 The Clarinet BBoard
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Author: Brenda Siewert
Date: 2006-01-16 15:13
The topic says it all. I'm just curious as to how many of us on the bboard play the Leblanc Opus or Opus II. As I've mentioned before, I recently switched back to the Opus after several years of playing Buffet Prestige and R-13s. I am really enjoying the way the instrument feels in the hand. I prefer the Opus II key action to the Opus because it is more fluid. I always felt the Opus was a bit "klunky" on the lower right hand keys. The new Opus II is much better in that regard--perhaps due to the adjusting screw.
I know the price tag of the Opus has always been a hinderance to a lot of players. It was for me for a while and then woodwind and brasswind had a closeout sale and I got mine at a good price. I'm really glad I took the plunge.
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Author: hrvanbeek
Date: 2006-01-16 15:33
Count me in!  I've been using Leblanc since the beginning and a few years ago moved up to the Opus.
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Author: Brenda Siewert
Date: 2006-01-16 16:33
Bradley, we won't exclude you. The Concerto II is also an excellent choice. How do you like yours?
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Author: David Peacham
Date: 2006-01-16 19:12
Does anyone *know* (as opposed to speculate) what the differences are between the Concerto/Concerto-II/Opus/Opus-II?
Obviously, the Opuses have the extra Ab key, and the -II models have the curvy keywork.
But regarding the things that really matter - the bore, the toneholes, the quality of wood and quality of construction - is there really any difference?
I also get the impression - maybe quite false - that whereas among Buffet players the "ordinary" model (R13) is commoner than the "luxury" model (Prestige), among Leblanc players the luxury model (Opus) is commoner than the ordinary one (Concerto). Is that true, and why might it be?
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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: Brenda Siewert
Date: 2006-01-16 20:21
David, the wood and silver work are the same on the Opus II as the Opus. The difference is mainly in the layout of the keys and the adjustable bridge mechanism.
I believe the Concerto is more common than the Opus because they seem to sell more of them than the Opus. The price tag is one of the biggest differences between the two. Woodwind and Brasswind sells the Opus for around 3,500.00 and the Concerto for 2,700.00 (approximately). The Opus does have the extra key.
A few years back we got into quite a discussion here on the board about the differences between the Opus and the Concerto. So, you might want to look that up. There are some who say there is no difference except for the extra key, but I believe the Concerto is said to have a more "lively" tone--whatever they mean by that.
If you compare Buffet and Leblanc, you would more likely have a fair comparison between the Buffet Prestige and the Leblanc Opus or Opus II and the R-13 with the Concertos I and II.
And, Sue, I once owned a Concerto A and found it a wonderful choice. So, yes--you count. I wish I hadn't sold mine.
Post Edited (2006-01-16 20:22)
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Author: OpusII
Date: 2006-01-16 21:29
I'm playing the Opus II exceclusively and I'm in love with it.... before it I played the Buffet RC a great instrument also...but the Opus II is exactly what I was searching for. I love the tone and the Key action is great, the only minus I find is the weight...
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Author: Brenda Siewert
Date: 2006-01-16 22:34
I bought a Backun bell for my Opus II (as mentioned on an earlier thread), and it lightened the instrument considerably. But, I agree it is a heavy instrument, heavier than my former Buffet R-13. The Opus has always been a bit heavier than comparable instruments. I do find the wood to be wonderful, however.
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Author: Aaron
Date: 2006-01-16 22:37
Concerning the difference between the Opus II and the Concerto II-
There's a good chance that I've already told this story, but in case I haven't:
I was at the factory in Kenosha choosing my Concerto II a couple years ago with the help of Julie DeRoche. When I asked her about the differences between the new Opus II and Concerto II, she said that they were acoustic twins. She also said that the only difference was the keywork.
I also vaguely remember her saying something about posting her response to a similar question on the BBoard a while back, so somewhere in the archives may be a better response than mine.
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Author: GBK
Date: 2006-01-16 23:54
Brenda Siewert wrote:
> but I believe the Concerto is said to have a more "lively" tone--
> whatever they mean by that.
Whatever they mean by that? It means nothing
Verbal descriptions of clarinet sound always amuse me.
Is it dark? Is it bright?
Is it focused? Is it centered?
Is it full of life? Or lifeless?
Is it robust? Is it fat?
Is it full-throated? Is it full-bodied?
Is it responsive? Is it round?
Oh, and let's not forget deep, solid, youthful, liquid and clear.
You get the idea? ...GBK
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Author: OpusII
Date: 2006-01-17 07:59
Brenda Siewert wrote
Quote:
I bought a Backun bell for my Opus II (as mentioned on an earlier thread), and it lightened the instrument considerably. But, I agree it is a heavy instrument, heavier than my former Buffet R-13. The Opus has always been a bit heavier than comparable instruments. I do find the wood to be wonderful, however.
I've found the solution in using the Kooiman.
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Author: Brenda Siewert
Date: 2006-01-17 15:56
Opus II, I agree that a good pad or other aids on the right thumb are helpful and necessary on the Opus. I'm thinking of getting one of Tom Ridenour's thumb rests because you don't have to do any drilling of holes and it fits right over the thumb rest. I don't like neck straps. After several hours of practice or playing, the thumb really begins to hurt, doesn't it?
GBK, I hear you. I agree as well that it's very hard to judge sound with such infantile adjectives as "lively and youthful." However, most of us seem to understand dark and bright because those descriptions have been pretty well defined over the years. The lively and youthful descriptions are baffling to me.
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Author: Ken Mills
Date: 2006-01-18 00:12
Dear Older People; The R13 is the only good old clarinet, but how does it compare today? I have not measured the R13 to see if it is pitched higher than average as the Selmers or my modified Vito V40 (whew). Otherwise, I need a clarinet that can do what only the R13 has been able to do. On an ordinary clarinet or the OPUS try using a reed that is too soft to play a B or C above the staff very well. That is really soft. Then switch that reed-mouthpiece setup to the R13 and the whole upper clarion and lower altissimo will respond better, maybe against the OPUS too. It will be easy to play the high notes softly and to tongue rapidly (my current challenge). There is something about its polycylindrical bore in the upper joint. I read about those good high notes on Buffet. They don't slip down. When you hear Drucker on his R13 (right?) you know that he is using a reed that is a little softer than his mpc facing should demand, the way all those notes are played with ease. I have not played an OPUS, sorry, but this would be my test if I was in the market for the most expensive clarinet. Ken
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Author: Morrigan
Date: 2006-01-18 09:25
I just play on the old Concertos. My sound is best described as youthful with a hint of recklessness.
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Author: OpusII
Date: 2006-01-18 12:02
Ken,
For the record there are more expensive clarinets than the Opus.... but I agree that the price is very high. I think that the main question is, is it worth the money? For some people it is, but for some people it isn't....
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Author: Brenda Siewert
Date: 2006-01-18 15:29
Ken Mills, who are these "older people" to whom you refer?
I don't have a Buffet R-13 to compare with the Opus II, so can't do the experiment you outlined. However, I play a fairly soft reed (Vandoren V-12 3) and find the instrument quite in tune in the upper registers and up and down the scale. It's a joy to play and I've gotten over the price tag--although, as I mentioned earlier, I got a good deal on a closeout at Woodwind and Brasswind.
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Author: massa
Date: 2006-01-18 20:16
I've been with my Bb Opus since '94.
I turned the barrel the other day so that the logo faces back. It removes the height gap between the upper joint and the barrell, and plays even smoother!!
(edit: The gap was always there when it was brand new... It's very slight though...)
I thought I read somewhere that the company play-tests the instrument and stamps according to the optimum setting... guess I was wrong...
Purchasing the top-of-the-line clarinet, I was hoping the maker will spend time like this for the crafting process...
Anyway, I love my instrument!!
so, 6 Opus users so far, along with 4 Concerto lovers.
- m
Post Edited (2006-01-19 21:47)
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Author: Brenda Siewert
Date: 2006-01-18 20:21
About testing the bell on the Opus, they are certainly supposed to do that--just like Buffet Prestiges are supposed to be tested in that way. But, after using it for 12 years you probably do need to do some moving around of stuff.
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Author: Irwin
Date: 2006-01-18 23:14
Brenda, I loved the Opus I bought from you about 5 years ago, and it's only gotten better with age. Right after my last holiday concert at the end of December I sent it to Linda Brannen for adjustment because it's been 5 years since my last one - and all I can say is WOW what she does to that horn! If I had to identify the only downside of the Opus compared to the Buffets is that the screws aren't the locking type and tend to come loose. However, a dab of clear nail polish on the screw head takes care of that problem. I was in Paris 2 summers ago and considered getting a Prestige, but after testing about 10 of them at a few stores, I realized none of them matched the sweet sounds of my Opus. Check in with me in another 5 years and I'm sure I'll be even more in love with my Opus!
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Author: David Spiegelthal ★2017
Date: 2006-01-18 23:50
Does the Opus Nostra now have enough firepower to take on the Buffet Mafia?
We're on the sidelines awaiting the battle royal.............
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Author: Irwin
Date: 2006-01-18 23:55
probably not because I've got a Malerne waiting in the sidelines for reinforcement.
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Author: GBK
Date: 2006-01-19 01:14
[ Folks, let's get the thread back on track - GBK ]
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Author: William
Date: 2006-01-19 01:37
LeBlanc Concertos (originals) since the early 90s--although I often revert back to my set of vintage R13s just because they (still) play so nice.
If I had "it" to do over again, I would definately pick out a set of Opus model clarinets (original or II) just because of the extra Eb/Ab lever--I have one on my bass clarinet and love it. But accoustically, the Concerto and the Opus models--as well as the Sonata and Infinity models--all have the same specs and, according to TR, all play the same. Also, according to Tom Ridenour (when he was still LeBlancs cheif accoustician), "they all come from the same woodpile". In other words, the same quality of wood is used in all of their upper level clarinets.
Post Edited (2006-01-19 14:18)
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Author: Irwin
Date: 2006-01-19 11:26
I couldn't survive without an auxiliary Eb key. It's too ingrained in my playing.
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Author: clarnibass
Date: 2006-01-19 11:53
"I couldn't survive without an auxiliary Eb key. It's too ingrained in my playing."
While I don't use it even when I play on my clarinets that have it.
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Author: dperreno
Date: 2006-01-23 21:14
Count me in! I played an R-13 in high school and I bought another one when I started playing again about 6 years ago, but it just didn't feel right to me. I tried an RC, which I really didn't like, and then I found a slightly used Opus (I), which I fell in love with. It is really the best clarinet I have ever played, I can't say enough good things about how it sounds and how easy it is to play. The only downside is that I can't blame the instrument for my shortcomings!
Doug
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Author: Mike Blinn
Date: 2006-01-23 21:20
Does anyone know what the top-of-the-line Leblanc was, just before the Opus/Concerto models came out? Was it the LX, or the LX2000?
Mike Blinn
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Author: TinyE
Date: 2006-01-23 23:49
I have original Opus Bb and A clarinets. (Opi??) I love them, but find the A is sometimes a bit stuffier and more resistant than my Bb (and than the A was when I first bought in in 1998). But then again, my A is also in need of some TLC that I can't afford right now. Overall they are great instruments, ans will probably sound/feel even better when I finally purchase a much-needed new mouthpiece. I have never played R-13s or Yamahas so I can't comment on them. I moved to the Opus from a Selmer CT.
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Author: Brenda Siewert
Date: 2006-01-24 15:01
Mike, I believe the LX came before the LX2000. And, the LL has been around for a while as well. But, Leblanc has had so many models in its line-up that it's been hard to keep up. The "in-line trill keys" are found on the LX, L27, LL and many of their models, but are more like the Buffets on the Opus and Concerto.
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Author: William
Date: 2006-01-25 15:55
TinyE--Tom Ridenour, while working on my newly purchased Concerto A in 2001 (at the Kenosha, WI, LeBlanc factory), mentioned that there had been a "recent" accoustical adjustment made to the Opus/Concerto models and that my clarinets, both having serial numbers above 65000, were "ok". I don't know what the "adjustment" envolved, but thought you might be interested.
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Author: Mike Blinn
Date: 2006-01-25 16:08
Thanks, Brenda
The Feb/Mar 1990 issue of 'The Clarinet' has a full-page ad of the Leblanc LX.
The tag line is: "The Leblanc Paris LX. Experience its artfulness, and its art, for yourself."
The same issue has a review of the LX by Lee Gibson, who praises it: "What a delight is this LX...The LX is great fun to play; shouldn't all clarinets be?"
But I still don't know whether the LX was the flagship of the Leblanc Paris line at the time. I'd like to find out.
Mike Blinn
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Author: Brenda Siewert
Date: 2006-01-25 16:11
I'm not sure what the adjustment is, perhaps Larry Combs would know, but Tom did design the original Concerto model and he worked on my A Concerto and made it play a lot better. Although I don't have an original Opus or Concerto to compare with my Opus II, I think the new Opus II is a bit "brighter" in tone than the old one I sold to Irwin (above). So, perhaps there was an adjustment that changed the dynamics of the tone a bit. I'm still quite happy with the new Opus II and don't want to play anything else.
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Author: Brenda Siewert
Date: 2006-01-25 16:18
Mike, I bought an LX from my friend's music store (Caldwell Music Co. in Abilene, Texas) in 1990 and he told me it was the top of the line Leblanc. I kept it for about 7 years and bought a Buffet Prestige that he arranged to be hand-selected at the factory in Paris by a local clarinet professor, Dr. Raphael Sanders. I never liked the way the key-action felt on the LX, but it had a great tone. I traded it to the friend and he resold it (that was before I discovered the joys of selling them myself). I believe the bore size on the LX was slightly larger than the Prestige, but I can't remember exactly and would have to do some research to know.
When Tom Ridenour came on the scene at Leblanc things improved for them dramatically in the clarinet dept. That's when (as mentioned by William) the Concerto and Opus came onto the scene. The LX had the same inline trill key set-up as the LL, while the key design of the Concerto and Opus became more like the Buffets.
William, I just checked out the Winter 2003 copy of the Leblanc Bell magazine that features Eddie Daniels on the cover. That article says,
"Eddie was delighted to find that his new Concerto II is the acoustical twin of the original. “It has the same beautiful, warm, deep sound and lively response that I love in my original Concerto,” Eddie notes."
So, it sounds as if Eddie Daniels thinks the Concerto II is just like the Concerto as far as acoustics goes.
Here's the link to the mag.
http://www.gleblanc.com/bell/winter2003/storys/insearch.cfm
Post Edited (2006-01-25 19:12)
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Author: William
Date: 2006-01-26 01:22
Brenda--the "adjustment" was made after the first few thousand original Concerto/Opus clarinets were produced. It was to correct an accoustical problem, the exact nature of which is not known to me. I did not mean to imply that the "adjustment" ws between the originals and the II's. So, if an original Concerto or Opus clarinet was purchased with a serial number below 60000, the change (or improvement) may not have yet been made by LeBlanc. TR was quite happy that both of my Concertos were above #65000.
BTW, I agree with Eddie.
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Author: Brenda Siewert
Date: 2006-01-26 13:35
Ah. Well, I guess my A Concerto must have needed the "adjustment" because TR did one on it and it was great after. It was one of the early ones. Don't remember the serial no.
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Author: chazman
Date: 2006-02-27 16:29
I love all of my Leblanc’s, each has its own character but above all they are bright, focused and full of life.
(LL, Concerto, Symphony, L7 and Dynamic H)
Some of the best wood and key works in the world. A far cut and above some of those currently manufactured today.
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Author: diz
Date: 2006-02-28 04:12
I only own a little Leblanc effer ... it's a temperamental little devil, but I adore it nevertheless.
diz ---> recently bought a 2nd hand Buffet R-13 whilst in America ... still getting used to this beautiful instrument
Without music, the world would be grey, very grey.
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Author: sfalexi
Date: 2006-03-19 20:37
I play Leblanc Opus' (Opa) as well. Bb and A set. They should be arriving tomorrow at my current location.
Alexi
PS - I'm back.
In VA at the school of music. Did allright on my incoming audition and so far so good. I'll be around intermittently, but anyone having questions about army basic training and the school of music in Little Creek VA feel free to email as I'm living through it currently.
US Army Japan Band
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Author: crnichols
Date: 2006-03-19 20:50
Great to see you're back on the board Alexi. I hope the school is treating you well! I'm sure you'll be happy to get your clarinets in the mail. I know I was when mine arrived.
Christopher Nichols
1st Infantry Division Band
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Author: Mark Charette
Date: 2006-03-19 21:30
tictactux wrote:
> 'Opa' is 'Grandpa' in German 
And often heard in Greek restaurants
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Author: Brenda Siewert
Date: 2006-03-20 19:09
Alexi,
Welcome back to the board. I'm delighted about your new pair of Opus clarinets. Please let us know how you like them when you've had time to play them. I'm still in love with mine--even if it did mean having to replace all my barrels and a couple of mouthpieces and a Backun bell. It's a great horn. Very well made and a delight on those fast passages. Good choice.
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Author: sfalexi
Date: 2006-03-20 20:21
Yes. Opera was the word I was looking for. I'll be sure to let you all know EXACTLY how good they are in a few weeks
US Army Japan Band
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Author: GBK
Date: 2006-03-20 21:13
Brenda Siewert wrote:
> I'm still in love with mine--even if it did mean having to replace
> all my barrels and a couple of mouthpieces and a Backun bell.
> It's a great horn.
Wouldn't that make it only a 2/5 Leblanc? ...GBK
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Author: Brenda Siewert
Date: 2006-03-21 19:40
GBK, I love it with the standard equipment--just as it is--but, the Backun stuff sounds better. Not that it matters to anyone other than myself.
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Author: OpusII
Date: 2006-03-22 07:34
Brenda,
That's the main reason why I will never try a Backun barrel or Bell, what if I would like the barrel or the bell..... I could buy a extra clarinet for the money that a barrel and a Bell cost ;o)
But I feel the leblanc Opus II sounds like chocolate, my Buffet RC sounds sweet..... who doesn't like chocolate? who doesn't like sweet ;o)
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Author: Brenda Siewert
Date: 2006-03-22 14:26
Opus II, you are right. If I hadn't gotten curious about the Backun bell for my instrument, I wouldn't have known the difference and would be hundreds of dollars better off. But, once you experience Godiva chocolate a Hershey's bar isn't quite the same--yet, in a pinch, you can give me a Hershey's any day and I'll be happy.
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Author: Dm Zisl
Date: 2015-01-05 23:53
Hello fellows,
I am playing a Leblanc Opus II A Clarinet. Got a "demo" model off eBay for a bargain price. Couldn't be happier. Had it serviced and set up properly, it plays like a charm! Wish I had more gigs on the A clarinet.
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Author: Johan H Nilsson
Date: 2015-01-09 23:58
I also play Opus II, both A and Bb.
If you bought your instrument early 2014 or late 2013 from Q**nn we probably got the instruments from the same cleanout.
How is the ![[B4]](http://test.woodwind.org/clarinet/BBoard/smileys/b4.gif) on your A clarinet? On mine it had a bit of grunt so I switched to a Bb bell and it got a little better.
Intonation wise, the A clarinet is one of my very best instruments despite I still haven't modified it. Not yet...
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Author: WhitePlainsDave
Date: 2015-01-12 17:46
(Tongue in cheek.)
Five.
That's how many Leblanc Opus players it takes to screw in a lightbulb.
One to complain how people don’t give their instrument the credit it deserves compared to the “other 3 manufacturers,” one to talk about….
Oh…I just turned my smart phone sideways and with the wider space screen realized the question was how many play an Opus, not how many Opus players…. does it take to screw in a lightbulb.
Mea culpa on my assumption. I guess I sorta assumed the latter part of the post’s theme.
=========
(Serious)
Of course that’s all said in jest. I have enormous respect for Leblanc, in particular the work Tom Ridenour did there during his tenure. That's just a little Monday morning US humor.
Perhaps very little..... ; - )
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Author: William
Date: 2015-01-13 23:56
Update for 2015--still playing my Leblanc Concerto Bb purchased in the mid 90's while TR was still at the Kenosha Leblanc facility. My Concerto A has been replaced by an exceptional vintage R13 A. My mouthpiece is a Walter Grabner K11*, Vandy Optimum lig with Forestone and Legere reeds.
Although my Concerto's are the acoustical twins of the Opus models, now that I'm playing a Buffet Prestige low C bass with the LH Eb key, I wish I had that key on my soprano's for sake of consistency. I really don't understand why all modern soprano clarinets don't come with the aux. Eb lever as it shouldn't be that expensive to mass produce and beginning clarinetist's could learn to use it from the "get-go".
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Author: WhitePlainsDave
Date: 2015-01-14 02:05
Compete agreement on the left Ab/Eb key William. It should be relatively easily removable (for those who think it gets in the way), standard, well placed away from the existing left pinky keys, and of minimal additional cost to the consumer.
Sure, purists will argue it's not needed, and like air conditioning in a car, its not a necessity, but I feel should be just as ubiquitous.
There are enough situations in clarinet play where, for example, use of a chromatic key where one shouldn't, finds the player in a "you can't get there from here situation," that we don't need this as well for pinky play.
And there are enough aspects of clarinet play to separate the pros from the wanna-be players that "I learned the hard way, so can you [regarding pinky play]" type mentality just doesn't cut it with me. I feel like telling these players that "once upon a time clarinet players made their own reeds from scratch, should we go back to that too because generations of players before us had to deal with that."
Someday, should synthetics reeds be acceptable by the clarinet masses as "at least as good as cane, if not better," should we turn our backs on them because those that came before us had to deal with the inconsistencies of cane?
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Author: mmatisoff
Date: 2016-03-29 22:48
My wife just bought me a used Opus for my birthday. When it arrived, it was barely playable, two of rings on the one of the barrels fell off, some of leather pads and corks were damaged, and those notes that did play were very flat. I had to work hard to get just a few notes to play in all three registers; yet, what I was able to play, sounded incredible. My wife was amazed at the sound that emanated from the Opus. When I told her I might have to return it, though, she was devastated. She knew how much I wanted this horn. She told me to have my repair guy check it out see if it's repairable.
I took it to my repair shop, and the repairman said that the Bb key was bent, it needed to be cleaned and oiled, and the tone holes needed to be adjusted. They also are going to glue the rings back on the barrel, and repair the damaged pads. He told me that the horn is a very good horn and it wouldn't take much to get it functioning properly again. Thankfully, it wasn't going to cost and arm and a leg to fix it!
I won't get it back until April 5th. Seems like light years away. I've asked the store where I purchased it to give me a couple boxes of reeds gratis for the problems I've experienced. Either way, I think I'm going to get a very good instrument.
My repair shop has been taking care of my Yamaha clarinet for a while now, and I trust their judgment. I'm already in love with this clarinet. I liked the rich, sonorous tone and solid key actions. I like how wood feels to the hands compared with plastic. I haven't owned or played a wood clarinet in more than 43 years. I hope the Opus proves to be what I think that it already is: a magnificent instrument.
Acker Bilk said it best: "I look at my clarinet sometimes and I think, I wonder what's going to come out of there tonight? You never know."
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Author: Johan H Nilsson
Date: 2016-03-30 00:50
The Opus is very free blowing in its bore design so having pads that seal well should really make a difference. Let's hope it works out!
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Author: mmatisoff
Date: 2016-07-31 03:00
I own and play a Leblanc Opus clarinet. It has a beautiful sound which i really like. I'm learning the Schumann Fantasy Op. 73 No. 1. There are a couple of places in the piece where it is very useful to use the left pinky Eb key. Unfortunately, I discovered that the key has about 1/16" play making it difficult to play. Is there a way to adjust the key myself, or do I need to find a good repair person? I use this key and the right pinky B often. Thanks.
Post Edited (2016-07-31 03:01)
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Author: Ken Shaw ★2017
Date: 2016-07-31 04:52
Any repair shop can eliminate the play quickly and at little or even no cost.
Ken Shaw
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Author: Clarineteer
Date: 2017-12-20 19:15
I am currently restoring an original Leblanc Opus Bb clarinet. I will be installing the Ricardo Morales designed Valentino Black Master pads which are superior to the regular Valentino Black Master pads. I have read on other threads that the Opus II is better than the original Opus because of the ergonomics. Also people have stated that the original Opus and the Opus II are the same other than the keys however this is not true. The bore dimensions were changed on the Opus II and not for the better. The bore dimensions on the original Opus make this a far superior clarinet.
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Author: Johan H Nilsson
Date: 2017-12-20 21:25
Clarineteer,
"The bore dimensions were changed on the Opus II and not for the better. The bore dimensions on the original Opus make this a far superior clarinet."
Interesting. What is your source for this claim? Own measurements?
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Author: Clarineteer
Date: 2017-12-21 01:32
A woodwind specialist did the comparison measurements and also play tested each and the original Opus is superior in every way except the ergonomics on the lower keys but the difference is really not that significant when you get used to it.
He also said that it was the best clarinet that Tom Ridenour ever designed and is superior to the R13.
Post Edited (2017-12-21 02:16)
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Author: Johan H Nilsson
Date: 2017-12-21 19:01
OK. The problem with measuring and play-testing one instrument of each model is that there is a big variation between instruments. One would have to find 3 to 5 of each to be able to tell if there are systematic differences.
I can clearly tell that there is no way I would be able to identify a Leblanc Opus/Concerto/Ambiance/Infinite/Eternite from a bore measurement. The variation between instruments is so big that it is impossible to see any pattern for one model. The only thing I can say about these models is that the lower part of the bore in the upper joint was cylindrical around 14.6 mm while the upper part had some sort of non-straight reverse taper, starting at 14.8 to 15.1 mm.
They did use different reamers for different models, but reamers get blunt very quickly and have to be sharpened. Sharpening means removing material and changing the shape of the reamer and thereby the bore. Then add the variation that comes from the reaming process being manual.
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Author: sfalexi
Date: 2017-12-21 19:19
To bring this thread full circle (at least for me), it's now 11 years later. I'm BACK at the school of music in VA, but this time as an advanced course instructor, NOT a student! And I'm BACK on a leblanc opus (a different one).
Wow. Small world and time flies!
Alexi
US Army Japan Band
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Author: CapnCheapo
Date: 2017-12-21 21:13
I always wondered if there were additional changes beyond the keywork between the Opus and Opus II; It was curious to me that Larry Combs played a role in its redesign but, as far as I can tell, never upgraded his personal horns from the 1st generation.
After over 20 years of hard use my Opus was starting to feel a bit blown out, but if Leblanc France were still around and making them I would have probably purchased another.
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Author: Clarineteer
Date: 2017-12-25 23:01
Ricardo Morales won the audition for the New York Metropolitan Opera with the original Leblanc Opus and used it while he performed there.
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Author: donald
Date: 2017-12-25 23:31
When I played in Master class for Morales in 1997 or 98 he was playing Leblanc Concerto, and was advertised by Leblanc as a Concerto player (like Elsa Ludvig-Verdehr and I seem to recall Eddie Daniels)
d
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Author: Clarineteer
Date: 2017-12-26 02:51
Yes that is correct but before that in 1993 when he started with the New York Metropolitan Opera he played the Opus.
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Author: moma4faith
Date: 2023-09-22 02:22
Six years later for this thread, and I just received an Opus from the UK, and am letting it get acclimated to the very steamy/humid US South. I've played just a few tidbits to "hear it". I love it. My first "real" clarinet was a LeBlanc L300 back in the 1980's (high school). My college professor quickly had me change over to an R13. I've played on those since, but have always wanted an Opus. I think the poster/ad of Larry Combs (my first clarinet hero) put the idea in my head. Now, a few decades later, I have one. Cannot wait to get acquainted with this lovely instrument! It came with an original case that is pretty large and has two barrels.
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Author: Johan H Nilsson
Date: 2023-09-23 16:54
moma4faith wrote:
> My first "real" clarinet was a LeBlanc L300
> back in the 1980's (high school). My college professor quickly
> had me change over to an R13.
The L300 was an odd instrument by Leblanc standards. Sound was prioritized over intonation. The L27 is the opposite.
> Now, a
> few decades later, I have one. Cannot wait to get acquainted
> with this lovely instrument! It came with an original case that
> is pretty large and has two barrels.
There was some variation in the Opus production but a good Opus can compete with any modern instrument.
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Author: DNBoone
Date: 2023-09-23 23:31
I will be selling my Opus soon. Just picked up a set of Selmer 10 Full Beohm Mazzeo's.
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Author: moma4faith
Date: 2023-09-28 04:50
>
The L300 was an odd instrument by Leblanc standards. Sound was prioritized over intonation. The L27 is the opposite.
At the time, the L300 was what was available from my music store rep who came to our school each week. I though the red case and gold latches were so fancy. I had the L300 and a Double LL and the L300 had a nicer tone and better intonation (to my very untrained ear).
So far, this Opus seems lovely. I haven't tried it with my Backun MoBa barrel/bell, or my regular Backun barrel/bell, but I love it so far.
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Author: super20dan
Date: 2023-10-07 16:23
i am a long time leblanc lover also. i own an amazing LL and and a decent symphony 1 and 2 400 bass clarinets and 2 great noblet altos. i was struggling to play sleigh ride at warp speed in comm unity band{no joke the alto clarinet part is tough!} so i bought a malerne alto with eb/ab left hand key for a mere 100$ thinking i could conquer the really hard passage in an impossible key sig for clarinet what cruel joke to put this really usefull key on such a horrible instrument!
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Author: sfalexi
Date: 2023-10-10 06:49
BTW... I'm just thrilled that this almost 20 year thread is still going!
You can see my entires when I had my FIRST set of Leblanc Opus (Opi?). I still remember the day they arrived. And how it felt to play them almost 20 years ago. THen I had to sell them as a young adult low on money and needing cash.
And 6 years ago getting ANOTHER clarinet Opus. Also a PHENOMINAL horn.
But I sold that about two years ago. It was great, but my playing has gravitated more towards working on and learning Jazz, and I felt that my current buffet horn was more flexible than the opus. I hope whoever bought it is enjoying it!
I probably won't get another, but I'm happy to have lived my dream (LITERALLY dreamt about the horn!) of owning an Opus and playing one.
I look forward to seeing this thread continue!
Lex
US Army Japan Band
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Author: crazyclari
Date: 2023-10-10 10:23
Ha ha had a few of above. I have a triple set of L300. Excellent tuning,great sound for chamber music. Opus pair great sound, even response, very even tuning An L7 that i built from replacement joints for fun that is a cracker. A couple of pairs of LLs, very nice. Currently getting Stephen Fox to make a basset clarinet joint for the BbOpus. Try an old L7 for jazz they had a conical bore and kicked out a bit.
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Author: crazyclari
Date: 2023-10-10 10:26
I also had an evette schaeffer alto, which I believe was a stencilled malerne, hmmmmm, i sold it...
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Author: Hy-Dex
Date: 2024-02-24 06:19
I am a longtime LeBlanc Concerto (I) and Concerto II player. I have Bb and A sets of each and another Concerto (I) A and another Concerto II Bb for a total of six. In my experience, the Concerto I's have a warmer and slightly smaller sound and the Concerto II's, which have sculptured key-work, comparatively have a larger and more brilliant sound.
Although evenness of sound and intonation are very good on the Concerto I's, I find that Concerto II's have even better intonation and evenness of sound. I like to use the Concerto I's for solo and chamber music and the Concerto II's for orchestral music. Despite what LeBlanc France (and their celebrity endorsers) said about Concerto I and Concerto II being acoustical twins, in my opinion there is more than key-work that differentiates these models. I will also add that my Concerto I models that have nickel-plated keys have a warmer sound than my Concerto I models that have silver-plated keys. Nevertheless, I prefer Concerto I and Concerto II (with either silver- or nickel-plated keys) to any other makes/models and feel lucky to have the instruments that I have, most especially because LeBlanc France is now defunct.
The original thread on this topic (from 2006) referenced the Opus and Opus II models. I once play-tested an Opus (I) and it had the most perfect intonation of any clarinet of any make or model that I have ever play-tested. Not only was this phenomenon amazing, but it was also virtually unbelievable. After playing the instrument long enough for pitch to stabilize, it stopped the tuner's needle on zero on almost every single note throughout the entire range. However, the tone was not only extremely bright, but also shrill. Although I much preferred the Concerto II at the same store at that same time and purchased it instead, I have never forgotten the stellar intonation of that particular Opus (I). I know I am not the only clarinetist who mourns the loss of LeBlanc France.
Hy-Dex
Post Edited (2024-02-24 06:24)
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Author: Paul Aviles
Date: 2024-02-25 02:03
I currently play the OpusII that I think is the best acoustical clarinet I've had.
But I've had very mixed experiences along the way. My first run in with the Leblancs (Concerto, Opus; ConcertoII, OpusII) was with the original Concerto in the late '90s. It was one of the Army's horns so I only was able to play it at that duty station before I moved to yet another duty station. I fell in love with. Years later I was on our band's "intranet" and found that that particular horn was available for any other band to "request it." That took some finagling but I was able to have it transferred over to my current place of employment. Long story short, I was less impressed with how it sounded within the context of an ensemble with Buffets all around me.........and set it aside.
Fast forward many more years later, I had the chance to buy a used OpusII (advertised on this very Board), found it was just a three hour drive from me and bought it on the spot! Even within the context of a strong Buffet presence (pretty much everywhere folks) it holds it own. I love it.
...........Paul Aviles
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Author: crazyclari
Date: 2024-02-29 03:59
Hi Paul, lovin your work.
I have found the evenness of response on these horns one of their great features. I had a friend with the standard hand-picked Devines and Backun bits. He played the Opus II and proceeded to look for one to buy. I found the Devine's tuning awful in comparison. The top end was woefully flat.
The eveness of the tuning on the Opus is great.
My old L300s still have the best top end tuning, it's fantastic.
I used my own design barrel on the L300.
I have put a rosewood barrel from an Australian guy on the Opus and Symphony VII. IMHO its sensational.
Likely your horn more than holds its own:)
Hy Dex, I would be interested to have further details about the differences?
Leblanc's catalogues from the time 'seem' to imply that many of the clarinets were virtually the same.
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Author: Hy-Dex
Date: 2024-02-29 06:04
I cannot speak to the differences one might notice between the LeBlanc Opus (I) and Opus II clarinets, but I am very experienced with LeBlanc Concerto (I) and Concerto II clarinets.
It is my understanding that the Opus (I) and Concerto (I) were billed as acoustical twins with the Concerto being the professional model and the Opus being the step-up professional model.
It is also my understanding that LeBlanc France's stance on the Opus II and Concerto II was that the main difference between these models and the original (I) models was mainly the key-work, not acoustical differences. Concerning the Concerto (I) and Concerto II models, I am not the only clarinetist who has noticed other differences apart from the key-work. For example, I have read a few other such testimonials from others on this site.
I find that the original Concerto compared with the Concerto II model has a smaller, warmer sound and greater resistance. I find that the Concerto II model is less resistant and has a more brilliant sound with greater projection. In my experience, the original Concerto model has excellent intonation, though the Concerto II model has even better intonation. These are my experiences with multiple examples of these instruments over many years now.
Hy-Dex
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Author: crazyclari
Date: 2024-03-05 05:38
Thanks Dex,
My suspicion (not based on fact) is that the exit bore diameter of the Opus and Concerto were the same but the actual bore 'may have varied.'
My understanding is that the register tube length changed I believe on the A clarinet. To a very long tube, and later reverted back to a shorter tube. I recently purchased a register tube from Morrie, it turned out unnecessarily.
There are clearly people who like one or the other, not based on having a left Eb key.
The Symphony Vii was again meant to be cut from the same cloth except in Honduran rosewood. It is currently my favorite choice out of the lot. It is very smooth and incredibly quick in response. I have done a bit of tuning work to it as I believe it was 'less than ideal'. Slightly softer and rounder tone.
I am in the process of having a basset joint made by Stephen Fox for my Bb Opus. He did not have any great concerns about using a Wooden Vito France VSP lower joint and felt there would, if required by minimal alteration to the lower joint bore to make it work.
It would be great if someone had a bore measuring tool that would cope with the entire joint. Mine only does about 10cm.
Obviously Morrie would know for sure???
Thanks Cheers Glen
Post Edited (2024-03-08 08:52)
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Author: OpusII
Date: 2024-03-12 12:19
Attachment: Muziek Leblanc 2004 (18).jpg (123k)
Unfortunately, we never asked the question when we visited the factory, but I did look at various photos to see if I could discover anything. On a container with wood, it was very explicitly stated that it was for the OPUS, which leads me to believe that there are indeed physical differences aside from the valve mechanism. But I can't confirm that with certainty.
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Author: moma4faith
Date: 2024-03-13 02:40
I'm going to search for threads pertaining to the Opus, Opus II, Concertos, and mouthpiece/reed/ligature setup.
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