 The Clarinet BBoard
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Author: contragirl
Date: 2003-12-17 23:20
Ok, I have been getting more curious of Selmer clarinets.
First of all, what are the "professional" horns they have? What are their top of the line clarinets that are on the level of the R13 or higher?
Also, I think I am getting the naming of their clarinets. When they say 9 and 10 series, they mean that the seriel # is in the 9ks and 10ks?? I'm slightly confused about that.
I know someone that plays on 10G series and he seems to like it just fine. But what about the 9 series?
Inform me of your Selmer ways!!!
--Contragirl
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Author: sfalexi
Date: 2003-12-18 01:34
I've been doing lots of browsing on the board lately. Here's what I came up with . . .
The series names are not serial numbers. They are the "model" of the clarinet. Just like R-13 has a series (R-13, R-13A, R-13 Prestige), 9 and 10 are series.
There are the 10G, (G is for Gigliotti who helped design it.) From what I read from posts, Gigliotti had two R-13's completely customized by Moennig and used them as a model for the 10G (.574 bore). And then playtested the beginning batches to make sure production was good. There is the 10S, 10SII (Probably just a newer model, .567 bore)). The bores are all pretty normal on those.
The selmer 9 is a large bore clarinet. So it'll produce a very different sound then if you were to play a smaller bore clarinet. The 9* is a smaller bore.
Then there's the Selmer Signature (I believe that's the top dog of Selmer. Equivalent to a bufffet R-13 Prestige).
There's the Selmer Odysee, the "entry level" professional instrument. And the Selmer Recital (a small bore clarinet, apparently tunes best with the C85 mouthpiece which was made for it, with a bore of .564).
If you find an older recital, they had problems keeping the Low F in tune (it was always flat) but newer models have an extra bridge key which opens a a vent to keep that low F in much better tune.
As far as the "R-13" comparable ones, you really can't tell. There are R-13's that are great, and R-13's that frankly sound like [explative deleted]. The order Selmer has them (as far as marketing/price goes) from top professional to lowest proffessional, would be Signature, Recital, Artys (I've never heard of it before I looked in this WWBW catalogue right now), 10SII, 10G, odyssee.
Do with this what you will.
Alexi
US Army Japan Band
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Author: hans
Date: 2003-12-18 02:54
Here is the URL for Selmer Paris.
http://www.henri-selmer.fr/html/english/sommaire/someng.htm
Hans
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Author: Hank Lehrer
Date: 2003-12-18 03:58
Hi CG,
I have a Series 9 and a 9*. The 9* is as perfectly in-tune a clarinet as I have ever found. It is right on. The 9 is also a great clarinet, is a bigger bore, and plays very well. Both clarinets are from the 1960s. The 9* was made to be in direct competition with the R-13.
HRL
PS I prefer my Leblanc Dynamic 2 from the 1950s. Talk about a big sound.
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Author: diz
Date: 2003-12-18 04:27
hank you are so spot on about the 9 series ... as I've said before one of the worst things I've done in life was to sell my beautiful 9 series Selmer ... sigh.
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Author: LeOpus1190s
Date: 2003-12-18 08:53
I have heard some good things about the signature clarinet, I don't anyone directly who plays them though. They have a completely different feel than the R-13 clarinets. Not necessarily bad, just different.
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Author: lyn
Date: 2003-12-18 10:14
I think the earlier 10Gs are much better horns than the later ones. Specifically, the X, Y, Z, and A series. Gigliotti hand picked the first 500 and those were the X series......I have #333 I also have a Z series A. Both horns are excellent. The tone is more liquid and focused, the intonation is better, overall they are very resonant. And they Project.
I did have a set of 10s, with articuated G#/C# keys - but the bore was much smaller and I wasn't nuts about them.
I bought my 10G Bb waaaaay back when it was new, I tried it and 12 Buffets out. None even compared to the 10G. To this day, every time someone plays my horn, they offer me $$$$ for it. LOL
~L
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Author: Tim P
Date: 2003-12-18 11:26
Arty's----
Maybe I can help here. About a year ago I picked up my clarient after 30 year recess. One of the first stops was the local music shop to get it repadded and whatnot. While there and after chatting with the sales person he let my go in the practice room and try some clarinets and mouthpieces of all cost. Even though my embouchure was still weak, I tried each one. One was an Arty's. I can still hear it. Man was I empressed. I fingered the note and it sounded. I was in love. My wife is envious. I am not allowed to go that store anymore. Some of the clarinets that I tried were good and some better then others. But these one was way out there. I really comtemplated switching instruments in my case and running like hell.
I decided to start saving money right then and there and have done so. When I reach my goal I will try the Arty's again along with others. It will be the first and then the last tried before I make a final decision.
I have not been very sucessful in finding information. I have just now seen the first one offered on WWBW. But, of course, I will give my local shop a fair shot at selling me one. And I will give some credit to them for the one that introduced me.
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Author: Hank Lehrer
Date: 2003-12-18 11:43
Hi Diz,
Sorry to hear about the "one of the worst things I've done in life was to sell my beautiful 9 series Selmer." I sold a very nice R-13 many years ago when I needed some cash (these things happen).
Fortunately, my wife (who is not a musician) says "never sell those old clarinets but try to buy more at a good price and hold them." I'm a lucky man with a good Series 9* and a wise mate!
HRL
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Author: Synonymous Botch
Date: 2003-12-18 11:48
The greatest players I have actually met don't play stock instruments.
They choose the best from their sponsor's offerings, and then have them heavily modified for optimal response.
Look at Ricardo Morales horn some day... it has enough extra metal on it to pick up TV broadcasts.
*******
In short, don't take any advertising hype over empirical evidence.
Go play some in your price range, and pick the one that sounds best to you.
There are competing arguements on used gear...
*The instrument was good enough to be chosen once.
*The instrument has been worn out.
Me? I would take a good used clarinet over megabuck horns ANYday.
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Author: jim S.
Date: 2003-12-18 19:08
Synonymous Botch wrote:
> Look at Ricardo Morales horn some day... it has enough extra
> metal on it to pick up TV broadcasts.
What do you mean by "extra metal"? Saxophone pad resonators?
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Author: Synonymous Botch
Date: 2003-12-18 23:27
RM has loads of extra keywork installed... to wring the last IOTA of performance out of his horn. It was rather complex, but he likes it.
It's all about getting the instrument to help, rather than hinder, the player.
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Author: LeOpus1190s
Date: 2003-12-19 01:39
Try the selmer signature!!!!!!! I am a buffet mofia person but I tried a set and midwest today and I was hooked. Absolutely beautful clarinets..
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Author: eborys
Date: 2003-12-19 14:10
I purchased a new Signature a couple of years ago. My wife (pianist) and I play formal weddings –during services- and my R13 was ‘standing out’ more than I thought it should for that type of work. While it is a great sounding horn, it can be a chore to play. Pushing 60, I’m getting a little lazy and I was looking for an easier ride.
I played a few Signatures and found one I thought would be an excellent choice… a very nice horn at The Woodwind&Brasswind, in Indiana. A very LARGE cracked proceeded to develop, in the upper section, starting under the metal tenon cap extending into the register vent hole. It was truly one of those: it wasn’t here yesterday, but it sure is here today, ugly cracks. I called ww&bb and they said to return the horn and pick out a new one. Great!!!
Off to ww&bw the next day, an 8 hr round trip. Well, they had 5 or 6 Signatures that appeared as though they had been returned from middle-school band duty… that was all ww&bw had… and no idea of when they would be getting any more.
To my surprise I found a horn that played well. Only problem was, that it had few dings. It was probably my mistake, but I returned home with the replacement Signature. After playing a few days, and the subsequent assembly and disassembly, a few more defects became apparent.
I had the upper keys corked, and at that time asked for an estimate of bringing the horn into esthetically new condition… more than I was willing to absorb.
I sent an email to Tom Ridenour, a Selmerite, recounting my tale of woe… without using too many adjectives. Tom was very gracious in his reply… said the he had contacted the Selmer repair facility, and that they would restore my Signature… and it should take a week. Thanks Tom! I took a pad of ‘sticky notes’ and placed them in the appropriate places on the Signature... carefully packed and shipped the horn.
Well… a month and a half later the Signature arrived… nobody’s perfect. Like a kid at Christmas I opened the packaging, and behold… to this day, I wonder what they did to my Signature… for it appeared EXACTLY the same as before Selmer Service had ‘fixed’ it, the dings and scratches all in place, but someone had stolen my ‘sticky notes’.
Well, they won… I guess. I don’t like dealing with people such as these associated with Selmer. Enough is enough… a pragmatic attitude is in order… at least the horn plays well. One of these days I’m going to have some key-work done and at that time I’ll also have the repairs, that were beyond the Selmer organization and their associates, completed.
… and that is what happened to me when I purchased a new Selmer Signature.
Emil
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Author: LeOpus1190s
Date: 2003-12-19 18:04
Emil -
I am not sure exactly where you are at but why don't you take your horns to the brannens and have them do the work you want. They do fantastic work on my buffets and I know they service selmers as well. They aren't cheap but they are well worth the investment.
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Author: eborys
Date: 2003-12-19 20:50
Yes... thanks. I'm about 70 miles from them and they work on my R13.
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Author: Bradley
Date: 2003-12-20 02:45
Try the new Recitals.....
The Signatures leave much to be desired I think- off tuning, chunky keywork, too much resistance etc.
While the Recital does have those problems as do all Selmers to some extent, it's wonderful dark tone and good projection (and what happened to be spot on tuning almost like a Leblanc hehe) make up for those problems.
THIS IS ONLY AN OPINION
Bradley
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Author: LeOpus1190s
Date: 2003-12-20 03:04
I think that with the proper reed and set up you can get a feel for an instrument properly. I have two r-13 Bb clarinets that feel totally different, a reed that would work on one horn wouldn't work on the other and vice versa.
I am sure the brannens could iron out keywork problems, after all buffet and leblanc don't exactly take their time in making sure the key work is perfect.
resistance is horn by horn...
I think part of the reason people love R-13's so much is because they are so different from each other. If they all played the exact same i highly doubt they would be so popular. the inconsistency provides for one to find a clarinet that matches their playing.
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