But I still prefer the Privilège, which has the same qualities, but wich is however less homogeneous than the Muse. The Muse appeals to me less because of its slightly colored sound. The Privilege for me has less medium frequencies than the Muse, I really appreciate its clarity which does not leave aside the Selmer punch, when the Muse is more balanced but more colorful.
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Author: Dm Zisl
Date: 2021-10-25 07:55
Very interesting, thank you for sharing! (A Privilege player here, too)
Does Muse’s evenness translate to any dynamic limitation?
Would it dynamically cut it in jazz, klezmer, multi-genre musical theatre, just as it does in classical / orchestral situation? (I do understand the difference in setups and embouchure; I often go between all these genres and more)
How were the low E and F without the correction keys (if you had a chance to use a tuner)? Thank you!
Post Edited (2021-10-25 07:56)
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Author: Djudy
Date: 2022-02-13 21:27
I just heard François Sauzeau on his Muse last night at the Orchestre National de Lyon's concert of Dean (Amphitheater), R. Strauss (last 4 lieder), Haydn (Chaos) and Beethoven (6th symphony), a highly contrasted program with a huge compositional range of over two centuries.
We had arrived early and were seated as the first musiciens were taking their places and doing a little warming-up and so were lucky to hear Mr Sauzeau at work. That clarinet was just gorgeous, like a clear bubbling brook.
There were a lot of exposed passages for clarinet and oboe and they were thrilling as well as flawless. The Muse carried beautifully over the very large ensemble for the Dean piece as well as the others, and into the 2100 seat hall. And it blended, but without disappearing, where it was meant to. A big tip of the hat to Mr Sauzeau for his contribution; I'm sorry I didn't catch who the oboeist was, he was a visiting musicien and now adays there are no programs handed out. The whole program was a delight, directed by visiting conductor Markus Stenz, with neither baton nor score!
We all know it's the musicien that makes the music, but still this has really made me wish I could try out a Muse.
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Author: KenJarczyk
Date: 2022-02-14 05:08
French instrument pricing.
Most probably notice that there are no French automobiles sold in the US. Not to give them any claim to quality, but the French economy makes it difficult to sell high-end goods here.
Not to delve into politics, but since the late 1970’s French labor laws have made their products more expensive. Slowly, as generations age, more go on the government pension. About 30% of your Selmer or Buffet purchase will be payment into the system.
Ken Jarczyk
Woodwinds Specialist
Eb, C, Bb, A & Bass Clarinets
Soprano, Alto, Tenor & Baritone Saxophones
Flute, Alto Flute, Piccolo
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Author: seabreeze
Date: 2022-02-14 06:15
Francois Sauzeau is a player of great taste and discernment but not as widely known in the US as many other French players such as Paul Meyer and Philippe Cuper are. Sauzeau will be on the clarinet faculty for the Selmer Summer Academy at Michigan State University around May 24-28 this year. I hope more American clarinetists get to hear and appreciate him. I have heard performances by Sauzeau on another model Selmer clarinet and a Buffet Tosca and I can easily imagine him bringing out the best in the new Selmer Muse. His recording of the Debussy Rhapsody is superb.
Were the notable clarinet passages in Brett Dean's "In This Brief Moment"?
Post Edited (2022-02-14 06:26)
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Author: Djudy
Date: 2022-02-14 20:18
Seabreeze, the Dean composition was called 'Amphitheater' and while I was naturally tuned into the clarinet playing, in part because of the presence of a metal paperclip contrabass clarinet along with two Bb, I do not know the piece and did not capture any stand-out passages for François on Bb. I was just aware of him as it happened and I was too immersed in the overall "presence" of the work for a huge ensemble and including a very tasteful passage for the steel pan. But I could hear the clarinets despite the size of the ensemble. The other pieces had some lovely clarinet showcasing. Would that I could go to every concert thrice, once to scope out the works, once to savor it all and a last time to take notes !
You are right about Sauzeau, it is always a thrill to hear him; his talent deserves wider recognition.
The ONL is a real gem and we are so fortunate to live within walking distance of the orchestra's home, the M.Ravel hall with its (now) beautiful acoustics, remarkable organ, dynamic program director and staff and its generous and varied program.
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Author: John Peacock
Date: 2022-02-14 22:46
There was a separate thread that mentioned this helpful YouTube review
https://www.youtube.com/watch?v=tdMnWn8hFWQ
which compares all current Selmer models on a uniform basis. Personally, I thought the Muse came out least well of all from this. The sound seemed to lack the bloom offered by some of the other models (Recital, especially), and was just rather thin and lacking in warmth.
But even from the YouTube comments, I'm certain there will be a divergence of views on this. Nevertheless, the video is an excellent chance to get an idea of what the Muse sounds like. The reviewer deserves praise for playing slowly - so you can actually gauge the sound. Most online reviewers whizz around so fast that you get very little idea of tone quality.
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Author: seabreeze
Date: 2022-02-15 00:50
To my ears, judging from Eric Black's video, the Muse is the most delicate textured and nuanced of the Selmer models.`That feature could make it sound thin or too finely drawn for some players looking for a beefier or more easily definable sound (like the body and fundamental qualities in the Signature, for example), but it could also make it more expressive and musical in the hands of the right players. I was also surprised by the "bloom" of the thick-walled Recital model, since I've known players who had to switch from Recitals because of poor projection and dullness of tone.
Post Edited (2022-02-15 05:51)
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Author: Djudy
Date: 2022-03-19 14:33
Thanks to JS Musique, the largest wind instrument store and sheet msuic source in Lyon (FR), and Selmer Paris, this afternoon we were treated to a presentation of the Muse by Selmer and a concert featuring François Sauzeau (solo clarinet Orchestre National de Lyon), Yoshua Fortunato (solo clarinet Orchestra of the Opera National de Lyon) on Bb and A Muse clarinets and accompanied by the ONL rehearsal pianist (sorry didn't catch his name).
It was a privilege to visit with with Sauseau before the presentation/concert and listen to him casually follow his whims, producing one delightful excerpt after another on that beautiful sounding instrument. He played the Bb and A with the low F, E correction key and demonstrated its' noticeable effect on tuning. Still, Fortunato played a Muse without the correction key and managed just fine. Both played their personal instruments.
I learned that the Muse was in development over a four year period, arriving on stage last fall and that Sauzeau was very actively involved in the project, making many trips to Paris, despite covid restrictions, to follow the work, tone hole by tone hole. He said he'd have liked a project that changed the tone hole placements but this time the constraint was to keep the traditional spacing and still create a new instrument. According to the Selmer presentation, the resin lining of the upper joint before final reaming, along with the slightly smaller bore dimensions, makes for a fast free air stream through the instrument and protects from cracks forming. The wood is now all traceable from the stump to the instrument which is marked as such.
So I got to try the Muse ! For the little I am able to do, two things stood out :
The instrument is incredible even, all the notes sound the same way, clear, strong, in tune. I attribute the slight paling of the Bb4 to my poor air support and poor technique more than to the instrument. I felt very reassured playing it.
The keywork is very comfortable and natural , including the extra Eb lever. I have that on my RC Prestige and the overall key grouping including that key is more confusing than helpful for me but I had no problem with the Muse, admittedly on a very short try.
The instrument was easy to play and has a sweet not too moody not too edgy character. It has a wide and stable dynamic range and can have a huge sound when needed but does not go shrill when pushed, as Sauzeau's noodling demonstrated and my listening at his concerts confirms more than my test play could. It was a bit resistant compared to what I am used to but I wonder how much is my lazy bad habits and the mp I used, but it was not unpleasant and I felt the instrument just needed more from me, not the other way around. I liked that feeling. I wish I had brought a couple of mps to try but grabbed the Larry Combs off my silver Selmer at the last minute so it was perhaps not the best choice. Fortunato was using a Vandoren B45lyre and said it was a piece of cake to play. I felt it was an instrument that could easily encourage me to progress as I got such pleasing results when I put myself into it, especially since the eveness was so noticeable.
One attendee purchased a Muse after trying several different clarinets during the afternoon. We listened to a blind test between a Muse and a Privilege (my pref fell to the Muse) and he was hesitant but left with the Muse in the end. I play Bb so little these days that I can't really can't afford or justify the purchase, but when all the covid dust settles I will make an appointment at the Selmer workshop in Paris for a better organized test session while getting some work done on my alto. We shall see. Nice to have things to look forward to !
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Author: seabreeze
Date: 2022-03-19 21:32
I haven't tried one yet but from hearing recordings I would guess that the Muse would be my personal favorite from among Selmer's many current production models. It has a nice concentration of sound with excellent balance of tuning and timbre across registers, and it appears to project the tone well. Interesting that Fortunado uses the rather open Vandoren B45 lyre. That was also one of Guy Deplus's favorite mouthpieces. It would be way too open for me though. Did you happen to notice what mouthpiece Sauzeau was using with the Muse?
It its efforts to gain market share (away from Buffet), Selmer has gone down two parallel paths. Since the 10G and other 10 series models, they have either tried to incorporate some of the traits of Buffets or they have taken the different route of making distinctly different models, like the Signature and the Recital. The Privilege and the Presence have some similarly to Buffets, but many players feel they sound too wide and heavy in comparison. The Muse seem to have finally achieved a blend of partly Buffet and still distinctively Selmer qualities without the unwanted heaviness of sound and with unmistakable improvement in intonation.
Post Edited (2022-03-21 00:55)
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Author: Djudy
Date: 2022-03-20 13:32
Seabreeze,
I asked myself that question after the fact ! I was so absorbed by his playing that I didn't ask and by the time I got around to talking with Fortunato, Sauzeau was already caught up with lots of other attendees. However Sauzeau did remark earlier in the afternoon that he used a 3.0 reed, nothing stronger as that 'would not do'. If I get the chance I will certainly ask him; he used his personal instrument and certainly his own mp. Also I bet Selmer knows. They had a whole box of Echo mps at the event which I don't know and didn't want to use as I thought it might add too many factors to my try.
This makes 3 times I have heard Sauzeau on the Muse and now Fortunato; I believe Selmer has a real winner with this model, and that here in Lyon we are blessed with such talented clarinetists !
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Author: Hugues Fardao
Date: 2022-03-20 15:45
You all confirmed what I was thinking after my test : the keyword of the Muse is "balance".
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The Clarinet Pages
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