 The Clarinet BBoard
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Author: Brenda Siewert
Date: 2005-11-11 16:22
It's a rare confession from a Buffet person (although I do not consider myself a Buffet "Mafia" person), but I've gone back to Leblanc Opus after a number of years (about 5) of playing Buffets. I'm holding a new Opus II in my lap as I write (carefully, of course) and am very impressed with its tone and intonation, etc. I'll have to send it to the Brannens, of course, for some minor adjustments and those great pads--but otherwise I'm quite thrilled with it. It's new, so give me a few weeks to report again.
Reason for the change: I got tired of constantly taking the Buffet R-13 I was using in to the repair tech. Although it was only 1 year old, the finish was wearing off the keys (nickle-plated) and it had lots of "tweeking" problems all the time. I took it in 3 times for the f, f#, e upper left hand keys sticking. Twice he replaced the pads (within 3 mos of it being new) and the last time he replaced a cork under the key. These are minor things, to be sure--but bothersome to me as someone who's played for over 46 years. Also, the R-13 (although I realize it doesn't compare in price to the Opus--but I also owned a Buffet Prestige which DOES) needed the help of the Backun bell and barrel to make it sound good. I realize that is a personal thing and subjective at best. But the Opus doesn't need anything to make it have that wonderful, sweet orchestral tone. I'm using the Backun barrel on it, and it does improve things, but it doesn't HAVE to have it.
I have owned a couple of Opus clarinets in the past and really thought highly of them. I guess we artists are always asking too much of our equipment and quite fickle from time to time, but I have to say I don't miss the R-13. For the money, however, I stand by my recommendation of the R-13 for the advancing student and the professional who doesn't want to spend $4,000.00 for a Prestige or Opus.
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Author: GBK
Date: 2005-11-11 16:43
Brenda:
Your tale of woe with a new Buffet R13 is certainly not unusual as I've had a few students with new R13's (within the last few years) who have had similar issues with pads, corks, key plating and wood grain finish.
However - colleagues, pros (and some students, too) who have older Buffets - especially from the 60's and 70's have had few (if any) problems whatsoever.
Certainly not a definitive study, but in my experience, a recurring pattern...GBK
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Author: Paul Aviles
Date: 2005-11-11 18:05
Brenda,
Oh boy, this is right up my alley as well. I played a Concerto for two straight years (about six years ago) and thought it was the most "fun" to play of anything I had available. The only reason I switched to Buffet (long story short), is the whole focus/projection thing. When playing chalumeau in the section, you can't really hear the Leblanc for the damn Buffets. But other than that I would gladly switch over for good.
I am actually getting the Concerto back in a few weeks. I'll let you know the results.
............Paul Aviles
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Author: Brenda Siewert
Date: 2005-11-11 18:25
Yes, GBK, I agree wholeheartedly with your comment. I've owned many Buffet R-13s along with 3 Festivals and one Prestige and found them quite well made instruments. Even the last 5 years I've owned some good ones. But, this last batch just seemed particularly mediocre. I searched for the one I just sold for several months with my local dealer before purchasing it. Everytime he got a shipment in I went down and play-tested them. I was about to give up when the tech guy opened the box on mine and said, "Hey, the key-action is kind of sweet on this one." And, it was--however, it was difficult to keep it that way.
I was also very disappointed in the finish on the wood of the R-13. The Opus has the unstained Grenadilla (more like the Buffet Prestige), so there is no danger in it getting "blotchy" from the shine wearing off like my last R-13 did. I was also concerned about the plating wearing off so soon on the R-13. So, granted I'm comparing a steak dinner with a hamburger, but I'm so glad to get back to the silver keys and unstained Grenadilla wood of the Opus.
I would also comment that my Buffet Prestige was an excellent, well-made instrument. It was bought in 1997. I sold it because I always felt it was a bit "stuffy." But, it was very well put together and had excellent intonation.
Paul, I'll be interested to hear about your Concerto. I used to own a Concerto A clarinet and it was very nice. Tom Ridenour did a little work on it for me and it played wonderfully. After cutting back on some of my orchestral gigs I decided to sell it. I hear the Concerto II is selling out everywhere because it is such a good instrument. I went back to the Buffet R-13 because of playing with so many players who were using them, so I know what you're saying.
I do feel the Opus is quite nice in the upper register, however. I'll let you know how the Christmas concert goes with all the upper register stuff on "Sleigh Ride," and the rest of the pieces.
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Author: clarnibass
Date: 2005-11-11 18:27
To add more statistics, most R13 owners I know have clarinets from 1990 or later, and don't have all those problems, and the selection here is very small, most had about two ot three clarinets to choose from.
I'm also pretty sure that most clarinet players in my country play a R13, and none use Backun products, but they sound good.
I've had the chance to try the OpusII lately and it is also very good. No better or worse than a Buffet, just slightly different (I personally liked it less than the Buffets).
If you don't mind me asking, why do you buy and sell so many instruments?
Good luck with your new clarinet.
Post Edited (2005-11-11 18:31)
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Author: Brenda Siewert
Date: 2005-11-11 18:29
It's a perfectly personal choice. I was a faithful Buffet user for years and years and still buy them for students and other adult players. This last one I had was the first one I've owned that really needed the Backun barrel and bell to make it sound rich and full. All my other Buffets (except the Prestige) had a wonderful tone.
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Author: chazman
Date: 2005-11-11 20:04
Brenda,
WOW…For the longest time I thought I was the last of the LeBlanc holdouts. In fact I was searching for an R 13 to just test the water. I already have an E-11 in my collection. LeBlanc is one of the oldest MFG’s of clarinet and I would also submit the best. I think after 250 years of making some of the sweetest and chariest instruments in the world. I would trade way any of them: Symphony, LL, L27 or L7. And I’m always on the look to add a few more.
Chuck
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Author: Brenda Siewert
Date: 2005-11-11 22:34
Well, I've had bad experience with the Symphonie VII. I owned two of them and ended up selling both of them within about 2 mos. Although they were beautiful (the Rosewood was nice), they didn't "play well with others," if you know what I mean. So, I lots tons of money on each one of them and learned a lesson in the process. But, I've owned 2 LLs and several L7s in my day--as well as have bought and sold Noblets, Vitos and others. They are a good solid instrument. I don't know that I would say they were the best because there are many very excellent instruments on the market--but they are usually very well made and excellent in intonation and projection. A good one is a keeper.
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Author: BobD
Date: 2005-11-11 22:43
I recently put my R13s away and am playing a couple of my LeBlanc V40s and I'm very pleased. Nice big sound almost perfect intonation and no wood to worry about.
Bob Draznik
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Author: donald
Date: 2005-11-11 23:37
i sold my Leblanc E flat clarinet because i couldn't afford to own two of them- my Buffet clearly has better tone and my Leblanc clearly had better intonation.
sigh!
when playing pieces that have (for instance) unisons with piano i sure wish i still had that Leblanc! don't even ask about the high C in the "offstage solo" in Daphnis......
keep playing the good tunes
donald
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Author: sfalexi
Date: 2005-11-11 23:57
I recently purchased a set of Leblanc Opuses, and the clarinet instructor at my college tried them out to help me determine whether they were worth keeping (I was offerred a trial). A prominent member of the buffet mafia told me that he loved them, and that he doesn't say that about many clarinets. He loved them so much, that he decided to sit in and play with our chamber ensemble (the missing clarinet part) on the A while transposing it. To be noted, he has never sat in the years I've been there, nor has he said he loved someone ELSE'S clarinet so much.
Granted, I haven't tried any other leblancs, but these two that I now proudly own make my wrong notes sound BEAUTIFUL!
Alexi
US Army Japan Band
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Author: Paul Aviles
Date: 2005-11-12 12:03
Hey Brenda,
Back in the "old days" the Concerto played pretty much like the Opus with the exception of possibly being a little more free blowing. How do they compare these days, PED (post Eddie Daniels) ?
..............Paul Aviles
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Author: Brenda Siewert
Date: 2005-11-12 13:59
Paul, I've always thought the Concerto had a "brighter" sound to it than the Opus. This has been discussed at length here on this board with many differing opinions. Although it has the same acoustical measurements, it's not the same instrument with the exception of the extra key. Of course, now the Opus II has the adjustable bridge key and some other design features that make it different.
I haven't played the Concerto II yet, so I can't give you an intelligent answer. It's a very popular instrument, however. I was going to have Woodwind and Brasswind send me a couple to try when I bought the Opus, but they didn't have any. They told me they were a best seller.
I've owned a couple of Concertos--a Bb and an A. The A was purchased new and I bought the Concerto on eBay. Both were very nice instruments. I bought the Bb to resell after overhauling and it went to a guy who plays in his church orchestra. He loves it. I thought it had a great tone and excellent intonation--a trademark of the high-end Leblancs.
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Author: clarnibass
Date: 2005-11-12 14:26
I have tried both the OpusII and the ConcertoII and could barely notice any difference (the difference was about the same as two clarinets of the same model), but they were both great clarinets.
Post Edited (2005-11-13 04:59)
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Author: OpusII
Date: 2005-11-12 15:01
Brenda,
I think you've made a excellent choice, I still love my Opus II. It has a beautiful sound and a great intonation.
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Author: Brenda Siewert
Date: 2005-11-12 15:35
Yes, Opus II, I agree about the sound quality. It is very sweet all the way up and down the scale. That's the biggest selling point.
I also agree that a good Concerto is a great find. Finding one is the problem--as with the Opus. I've owned several Opuses over the years and didn't like the key action on some of them, but always loved their sound. The key-action on the Opus II is excellent--and adjustable. But, I noticed on the Leblanc website this a.m. that the Concerto II has an adjustable bridge and keywork designed after the Opus II--so it sounds like it would be a very good buy. I got a very good price on mine, so I'm not complaining, but if I hadn't gotten such a good price I was going to try to find a good Concerto II.
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Author: sfalexi
Date: 2005-11-12 15:46
Brenda (and whomever else),
I've always been curious about "key action" discussions. While I DO notice a difference in key layout and slight differences in the way they 'behave' so to speak from clarinet to clarinet, what would be defining characteristics of a clarinet with bad key action or good key action? I realize that on my Selmer, the keys are noisier, and certain keys seem to travel farther when being pressed down, and that on the new set that I have the keys travel less and are much quieter. However the end result is the same. When I press a key, a different note sounds, so I've wondered what would constitute better or worse 'key-action'.
So could you or anyone else perhaps go a little further into this aspect?
Alexi
US Army Japan Band
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Author: ken
Date: 2005-11-12 17:10
I marvel knowledgeable clarinetists direct-compare R-13s to Opus' or Concertos; most definitely, apples and oranges albeit loudly attesting to the high quality (or once was) of Buffet clarinets. For price and categorization -- Leblanc to Buffet -- R-13s may be more realistically and fairly rated against Esprits, and Opus/Concertos to Prestige/RCs.
Debatably, in the past 10 years Buffet quality has been called into question; I see it mostly as industry ebb and flow and marketing hype. As for tonal reproduction, if I try out enough new R-13s I'll eventually match one up with my current R-13 (1973 134xxx.) However, one cannot do that crossing brands. Man on the street experience and spider senses: Playing time and conditions being equal, repair costs on my Opus can run 3 times higher annually then my R-13. The Opus, strictly from a mechanical/durability stand point is at best, prohibitive. Based on performance and travel up to 40 hours, 7 days a week (alternating between horns) it routinely develops lower left/right clusters key clicks, spring tension shifts and snaps, cup and pad misalignment, leaks and unthreaded screws. This is a scrupulously maintained 7-year old horn that has proven it cannot hold-up to the day-in-day-out pounding my R-13 can endure. I occasionally hear like complaints and concerns from Opus colleagues. The overall consensus is the hardware is "lightly designed" (opposed to the Buffet heavier, clunkier feel) with metal and plating just not "on the vine."
I also own an Esprit (I purchased from Brenda Siewert and adore) as a back-up that has a much better maintenance record. I cannot speak to the Opus IIs but heard Leblanc was aware of this design characteristic and addressing it on their newer model(s).
I suppose if you like the way your Leblancs and Buffets play, and repair costs aren't a primary factor it doesn't really matter; it's what brings the most joy and satisfaction and what gets the job done.
v/r Ken
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Author: Brenda Siewert
Date: 2005-11-12 17:33
I think if you read my opinion carefully I state that it is like comparing a steak to a hamburger (Opus--steak, Buffet R-13 hamburger). I also mention that I owned a Prestige--although it was a 1997 model and doesn't compare fairly to a new Opus II.
And, hello again Ken. Glad you still like the Esprit, although I would have to say it doesn't exactly compare to the R-13. I do agree about the repair record--I've had very few repairs on the Leblancs I've owned over the years and many, many, many on the Buffets. But, I'll give Buffet a hand for their domination of the market.
I think the Opus II may be a bit better in the long haul as far as holding up to travel than the Opus. The lower key mechanism mentioned in ken's comments is improved. The older Opus models were a bit problematic.
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Author: woodwind650
Date: 2005-11-12 17:42
i owned Buffet Festivals for about 10 years. in june, i switched over to Leblanc Opus IIs and have never looked back. the intonation is great throughout and the sound projects just fine.
i had backun equipment for the Buffets but they were no longer needed for my Leblancs. once the keywork is set-up properly the horns play great. just got my A clarinet two weeks and i'm so glad i have a complete set now.
not sure i agree w/Paul. i have no problem projecting in the lower register. could be an equipment/set-up thing as i realize that no two people use the exact same set-up.
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Author: Brenda Siewert
Date: 2005-11-12 21:35
I agree with woodwind because I have no problem projecting in the lower register. I had a Buffet Festival for a short time before I bought the R-13 I just sold and I had all kinds of projection problems with it. It did have really nice key-action, however. But key-action is something a professional woodwind expert can fix on almost any instrument.
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Author: Morrigan
Date: 2005-11-13 04:41
I'm glad to be hearing so much positive talk about Leblancs. I've been a Leblanc player for almost 3 years, and they have served me very well through college, and now probably (hopefully) beyond.
I recently have been through a period where I was looking at Buffet again, only because my Leblanc had a horiffic buzz and there's that whole industry snobbery thing. To cut a long story short, the buzz was fixed the other day after A LOT of peple couldn't find it, now I'm loving it again. Plus, I would imagine that my playing could speak for itself, rather than what brand I'm playing on.
The fact is, Leblancs are fantastically in tune and nobody can deny that.
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Author: clarnibass
Date: 2005-11-13 05:27
"For price and categorization -- Leblanc to Buffet -- R-13s may be more realistically and fairly rated against Esprits, and Opus/Concertos to Prestige/RCs."
The RC is not any better than the R13 (and in most European countries it is even cheaper).
"I think if you read my opinion carefully I state that it is like comparing a steak to a hamburger (Opus--steak, Buffet R-13 hamburger)."
Sometimes I'd rather eat Mcdonalds than a steak.
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Author: Aaron
Date: 2005-11-13 06:48
When I went into the Leblanc factory in Kenosha to choose my Concerto II, I was told that they Concerto II and the Opus II are acoustic twins, the only main difference being the alternate Eb/Ab key on the Opus II. However, Woodwind Brasswind describes the Concerto II as having a brighter sound than the Opus II.
My friend (who plays an R13) and I recently traded clarinets for a quick playing session, and found the differences to be mainly in the sound produced. The R13 had a darker sound while the Concerto II was brighter. The key layouts were also quite different. The R13's keys seemed to require more force to push down, and snapped back as the finger was released. The Concerto II's keys were a bit more gentle.
In addition to my Concerto II Bb, I own a Concerto A clarinet. I can definitely see a difference between the two instruments in the keys. The Concerto II is so much more elegant than the Concerto. The Concerto's keys are very clunky, loud, and awkward in comparison.
After trying Leblancs, I became an instant fan. I switched from my old Buffet setup and I haven't looked back. I encourage anyone out there to try the new Concerto II and Opus II, they are the best instruments I've ever tried.
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Author: Morrigan
Date: 2005-11-13 08:41
Liquorice, I'm embarassed to admit, but, after everyone telling me "It's a pad" and I said "They've all been checked", it turns out it was a pad... RH little finger Ab/Eb. Turns out, the enge of the hole wasn't entirely even, so my tech put a new pad on and made sure it sealed properly, as well as giving it a little more spring tension.
No wonder nobody else found it - my tech said he had to press the pad down extremely hard to stop the buzzing, which nobody else had tried.
Nice to know it wasn't the instrument itself. It's still going to the Brannens soon anyway!
So that this thread doesn't go off-topic... GO LEBLANC!
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Author: Brenda Siewert
Date: 2005-11-13 15:26
Most buzzing is due to a pad--or sometimes it's a bit of fuzz from a swab or something of that nature.
As to the comparison of tone between the Buffet R-13 and the Opus II--the Opus II has a darker and more consistantly round tone than the Buffet R-13 that I just sold. I don't still have my Buffet Prestige--but when I did own the Prestige I also owned a new Opus (not the Opus II), and it was hard to tell the difference between them except for projection of sound. The Opus out did the Prestige in that. I ended up selling the Prestige and keeping the Opus.
And yes, I too sometimes prefer hamburgers--or chicken.
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Author: ken
Date: 2005-11-13 16:52
Clarnibass wrote: "The RC is not any better than the R13 (and in most European countries it is even cheaper)."
-- I didn't have time to search Germany or France, but I pulled up the first random UK site selling horns. Below is a cut-down currency conversion table with figures for a new RC Prestige taken from Howarth of London. Their price including VAT is $7,491.45 ... $6,374.70 without:
Symbol British Pound Exchange
Rate U.S. Dollar Bid Ask
GBPUSD=X
4300 Nov 11 1.7422 $7,491.45
"Better" is not measurable and bears no relation to "price and/or categorization;" price assesses and gauges product cost and a category groups, sorts and organizes a person, place or thing. In the Buffet product line the RC is 4,000+USD and direct market peer of the Opus II. These are "premium" level instruments with upgrade mechanical features, i.e., solid silver keys (not silver plating over copper) 18 key/6 ring and auxiliary Eb lever, adjustable thumbrests, 2 barrels, acoustically designed bell, metal tenon caps, articulated G# key and fancy case.
...once more, a horse of a different color from a pro entry-level R-13 accurately comparable to a Leblanc Esprit, Sonata or possibly Yamaha CSG.
Having made the point, I would agree: instrument hardware in itself, doesn't make a piece of African Blackwood with holes drilled in it superior to another.
We can all reach consensus on the generalities of an instruments' tonal reproduction and characteristics, perceived quality and physical attributes however, it is still subjective opinion.
A few observations to consider: how much of your horn is hot-roded up. If your horn of preference is "so great" then you must be using the stock barrel to effect the proper acoustically correct match. Review and compare how much repair work on your instrument is preventative maintenance and/or discretionary and not a breakdown issue. v/r Ken
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Author: Mark Charette
Date: 2005-11-13 16:58
ken wrote:
> solid
> silver keys (not silver plating over copper)
No, I don't think so ... they directly state silver plate over copper.
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Author: Douglas
Date: 2005-11-13 17:01
Brenda, since I don't have quick access to Opus models right now, I am interested in knowing if you leave the large pads on the right hand keys as they come from Leblanc, if, that is, they still have the metal sound deflectors, or do you, as Brannen recommended a very long time ago, change those pads to solid skin/felt types.
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Author: DavidBlumberg
Date: 2005-11-13 18:23
"I don't still have my Buffet Prestige--but when I did own the Prestige I also owned a new Opus (not the Opus II), and it was hard to tell the difference between them except for projection of sound. The Opus out did the Prestige in that. I ended up selling the Prestige and keeping the Opus."
-----------------------------
A student of mine bought a used Opus for $1200 from WWBW this past year. I compared it side by side to my Signature and the Opus sound was quite bright compared to it. Same for my Prestige (the Opus was bright compared to it).
Just my experience.
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Author: Paul Aviles
Date: 2005-11-13 18:43
O.k., just one more controvesial aside - I was wondering (SUBJECTIVELY speaking of course) if there was any complaint from the "pro" Leblanc quarter concerning the new keys. I do an awful lot of sliding, both on the side keys as well as the pinkies, and I find the "rounded, separated" feel of the new keys to be a bit of a pain.
............Paul Aviles
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Author: BelgianClarinet
Date: 2005-11-13 19:08
"I didn't have time to search Germany or France, but I pulled up the first random UK site selling horns. Below is a cut-down currency conversion table with figures for a new RC Prestige taken from Howarth of London. Their price including VAT is $7,491.45 ... $6,374.70 without:"
just checked with a normal discount of 20% on list price and a 1.25$/€ I think a RC prestige will cost me $ 3430 (2744 €) festival $ 3533 and Tosca $ 4500.
A Leblanc Opus II would be $ 4350
A Lot cheaper than what mentioned above :
Or am I living in a cheap country? Both clarinets can be test played at the shop and selected out of several.
Worth a trip to Belgium :-)
PS payed less than $ 7000 for a Prestige Bass (low C 1193), all prices including 21% VAT !!!
Post Edited (2005-11-13 20:00)
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Author: David Peacham
Date: 2005-11-13 20:42
The price quoted above for an RC Prestige from Howarth of London is for a pair.
That is why it is approximately twice the price quoted for a Bb from other dealers.
-----------
If there are so many people on this board unwilling or unable to have a civil and balanced discussion about important issues, then I shan't bother to post here any more.
To the great relief of many of you, no doubt.
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Author: frank
Date: 2005-11-13 20:54
Brenda and all,
I play professionally day in and day out and find it hard to believe that you have to get repairs done so often. A minimum of 3-4 times a year... wow! Are you crushing the horn under your vise like grip? What are you doing to that poor clarinet, girl! lol Seriously though, some people are more rough with their horn. My R13 has been in perfect condition for 4 years and sees daily use. I know of Brannen and Tim Clark overhauled horns that haven't been adjusted in 10 years. They still play fine. Plating wear is another story. Some people's body chemistry reacts more strongly than others on nickel and silver plating. Does the clarinet always need to be shiny, new and "pretty" to play well? Absolutely not. To each his/her own!
I also agree with David in the fact that the Opus is bright sounding. I think they were a more mellow horn years ago when it first came out. Now, I find it is more apt to be on the bright side compared to most Prestige and Signature horns (R13's too). In my experience, the Opus II is brighter than the old Opus. I don't care for the Opus II for that reason. I've owned practically every type of horn and I always gravitate towards the R13. It's a great compromise horn. I play a circa 1983 R13 and find it wonderful. For the gigging life, you can't beat it IMHO. My Rossi is fine. I am sure my new Chadash Bb and A will be great when they arrive in a few months. Will they replace my R13? That remains to be seen. 
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Author: clarnibass
Date: 2005-11-14 06:26
Brenda, if you don't mind me asking, I'm interested to know why you sell and buy so many clarinets?
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Author: Bassie
Date: 2005-11-14 07:59
I once had a go on an ancient Leblanc Eb Alto. It was lovely, truly effortless to play. A much maligned instrument, the alto, and now I have no idea why.
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Author: Mark Charette
Date: 2005-11-14 11:30
Bradley wrote:
> Mr. Blumberg cited that the Opus sounds brighter than
> his Signature and his Prestige, or something to that effect. So
> what? Statements like that always leave me waiting for the part
> where the author states what really is wrong,
Why do you assume the author thought something was wrong? He just stated what he observed, with no qualification, pro or con.
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Author: DavidBlumberg
Date: 2005-11-14 12:39
Ok, I'll go further.
The Opus compared to my Signature and Prestige sounded unacceptably bright. I like a dark, yet quite projecting tone and the Opus 1 that she has just doesn't do it for me nearly as well as the other 2 do.
I had always thought of the Opus as not being a bright instrument, but (and her's is one of the older ones) this one was. Would have figured the old Opus to be as dark as m Prestige, but it wasn't.
Other than that, it's a very good horn, but too bright for me to use, even as a spare. (she ended up quitting and offered me the instrument - would have been a steal if I had liked it). I would have jumped at the op. if I had liked it as the price would have been perfect. (no, it's not for sale anymore)
Could have been just that one Clarinet, no way to know.
This past summer I bought several Clarinets to compare including a Yamaha CSV, Selmer Recital (old), Leblanc Concerto A, Buffet R-13 new, Buffet R-13 from 1999, a Selmer Signature (8 years old as well as a new one), and a Yamaha 52.
I found the old Recital to be terrible, and the old Concerto to not be much better. Didn't like the tone nor intonation of either.
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Author: Brenda Siewert
Date: 2005-11-14 13:05
David,
Your student got a great buy if he/she bought an Opus for 1,200.00. It must have been a B or C grade or a used one. I just paid $2,898.00 for mine from them and it had been on their shelf for a while--but still an A grade instrument. It does have a nice, dark and rich tone. Each one is a bit different. I think this one just got a good batch of wood.
Frank,
As to my frequent repairs on my former R-13--that's the point! I've never owned one that had to be taken in so often for repairs. My instruments always look like brand new because I'm meticulous about keeping them in good condition. This one had screws that wouldn't stay in and pads that had to be replaced after only 3 mos. and corks that also had to be replaced WAY before it was a year old. I'm quite easy on my instruments.
clarnibass,
As to why I buy and sell so many instruments--that's a bit of a long story and I'll sum it up in as few words as possible. I have a friend who owns a music store and I started out a few years ago just hand-selecting clarinets for people and helping parents with their decisions for their kids. Then he asked me if I wanted to buy some of the mouthpieces he had overstocked and try to sell them on eBay. I sold around 300 or so of those right away and then started buying and selling just because I enjoyed it. So, in the process I got to purchase my own instruments at dealer's cost and got to pick the best of the best from them and directly from the sales reps who came to my friend's store. I'm not buying and selling so much anymore because I hit a really hard road on a couple of instruments that put me in a big hole financially. Also, my friend sold out to Brook Mays Music and retired, so I just have what I need for myself right now and don't plan to go into business as big in the future. I still hand-select for people from time to time but don't try to make money at it.
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Author: Brenda Siewert
Date: 2005-11-14 15:45
But, Bradley, his unacceptably bright might not be unacceptable to another. I think that's what Marc is saying. It's an opinion based upon his experience and his personal taste, not a negative on the instrument.
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Author: DavidBlumberg
Date: 2005-11-14 16:26
What "previous posts" are you talking about?
I did a search under blumberg and leblanc and nothing came up except 3 nonrelated posts.
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Author: clarnibass
Date: 2005-11-14 16:30
David I think he meant your post above where you said: "I compared it side by side to my Signature and the Opus sound was quite bright compared to it. Same for my Prestige (the Opus was bright compared to it)."
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Author: DavidBlumberg
Date: 2005-11-14 16:44
Remember though that it was one instrument.
It could very well have been a "bad" opus, as the Signature and Prestige are quite good ones. Craftsmanship wise, it was very good.
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Author: Mark Charette
Date: 2005-11-14 16:44
clarnibass wrote:
> ...
The original statements by Dave stated no value, which is what I originally was pointing out. David later expounded on his statements where he assigned a negative value to the brightness.
Others either might not describe the Leblancs as bright, or might assign a positive value to the sound.
But, just because someone assigns the ambiguous term "bright" to a clarinet should not and does not assign any arbitrary "sound value" to the instrument. The reality is otherwise.
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Author: Liquorice
Date: 2005-11-14 17:54
I had an Opus that was at first dark, then bright, and then blew out. Now it's an Opus Posthumous.
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Author: Brenda Siewert
Date: 2005-11-14 18:12
Liquorice, That is a most amazing thing. Was there a problem with the wood, like perhaps a developing crack or a change of pads or perhaps your mouthpiece set-up? Or, are you just joking?
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Author: DavidBlumberg
Date: 2005-11-14 19:15
Players typically sound (or at least think they sound) better on their own equipment which they are used to.
I'd love to try an Opus II sometime, I'd be surprized if I weren't impressed by it. Same for the Concerto II's.
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Author: Brenda Siewert
Date: 2005-11-14 20:29
Yes, David, it's amazing how our ears can fool us sometimes. I can be really impressed with an initial play-test on an instrument and then bring it home and discover I liked my old one better. It's a comfort thing, as you said. When we find a set up we like, it's good to stick with it unless something tips the balance--like in my case with the problematic Buffet R-13. I'm not off Buffets for good--just for now I'm going to be playing the Opus II and see what results I get over a period of a few months. I'll do an update on the bboard after I've played in some solo and concert settings--that's where the rubber meets the road for me. Practice here at home in my studio isn't going to tell me much beyond intonation and initial ear-candy.
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Author: Liquorice
Date: 2005-11-14 20:54
Sorry Brenda, I was joking. Obviously I'm the only one who thought it was funny- but that's happening to me rather a lot these days!
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Author: DavidBlumberg
Date: 2005-11-14 22:11
Well Bradley, if I did then it would be found in a search of
blumberg and leblanc - right??? ..........
or maybe leblanc and blumberg
nope - not there. Maybe under blumberg and opus or blumberg and concerto?
yeah, blumberg and concerto for the search text had more hits.....
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Author: DavidBlumberg
Date: 2005-11-14 22:13
btw - for several years the Leblanc (opus) was my favorite instrument for students to get when upgrading and if I had needed a new instrument, it would probably have been my personal choice also. Back before Francois Kloc was doing quality control, I wouldn't give Buffet a second thought.
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Author: DavidBlumberg
Date: 2005-11-15 01:30
I think I fouled things up when I continued to speak about your "previous posts" referring to Leblanc. It's just a matter of preference, and I was just talking about how insane people like to go about sounding like the latest trend, etc.
-----------------------------
Do insane people really sound like that?
;)
Seriously though, yes, it is all about personal preference and experiences. What's great for one player isn't always or even ever great for another. And that's not a bad thing either.
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Author: Brenda Siewert
Date: 2005-11-15 13:54
I guess I'm confused by the "insane people" thing. If they're hep enough to talk about the latest trends how can they be insane? My mother-in-law used to recite the current day, month, year and time along with the current president of the USA each time we visited her in the nursing home. We decided they must have had an "old person drill" early every morning so they could be prepared for when their kids visited. But, that's not on subject.
To bring another topic alongside--I played a friend's new Buffet R-13 Vintage last night and found it quite nice. And, I remember those bad years of Buffet that David B. mentioned above--the years when you never recommended Buffet to students--or anyone! Those were great years for Leblanc, also.
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