 The Clarinet BBoard
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Author: joannew
Date: 2005-06-26 20:59
My local repair shop gave me a little gadget recently that "no clarinet should be without", a little piece of plastic which sits in the top of the lower joint while the clarinet is in its case, with a clamp to keep the E/B key depressed. Apparently all Buffets come with this gadget these days, stamped with the Buffet logo and "patent pending". However, it seems to me that the best way to store an instrument would be with the springs in the relaxed position. Has anyone else come across this device? Any thoughts from someone mechanically-minded who could tell me why this would be at all useful?
Thanks,
Joanne
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Author: Fred
Date: 2005-06-26 21:36
The concept is that a closed pad is more likely to remain "seated", thus providing a better seal. Key clamps are more widely used on saxophones, though they are both cussed and discussed in that world as well. For the clarinet, it is an idea that has never really caught on - except for Buffet shipments (as far as I know.) Many dealers rip them off . . . (sorry, momentarily non-PC), I mean, remove them prior to sale of the instrument - only to offer them for sale to other players.
Bottom line: Probably not needed if you play halfway regularly. Maybe an idea to consider if you have clarinets you let sit up for a year or so at a time.
Post Edited (2005-06-27 01:05)
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Author: BobD
Date: 2005-06-27 10:50
For shipping purposes they probably offer some advantage.
Bob Draznik
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Author: Gordon (NZ)
Date: 2005-06-27 13:43
Hmmm.
Pads that are normally closed do indeed tend to seal better than pads that are normally open. And yes, that is because they are constantly receiving an indentation that perfectly matches the tone hole.
However, there is another big and relevant difference between all the normally closed pads, and all the normally open ones (except 'throat' F#). Sorry if this explanation is a little convoluted.
These pads are linked to other pads. There is not total accuracy in transfer of motion from one key to another via mechanism. This is because of:
1. The 'squishy' silencing materials involved in the linkages.
2. The slight sloppiness in the hinging of the keys (especially during climate changes that alter the length of the timber with respect to the length of the mechanism.
3. The slight flexing of the metal within linkages. This one becomes much more significant for instruments that have longer, larger keys, such as bass clarinets.
The fact that 2 is often a significant issue for a soprano clarinet is often demonstrated when a mid-stave B works better operated by the left hand than the right. The left had presses the key in a different direction, giving a different contact area with the nearby pivot screw, i.e. a slight re-alignment of the E/B key with respect to the linkage to the F/C key.
Now, let's take the example of two pads, such as F/C and E/B (when only the E/B key or lever is pressed). These are adjusted to close simultaneously on their tone holes. This ensures a clean change from note to note, say low G to E.
However, after that simultaneous contact with the tone holes, the player presses the key/lever just a little more to achieve reliable sealing. This extra force is transferred MAINLY to the closer, F/C pad. The sloppiness (1,2,3 above) in the linkage to the E/B pad ensures that this pad gets less of the sealing force. Ideally, the pads should close with equal sealing pressure.
The two ideals are mutually exclusive. To achieve the latter ideal, the mechanism would have to be adjusted so that the E/B pad contacted the tone hole slightly before the F/C pad contacted its respective tone hole.
So we are introduced to the need for compromises, which leads us closer to the crux... These normally-open pads require considerably more resilience to accommodate these discrepancies. (Perhaps this is the real reason why the less accommodating styles of pad, such as cork, are not normally used for these keys.)
If key clamps are used, then the pads get a deeper seat. These deep seats are caused by the the tone hole edges constantly crushing the felt in the pads.
Crushed felt has far less resilience than uncrushed felt. Therefore, IMO, key clamps lead to reduced future reliability. They may initially help reliability by being a band-aid to scruffy adjustment of pad seating, linkages, pivots, and use of unnecessarily 'squishy' silencing materials (such as natural cork), but after a while, when the pads no longer have the resilience to carry out their task effectively, the damage has been done - by the key clamps.
Not just theory... I can accelerate the effect of clamps by putting a flute in a warm oven with clamps on. This deepens the seat (i.e. crushes the felt), and if the felt is of a type that retains its new shape well, the pads seal very well. However if I RELY on this clamping, rather than doing precision adjusting beforehand, and the adjustment is not adequate after removing the clamps, then the felt has indeed hardened sufficiently that it is now far more difficult to get a pad adjusted to accommodate small discrepancies such as less-than-ideal levelness of tone holes.
One of those things a technician learns through experience, and it is different for different types of felt.
:-)
Post Edited (2005-06-27 23:34)
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Author: Bob Phillips
Date: 2005-06-27 15:12
Gordon,
thanks for the helpful explanation of pad sealing.
makes me want someone competent to work my horn over.
Bob Phillips
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Author: Don Berger
Date: 2005-06-27 15:52
Very well said, Gordon, excellent analysis and description. In your last sentence I believe you prob mean leaRn, however "leans-on" [toward?] works quite well. I've found, as you describe, that when "floating-in" the big pads by mild heating, I get better results by using the left hand E/B touch to seat both of those [potentially-troublesome] pads. I have seen brand new saxes with cuts of cork inserted to keep the Normally-Open pads seated during shipping, it does work. My thots, Don
Thanx, Mark, Don
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Author: GBK
Date: 2005-06-27 16:19
I like them and always use them when traveling.
Just in case the clarinet case takes a severe bump, they probably offer a bit of protection against misaligned lower joint keys...GBK
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Author: DavidBlumberg
Date: 2005-06-27 16:20
What one very high level repair guy suggests is to use a nylon (note - NOT RUBBER) clear hair braid to close those keys with.
2 bucks for 100 of em and they work really well. They also do not scratch the keys.
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Author: Ed
Date: 2005-06-27 16:24
I am a professional player and I have used key clamps for years on my regularly used instruments. At this time I use the Buffet device. Previously, I used the wound hairband rubberbands for this purpose. I began using them on the advice of my repair tech. I have had no problems with this system and in fact, have had the bottom pads on my instrument for quite a long time. I recently inquired with my current repair guy (as the old one retired) about the status of those pads since they were starting to look pretty old. He suggested I leave them since they are sealing great. Although I cannot give you a scientific test to back it up, this system has worked very well for me. It has certainly not caused any adverse effects on my A or Bb.
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