 The Clarinet BBoard
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Author: LeWhite
Date: 2003-08-17 04:55
Hi guys!
I went into a a store yesterday and tried 2 Concertos, 1 Opus, and an Infinite.
My initial choice, and the one I *may* buy, was one of the concertos.
I chose this one because it was easy-blowing, and I liked the way the throat register connected the lower register with the upper - it was a very even scale (throat notes are something I have trouble with on my R13).
Tuning on all the instruments was excellent, and the pads/adjustment would need a little work on whichever one I eventually buy.
The other Concerto played 'darker' and was a little more held back in it's general tone. If I were to buy this one, would it 'blow in' eventually and be freer-blowing but maintain this 'dark' tone quality?
The Opus's registers were not as even... The throat register stood out a little. And I didn't like the Infinite, it was too bright for my liking. I would highly reccomend it to a student though!
I haven't bought either, or put any cash down, or asked them to hold one for me yet. I have one more to try (a second hand one), and a pair that another store is getting in for me. Also, the store I was at yesterday is getting in 2x A Concertos for me.
Are my reasons for liking this particular Concerto sound? Should I go back and try them again while having something else specific to look for in them?
As you may understand, I'm spending a lot of money, and this is the first time I've selected instruments for myself!
Thanks for any replies!
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Author: sfalexi
Date: 2003-08-17 05:54
Quote:
I chose this one because it was easy-blowing, and I liked the way the throat register connected the lower register with the upper - it was a very even scale (throat notes are something I have trouble with on my R13). Sounds good.Quote:
The other Concerto played 'darker' and was a little more held back in it's general tone. If I were to buy this one, would it 'blow in' eventually and be freer-blowing but maintain this 'dark' tone quality? Well, I can't say that the clarinet will or won't "blow out" and become freer-blowing, but I do dare to say that eventually, just as embouchre adjusts to a reed strenght, you will adjust to the instrument. It may be dificult at first, but after playing and practicing, I would think that you would naturally become adjusted and it will become comfortable. Even more comfortable than a "free blowing" instrument which you were once used to.
Um . . . that's my two cents. I would probably opt for the one with better tone. Because that's the ultimate goal. Not ease of play, but a good, pleasing tone. The ease of play would develop over time.
alexi
US Army Japan Band
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Author: William
Date: 2003-08-17 15:43
The big differecnces I notice in switching back and forth from my LeBlanc Concertos and Buffet R13s, is how much easier it is to go from B4 to C5, and also from C6 to C#6 on the LeBlancs. The transition between those registers is practically "seamless" even at ppp levels.
Regarding the different playing characteristics between the instruments that you tried, I would suggest that what you noticed has little to do with the specific model, but rather simply between differnt clarinets. The Opus, Concerto, Sonata and Infinitive models are accoustically identical and should all play the same. Tom Ridenour (LeBlanc's designer) remarked to me that, "knowing what I know about these instruments, I would buy a set of Infinities and save myself a lot of money." (but he had Opus clarinets in his case)
So, if you want an extra Eb/Ab key, buy the Opus. If not, buy a Concerto, Sonata or Infinity. But above all, buy the clarinet that plays best for you, not the "name."
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Author: BobD
Date: 2003-08-17 17:40
Why is a bright instrument good for a beginner? I don't get it.
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Author: Synonymous Botch
Date: 2003-08-17 17:48
I would say to choose the one with the best scale, and learn the resistance pattern to equalize over time.
Darker or 'hooded' sounds may be difficult to brighten. Brighter or 'bouncy' sounds are more easily tamed by mouthpiece changes.
Properly maintained, your instrument will not change so much as to greatly change the character.
If the Concerto plays well for you, then the Opus (with one auxiliary key as the only real difference)... may not be worthy of the added expense.
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Author: Bob Schwab
Date: 2003-08-17 18:11
LeWhite wrote:
"throat notes are something I have trouble with on my R13"
Don't feel bad. They're my nemesis as well. If I were to look for a new clarinet I probably would be more sensitive to how well these played than the other ranges of notes. The problem would be that I could easily see myself making a purchase decision based on that and simply not take into account an area that gave me little difficulty with my current clarinet. Meaning, my problem area could conceivably change to something else. Just a thought.
When I bought my new clarinet almost a year ago I noticed a drastic increase in resistance between that and my old one. I had played a Boosey & Hawkes Edgeware that was about as old as I was, very very good condition though. The new clarinet was a Yamaha YCL-450. With the increased resistance I got much better intonation with a more consistent sound throughout the range, and the jump from throat tones to the clarion register was more seamless. So I suppose it costs you something to get something. Hope this doesn't confuse things for you.
Bob Schwab
The human brain after all is just a computer made of meat.
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Author: LeWhite
Date: 2003-08-18 12:22
Yeah, I liked the 2 Concertos the best, even though both of them were very different instruments.
BobD - you don't get it because you didn't read what I said properly.
I think I'll go for the one that had a very even scale, bright and bouncy tone, and SUPERIOR throat notes to what my R13 has! Now all I have to do is wait until they get the 2 A Concertos in for me...!
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Author: Todd W.
Date: 2003-08-18 23:38
LeWhite --
You wrote about the Infinite: ". . . it was too bright for my liking. I would highly recommend it to a student though!"
BobD and I appear to read that the same way, that is, a bright (sounding) clarinet is good for a student. And we wonder why you believe that is so. What are we missing or not reading properly? Can you elaborate?
Thanks,
Todd W.
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Author: LeWhite
Date: 2003-08-19 12:25
I said this particular Infinite is bright. It is the only Inifinitie I have EVER tried. Having the same acoustical design of Concerto and Opus (minus things like tenon rings, swanky case, exatra key), it is an excellent price for a student. So, for the cheaper price, the student gets the acoustical twin of an Opus/Concerto, minus the things they may not want to pay extra for.
Never did I say I'd reccommend it BECAUSE it's bright.
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Author: D Dow
Date: 2003-08-19 12:58
JUst a few thoughts after reading the above discussion:
In spite of the bright vs. dark thing we encounter in the usual discussions on the BB, I would like to note that the throat notes are also inclined on a professional instument to have a moveable quality....one should be able to bring the pitch down and upward slightly especially on the open G and the Bb break note....after the break in period what was once a fine throat register in testing should improve. The R13 is quite a different beast from the Leblanc design, and there are numerous advantages to the way the throat register speaks on the R13....
Sound emission on a fine clarinet should be easy, however, don't think a free blowing clarinet has all the advantages...a slight resistance in the clarinet helps achieve eveness and security.
As to the concept of a bright sound I tend to feel a warm focused steady tone superior to a thin bright sound. Mouthpieces also play a key element in your choice, as the mouthpiece will be a determinant in the kind of response and tone colour you get from the clarinet you choose.
I have also tried numerous instruments from the retailer(which I thought I would buy) , brought into the orchestra then played in ensemble setting just find they are did not project well or lacked something solistic about the way they "worked."
David Dow
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Author: BobD
Date: 2003-08-19 14:29
Based on the reports of clarinet shoppers on this Board over the past few years I have the general feeling that most people shopping for a clarinet see a very small sample of the general clarinet population and then draw conclusions about brands that may be incorrect. I guess my point would be that if you are in the market for a clarinet play a lot of them from different sources.
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Author: LeWhite
Date: 2003-08-19 23:47
Todd W - that's ok, I *DID* have a point, whether it came across or not
I'm going in to try these 2 Concertos again today, so I'll be looking at some of these points. I'll also be looking closely at the pads, as the one which has the slight resistance may just be due to a tiny leak somewhere, so I can't discount it simply because of that - it could be BETTER than the other that I think is better!
I'll be checking what D Dow said, about flexible throat notes. He's absoloutely right, and it's something I didn't check.
The other factor is that when I played the one that I like, as soon as I picked it up and played it, I just thought "Yes, this is my clarinet."; I got such a great feeling about it in general.
I also have a friend coming in with me to try them and tell me how she thinks I sound on them!
So, I may just make a decision today, who knows?
Thanks for all the help guys, keep it coming! Soon I'll be trying Concerto As...
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Author: LeWhite
Date: 2003-08-20 07:27
Yep, I made a decision! I took a friend along and we unanimously agreed on the Concerto that I had originally liked!
So they put it aside for me until I get that cheque organised!
Now, what am I looking for in a good A???
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Author: Aussie Nick
Date: 2003-08-20 07:59
Umm the same qualities you found in the Bb? Try and find an A that feels and plays very much like the Bb. You don't want radically different instruments.
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Author: Synonymous Botch
Date: 2003-08-20 11:47
The Concerti should be VERY similar, one pitch to the next.
If you can't find a Concerto in A that you like, contact Tom Ridenour about his hard rubber clarinet in A, it is a superior instrument and a cousin to the Concerto design.
If I had the dosh, I would buy one!
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Author: ken
Date: 2003-08-20 13:55
Out of curiosity, I'd like to hear the supporting reasons why a horn with a "bright tone" is more beneficial to a student? (I assume the reference was to a beginner/intermediate player)
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Author: LeWhite
Date: 2003-08-20 14:19
Out of curiosity, I wonder if you've actually read this topic...
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Author: ken
Date: 2003-08-20 15:36
Le White wrote: [... And I didn't like the Infinite, it was too bright for my liking. I would highly reccomend it to a student though!]
Le White wrote "Yep, I made a decision! I took a friend along and we unanimously agreed on the Concerto that I had originally liked!"
LeWhite wrote: "I think I'll go for the one that had a very even scale, bright and bouncy tone"
LeWhite wrote: "Never did I say I'd reccommend it [Infinite] BECAUSE it's bright."
--So you're going with the Infinite right? I agree, I'd highly recommend it to a student. v/r Ken
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Author: LeWhite
Date: 2003-08-21 01:05
"I said this particular Infinite is bright. It is the only Inifinitie I have EVER tried. Having the same acoustical design of Concerto and Opus (minus things like tenon rings, swanky case, exatra key), it is an excellent price for a student. So, for the cheaper price, the student gets the acoustical twin of an Opus/Concerto, minus the things they may not want to pay extra for."
No Ken, I'm getting the Concerto.
Above is the paragraph why I would recommend an Infinite to a student, in case you missed it.
The brightness I found in this particular Infinite and the one in the Concerto I chose are completely different.
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Author: BobD
Date: 2003-08-21 14:14
LeWhite: Sorry I didn't read what you said properly, guess I'm ready for some remedial reading tutoring. Lots of luck with your choice.
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Author: Bob Schwab
Date: 2003-08-21 15:35
I do have to say Ken that your most recent post was quite meanspirited. I was bothered as I read it. My two cents.
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Author: sfalexi
Date: 2003-08-21 21:24
Bob Schwab wrote:
> I do have to say Ken that your most recent post was quite
> meanspirited. I was bothered as I read it. My two cents.
Some posters do seem to do this time to time. They seem to make fun of posters from time to time. I don't like it either Bob. It's happened to me, and many others, and Ken's not the only one. I was so happy when I was reading a post where Mark C had deleted the post and finally warned one of them.
Sigh. While I know we can't ALL get along, can't we just state the facts and opinions about the clarinets and the situations not about each other? One of those, "If you don't have anything nice to say ........"
Alexi
US Army Japan Band
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Author: clarnibass
Date: 2003-08-22 10:18
if all of the leblanc models are the same, why are the prices so different? i never tried leblancs, but i tried many buffet models and they are very different from each other. is the Eb/Ab key is the only difference between opus and concerto? i didn't even think about that key when choosing the buffet prestige over the R-13. i tried about 5 of each model and ALL the prestige R-13's sounded much better than the R-13's. it's a different sound. so you are saying the sound of the concerto is the same as the opus or other leblanc models? i'm going to buy an A clarinet soon (hopefully) and after 3 buffets i think i'll a leblanc.
enlighten me please.
thank you.
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Author: LeWhite
Date: 2003-08-22 10:39
The Prestige has the same bore as an R13, onlt difference is metal tenon rings and auxiliary key. I believe that Prestige may be made from heartwood, whereas R13 is made of 'just anything' (Quite literally LOL).
The best way to describe leBlanc's models to a Buffet player is to (SIGH) compare them. In my opinon:
Infinite - R13
Concerto - R13/Prestige (somewhere between)
Opus - Prestige/Festival
The Concerto has metal tenon rings. The Opus also has the auxiliary key. The Infinite is the acoustical triplet of these other two, but none of the mentioned extras.
Oh, and Buffet come with nicer cases, I must agree, however, I prefer the interior of LeBlanc cases!
That's all I know really!
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Author: moose6589
Date: 2003-08-22 12:05
I've never played a LeBlanc, only buffet, but judging from what I see here, leblanc seems to make the better-quality, cheaper clarinets? So why then do so many more people buy buffet than they do leblanc?
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Author: LeWhite
Date: 2003-08-22 12:42
I guess Buffet suits more people than what LeBlanc does. And I dunno about where you ar, but here, LeBlanc are considerably more expensive than Buffet!
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Author: clarnibass
Date: 2003-08-23 15:19
ok thank you lewhite, and sorry if i am taking over your thread, but i have another question. i understand everything you said, but some things i still don't understand.
if the Eb/Ab key is the only difference between the concerto and the opus, why is it so much more expensive? there really isn't any difference in sound?
like i said, the buffet prestige has a MUCH better sound than the regular R-13, so even if it didn't have that key i'd say it's worth the extra money. can you say the same thing about leblanc?
i mean, you compared concerto with R-13, and opus with prestige, but if i ignore the Eb/Ab key is it still the same comparison?
the thing is i might going to buy an A calrinet soon, and after 3 buffet clarinets i'm thinkig of getting something else. i noticed leblanc is cheaper than buffet. i don't care at all about the extra key, so is there any other thing beside the key that i should consider the opus over the concerto? i almost never use it on my prestige too.
thank you and just tell me if you mind me taking over your thread like this.
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Author: LeWhite
Date: 2003-08-23 15:37
I have to tell you, the R13 and R13 Prestige are exactly the same, there is absoloutely no reason why one should be better than the other. The Prestige features metal tenon rings, and an auxiliary key.
I guess the price difference betwene Concerto and Opus is a status thing - it's a "Look how much money I have" thing. You're only paying for one extra key, as both Opus and Concerto have metal tenon rings.
(One strange thing is that of the 2 Concertos I tried, the one I DIDN'T chose had a tenon ring at the top of the upper joint, the one I DID choose had them at both ends of the upper joint.)
You know you can take that extra key off if you want. Get your teacher to show you, it's very easy, and may make it ever so slightly lighter!!
And I don't know where you're getting your prices from, but Leblanc is generally more expensive than Buffet, by quite a bit.
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Author: clarnibass
Date: 2003-08-23 16:22
firast thing, the buffet prestige has a better sound than the regular R-13, that's a fact. well, not a fact, but i base it on trying over 10 R-13 clarinets and over 10 prestige R-13 clarinets. the prestige sounds better and feels a little different on the fingers.
also you can go to www.wwbw.com you can look at the prices.
i'll even list them here myself.
buffet R-13 - 1,700$
buffet R-13 prestige - 3,300$
leblanc concerto II - 1,700$
leblanc opus II - 1,950$
as you can see the leblancs are cheaper in general. you can also see, that the difference between opus and concerto is not that big, while the prestige is so much more expensive than the R-13. i'll look more into the difference between the 2 buffet models, but my experience is enough for me to know they are different.
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Author: Mark Charette
Date: 2003-08-23 16:40
clarnibass wrote:
> if the Eb/Ab key is the only difference between the concerto
> and the opus, why is it so much more expensive? there really
> isn't any difference in sound?
Marketing, marketing, marketing.
For instance:
Assume for a moment it takes $500 worth of materials and $500 worth of labor to make a clarinet that sells for $1500, and assume it takes $550 worth of materials and $550 worth of labor to make a clarinet that sells for $3000. After all, the base "ingredients" of the high & low end are the same, and the R & D is shared.
$500 profit/instrument on the low end, $1900/instrument on the high end.
To keep the "cachet" of the high end (quantity low, desirability high) only make 1/3 as many of the high end instruments. Make sure your advertising reflects the cachet.
You still come out ahead on the high end instruments.
I work in the automotive industry - the instrument industry works on the very same principles. The "worth" of manufactured goods is directly related to its desirability, and desirability is related to quantity and marketing.
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Author: LeWhite
Date: 2003-08-24 07:42
You're right Mark, it's purely a desirability factor. If I walked into college tomorrow with a brand new pair of Opus II's, I'd be the envy of all the other clarinet players. Then again, I'd still be sitting as 2nd in orchestra next to someone with R13s.
I could have afforded the Opus, but, out of the instruments I tried, the Concerto I chose played better for me. I tried an Infinite too, because who knows, it could have out-performed the Opus and Concerto. But the Concerto played best for me.
I guess you can spend all the money you want, and believe that the more expensive the instrument, the better it is. But at the end of the day, an Infinite is basically the same as an Opus, and an R13 is exactly the same as the Prestige. The latter just has "Prestige" written on it. So it MUST be more prestigous to own one. Buffet has some great marketing going for it.
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Author: clarnibass
Date: 2003-08-24 09:49
i never said that if an instrument is more expensive it means it is better, but from my experience i KNOW the prestige is better the the R-13. i am waiting for an email from the buffet company, but also from what i checked so far, the prestige is made from a different kind of wood than the R-13.
basically i wanted to know all this because i'm going to get a new A clarinet and i thought maybe i would get a leblanc instead. i will definitely won't get the opus if the only difference is the Ab/Eb key, but i got the prestige because it sounded better than the R-13. all the prestiges sounded better than all the R-13's. that's a fact. thank you for the information about leblancs, i think i will get a concerto A clarinet, unless the buffet will sound much better (probably both will sound about the same).
Post Edited (2003-08-24 09:52)
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Author: LeWhite
Date: 2003-08-24 10:41
You are one confused guy.
There is no physical difference between the R13 and the Prestige's bore, therefor they are identical instruments. The prestige is made from heartwood, R13 isn't.
Don't rule out getting an Opus, it's acoustically the same as a Concerto, therefore you could find an Opus that plays better than some Concertos.
You could also find some R13 that play better than a prestige.
For example, Greg Smith of the Chicago Symphony plays on R13s. Why not Prestige you ask? I can't speak for him, but my educated guess would be because the pair he chose out-performed every Prestige he tried.
Just as my Concerto out-performed the Opus. Each clarinet is different, from model to model or even of the same model.
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Author: icecoke12
Date: 2003-08-24 11:47
Hmm......so does it makes better sense to keep trying R13s and Concertos to find a good instrument since you will save money this way?
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Author: clarnibass
Date: 2003-08-24 12:16
ok thank you for the answer.
i guess it was just coincidinece that all the prestige i tried had a better sound than the R-13's. maybe the different wood makes the difference? because when i went to try the prestige, they gave me a few R-13's to try and compare too. the R-13's were just lke my R-13. i'm not saying the prestige has better intonation or anytihng like that. just that it has a different sound. can't realy explain the difference but it's there.
just a correction, at least from what they say on the woodwind & brasswind website, the prestige is made of M'Pingo wood (i have no idea what's the difference).
just to know, how many R-13's and prestige clarinet have you tried?
i will open a new subject about this discussion and we'll see more opinions.
Post Edited (2003-08-24 12:47)
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Author: Synonymous Botch
Date: 2003-08-24 13:29
Be careful of marketing hype, where your dollars are concerned...
M'pingo is also known as Grenadilla.
If you want an idea of how far the pseudo science can be taken, and to what expense;
http://www.shunmook.com/text1.htm
FYI, I play the Opus.
I just purchased a second-hand ($75 USD) Ridenour TR147 made of hard rubber. Played with the same reed and mouthpiece, they are convincing cousins. Or as TR says, "They all come out of the same woodpile."
New clarinets suffer tremendous depreciation in value.
Find one that plays well now, in tune and feels good to you.
Get the least expensive instrument that does the most for you.
The rest is paying for your vanity.
PS - I love the look and feel of my Opus, it is exquisitely made.
But more than $2000 USD for what amounts to cosmetics?
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Author: Bob Schwab
Date: 2003-08-24 13:35
SB
I checked out your link. Oh my. There's one born every minute.
Bob Schwab
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Author: LeWhite
Date: 2003-08-25 09:48
Synonymous Botch:
"I love the look and feel of my Opus, it is exquisitely made"
Yupyupyup!!!
What is the Ridenour like, anyway? I've heard so many good things about it!
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Author: Synonymous Botch
Date: 2003-08-28 21:46
I think the Ridenour is a little more 'punchy' than my Opus.
The TR 147 seems to take a little more pressure to get up to a solid tone, using the same mouthpiece, but has more composure at pitch when played loudly. Just the thing for my concert band!
Tom has some that he has hand-tooled and adjusted for best performance but they are more expensive than I can currently afford.
FYI - he also makes a version in A for the same price.
You may contact him directly through Brook Mays or his website.
I paid $75 USD for mine, and it's NOT for sale!
I believe the TR 147 is a derivative of the Concerto/Opus design, which is probably why I like it so much.
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Author: Andy
Date: 2003-08-29 14:47
So you live in Australia, and I'm assuming Melbourne. How many professional players in Melbourne APART from Robert Schubert play on anything other the Buffet instruments. I'm not saying anything for or against LeBlancs, but it would appear to me that ifyou want to give yourself a fighting chance you would want to playing the instrument brand that is readily accepted in your city. To me, leblancs sound different and are a lot harder to play in tune next to buffets, which is what you would be doing in Australia. If you are in Sydney, Perth, Canberra, Brisbane or even Tasmania, I feel you should ask yourself the same the quesiton. If you are in Adelaide, well tell us as that raises new questions as the principal of the orchestra in Adelaide still plays 10/10's.
Remember we are not american and don't have the luxury of being able to play all those fancy things and still get work.
Your argument about Prestige clarinets is also redundant IMO. I however play on RC's.....
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Author: LeWhite
Date: 2003-08-30 12:08
Andy, if you can play in tune you can play in tune, doesn't matter what instrument you have. If you can make a nice sound, you can make a nice sound, doesn't matter what instrument you use to do it.
I love playing on LeBlanc, I find it much better than on Buffet R13. And if that's what I like, that's what I like. I'm not trying to be radical or different, just playing what suits me best and what I like to play on. And if I sound better on them, then I think I have more of a fighting chance than if I didnt sound good on them.
Apart from that, I don't really have to validate my reasons; they may validate themselves in a few years time. And even then, it would be becase of hard work, not what brand of instrument I play on.
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Author: ken
Date: 2003-08-30 22:07
sfalexi wrote, "it's happened to me, and many others, and Ken's not the only one."
--Since I’m such a mean-spirited guy you might perform a quick search on all of your past posts and count up how many threads of yours I electively participated in, offered my help and advice to you.
LeWhite, in the future I have a friendly suggestion; please exercise a little more patience with fellow posters and not immediately assume because someone has a differing viewpoint you are being challenged. For what it’s worth, I happen to agree with just about everything you wrote and philosophies … 99% of the topics covered on this BBoard are 100% subjective anyway. But, in this venue some of us innocently misinterpret what might be crystal clear English to another and get themselves turned around.
My apologies to all for any previous over the top remarks, and LeWhite, feel free to contact me privately if you wish to comment further; I hide from no one and my email is in profile. v/r Ken
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Author: LeWhite
Date: 2003-08-31 07:08
It's OK Ken, no need to apologise, it was ages ago, I'm over it, water under the bridge! :D
I'm just more than a little disturbed by Andy telling me I don't have a fighting chance unless I play Buffet... I thought the people with a fighting chance were the ones who worked hard?
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Author: Andy
Date: 2003-08-31 07:57
My suggestion is just that, a suggestion, take it with a grain of salt if you like. I always find it helpful however to look at your collegues who have been there before you to see what probelms they have encountered. With that in mind it is why I posted my message, many a fine clarinet player in Melbourne has changed clarinet brand to buffet, not due to any enormous difference, as you quite correctly stated that if you play in tune you play in tune, there is no two ways about it, but tone is different. A good tone can be produced on many instruments. A blending tone however is what is needed in my case, and with that in mind I suggest playing on Buffets in Australia. Buffets have certain tuning issues compared to that of LeBlancs and others. Although the majority of professionals hide these issues by their brilliant playing, the issues are still there and with those in mind it would be easier for you to match their issues rather then bring in your own.
As I said many graduates in our country have changed, if you would like there contact details to talk to them about why they changed, feel free to email me. Im not entirely sure who I'm talking to, but I have a fair idea, and if you are who I think you are, then you obviously can play (congrats on the mozart gig on Friday night) and the changes we are talking about are minimal, but very important. Maybe it would also be a good idea to talk to the local pros about the switch, as for all of the BB good points, most BB members are not in Australia, and are approaching the topic with a different view point which may not be exactly what you need at the moment. (If you are not that person, could you at least give a me an idea of if I am talking to an undergrad/postgrad/graduate/high school student)
The point that no pro in Melb, Syd, Canb, Bris, Perth or Tas (to my knowledge) plays on anything but Buffets. Could this not be the sound that Australian Orchestra's like and want to hear, and more importantly audiences?
Please continue this discussion as I am very interested to see your oppinion as at the very least we are making each other think.
Cheers,
Andy H
(as to working hard meaning you have a fighting chance, yes I agree, but I also think there are many more aspects at play then just hard work, and any advantage you can get is a good one...)
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Author: LeWhite
Date: 2003-08-31 08:41
You bring up a good point, but I'm still not convinced. It's not like I plan to study here and then work here. I don't know where I'll be when I'm a 'professional'.
You're thinking of the wrong person I think, I didn't do a 'Mozart gig' on Friday... I'm a 1st year at VCA, I was at the Concerti rehearsal. Robert Schubert is my teacher. And believe it or not, it wasn't his influence that has made me decide on LeBlanc! (Even thought he was keen to sell me his old pair, which is another story!)
I realised that what I'm playing on isn't that good... I think I happened to get a kinda lemon R13. So I decided to go about getting a brand new pair. A few visits to Brass & Woodwind in Ormond, and Musicorp, and about 30 or so Buffet clarinets later, I wasn't impressed, they all played like my R13 (well, very very similar). Acutally that's a lie, only ONE RC Bb played better than the rest, but even then, it still wasn't so much better.
I tried Selmer, Yamaha (not bad at all, I must say), but LeBlanc instantly hit me as an instrument that has an unparalleled ease of play, ease of timbre, tuning, even scale... It was just absoloutely gorgeous!
To be honest, I doubt I'll ever play in an Australian orchestra, or any orchestra, I have no thoughts on where I'm headed (I used to). But this is a topic I'd happily discuss offline if you'd like.
I guess what Im saying is that I didn't take into account the blending issue when choosing. It has never stuck me as something that's important... I think a good clarinet player should be able to blend with no matter what. The obvious example is Chicago Symphony Orchesta.
And as someone said earlier in this topic, the mouthpiece plays a HUGE part too. If blending were ever an issue for me, I suppose I could go out and get a new MPC. Or a Buffet Chad. barrell... There's a LOT more than just the clarinet to consider.
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Author: Andy
Date: 2003-08-31 10:15
If your at VCA and see a big guy who you don't recognise playing the clarinet in a practice room, come in and say hi, I will be practicing there each night this week!
chicago is chicago and alas, their brilliance as a section is without par in our country.
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Author: LeWhite
Date: 2003-08-31 10:31
OK well if you see a guy with a blue BAM case, come say hi!
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Author: LeWhite
Date: 2003-09-11 03:18
Well, I bought the Concerto. And it's beautiful!
Thanks for all your help guys!
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The Clarinet Pages
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