 The Clarinet BBoard
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Author: glin
Date: 2003-07-07 04:21
Does anyone know why Buffet's R13 models all have the notched out area under the crows foot area? I have not checked Yamaha models, but Selmer and Leblanc's lines don't share this feature. Just a nagging curiousity.....
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Author: Morrigan
Date: 2003-07-07 04:39
Something I'd like to know too - how does the Peter Eaton mechanism compare, and is it possible to have your Buffet changed to Eaton's mechanism?
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Author: Gordon (NZ)
Date: 2003-07-07 06:51
Whether the timber is milled away or not, is determined by whether the location and travel of the keys necessitates this - IMHO.
Anything's possible for a price. but to use another maker's keys would need a great deal of modification of the keys to fit.
I see no significant advantage in Peter Eaton's key work, and some disadvantage, certainly for a technician. Perhaps you could start a separate thread on this.
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Author: Synonymous Botch
Date: 2003-07-07 11:41
It allows sufficient travel for the pads to open fully above the tonehole, without having a necessarily high setting for the key touches 'at rest'.
I suppose you could map out the length of travel on the lever arms to see if this is a requirement, or just something that has always been done
(by convention).
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Author: Mark P. Jasuta
Date: 2003-07-07 12:21
On their pro models Buffet lowers the keywork for ergonomic reasons. (They have been doing this for years.) This necessitates the cutouts in the wood below the pinky keys.
Regards
Mark
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Author: Morrigan
Date: 2003-07-07 12:50
Gordon - I think Eaton's mechanism would be better because you have an adjusting screw instead of having to have the crow's foot bumped up with cork or whatever when it comes out of adjustment.
But then again, it's just another screw to constantly tamper with...
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Author: Ralph G
Date: 2003-07-07 14:42
Does Buffet do this to RC and Festival models too?
________________
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- Pope John Paul II
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Author: Gordon (NZ)
Date: 2003-07-07 21:44
Morrigan wrote:
"Gordon - I think Eaton's mechanism would be better because you have an adjusting screw instead of having to have the crow's foot bumped up with cork or whatever when it comes out of adjustment."
Morrigan, that adjustment is pretty straight forward for a technician without using a screw. For the player, in almost every case, if there is a problem with linkage between these keys, then there is also a much more serious problem of pads closing at the 'back' without sealing at the 'front'.
Any body capable of dealing with THIS problem will not need an adjusting screw.
In designing this linkage with an adjusting screw they way they have, makes other adjustments in this area far more difficult - well beyond the capability of most players, and introduces a lot of friction in one of the linkages.
This is why I regard the system, the way they have done it, as misguided.
"But then again, it's just another screw to constantly tamper with..."
Correct, and when you turn that screw you put 'out' other adjustments which are far more difficult to get right - far more difficult on account of the particular no-crowsfoot system.
Unfortunately this thread is now covering two topics.
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Author: Mark Pinner
Date: 2003-07-09 05:32
The less adjusting screws the better. I have a number on my Oehler's and I use cork to buffer rather than the screw except on the long E/B which needs climactic adjustment on all of these types of horn. The more complicated the mechanism the more trouble. My experience of adjusting screws is that players muck around with them and dig themselves into a deeper hole than before they started. After 20 years I would be willing to bet that at least 50% of adjustind screws on any horn are a) at the limit of their adjustment or just plain stuffed.
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