 The Clarinet BBoard
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Author: David Spiegelthal ★2017
Date: 2004-10-21 17:38
Most of us who attended ClarinetFest this year have by now probably received a promotional pamphlet from Yamaha regarding their new clarinet model. It claims to be a 'revolutionary redesign' of the instrument with increased projection and dynamic range by virtue of:
1) A special alloy plating of the keywork;
2) A longer upper joint and corresponding shorter barrel (aftermarket barrel makers take note --- here's a chance to sell a whole new range of barrels in the ~56mm length range!).
2) A bell without a metal ring (gee, there's a new idea)
Give me a break................
I really feel sorry for the major clarinet manufacturers -- to stay in business they have to sell new 'spins' of a design which hasn't changed essentially in more than 80 years, to a shrinking market, against a tidal wave of low-cost Asian manufacturing competition. Can't be a fun gig these days for Buffet, Yamaha, Selmer-Leblanc-Steinway, etc.
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Author: allencole
Date: 2004-10-21 17:49
I'm with you there. I'd love to know what sorts of problems these new dimentions are supposed solve.
Allen Cole
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Author: D Dow
Date: 2004-10-21 18:03
I am in total accord, in fact the Yamaha clarinet is my least favorite of all the pro models for various reasons....they simply don't measure up in my opinion. They are also really expensive....so I wonder how much this baby will cost...?
David Dow
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Author: GBK
Date: 2004-10-21 18:44
I wonder how much Yamaha paid the ad agency for that promotional pap?
I would assume the price of this new publicity campaign, (which was probably written by a bunch of ad executives locked up in a room and who wouldn't know an A clarinet if they were hit over the head with it) will be nicely built into the retail price of the clarinet...GBK
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Author: msloss
Date: 2004-10-21 18:49
How ironic that Yamaha, once considered a threat in musical instruments, motorcycles, etc., to the established brands of the US and Europe as the "low-cost Asian manufacturing competition" is now considered to be on the other side of the aisle.
And by the way, I don't think they are all that worried, except at the low end (student instruments). We are probably a long way from China or India turning out a credible professional instrument. To compensate, Conn-Selmer among others is utilizing offshore manufacturing so they can get the same pricing leverage the WalMart brands have. The difference is that they've got the industrial designs, the manufacturing knowhow, and a distribution and service infrastructure to keep an edge.
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Author: ariel3
Date: 2004-10-21 19:02
An interesting note here. The idea of the "no ring on the bell" is not at all new. Mazzeo used that in his design. The bells on his horns were not only thinner, but lighter in weight as well. No complaints from me in my 30 years without "der ring". Gene Hall
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Author: David Spiegelthal ★2017
Date: 2004-10-21 19:17
Gene, the upper range of Boosey & Hawkes clarinets ("Stratford" model and up) have had 'no-ring' bells since probably before WWII (or at least shortly thereafter). Pre-Mazzeo.
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Author: Alseg
Date: 2004-10-21 23:07
Shorter barrel.....hmmmm
Reductio ad absurdum= no barrel at all!!
Hey, wait! That was already done......in the late 1800's.
Dizklamer...I make barrels and I try to sell em so that I can get rich like Trump and retire from surgery, malpractise insurance fees, and defensive medicine. yada yada
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Author: Ed
Date: 2004-10-21 23:45
Unfortunately, they all do it. Buffet continues to come out with new models and each one is supposed to be "it". I remember all of the marketing hype over the Elite and all of the recent hype over the Tosca. Selmer, Leblanc, etc, all do it with each new model. If you read the Clarinet magazine or the catalogues, every new mouthpiece, barrel, ligature, reed, etc all produce the most dark, rich, resonant, round, colorful, whatever, tone, ever. Of course, who here hasn't at times been tempted ot tried some new equipment based on this hype or the publicity that famous player XXX plays it?
I don't know about the new Yamahas, but I have played some of their clarinet that I have felt were quite good. I also respect the fact that they are continuing to experiment with new designs and approaches to try to perfect the instrument (and of course, improve their market share).
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Author: kennychw
Date: 2004-10-22 11:11
These are not new features. Look at the German system clarinets and compare them with the French system. The German system do not have a metal ring on the bell and they do have a longer upper joint with a shorter barrel
Time will tell if this is just a marketing strategy. Can someone give a review?
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Author: Ken Shaw ★2017
Date: 2004-10-22 14:21
And of course the dumbest claim of all is that the "Hamilton" key plating, containing a tiny bit of gold, is going to make a difference. The flyer even hedges the claim, saying that "some people feel it makes a difference."
Nevertheless, Yamaha oboes are making a big impression, particularly since Richard Woodhams, the principal in Philadelphia, started playing and endorsing one. We'll have to wait and see on the clarinets.
Best regards.
Ken Shaw
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Author: Don Berger
Date: 2004-10-22 14:30
Interesting commentary, everyone, yes "The {ICA] Clarinet" gives a good picture of advertising hype. Prob. it makes it tough for "our" pro friends to produce "soft-sell" ads for the ?better? Ridenour and Forte models, which [in what I've seen/heard] are truly innovative in design. I'm sure I should get better acquainted and be prepared to offer good advice to parents of our "new recruits" . Just thots of the moment. Don
Thanx, Mark, Don
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Author: mnorswor
Date: 2004-10-22 14:33
Interesting comments, but has anyone PLAYED these instruments and can anyone offer an opinion?
Michael
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Author: FrankM
Date: 2004-10-22 14:41
Yamaha clarinets may not be making a big splash with pros, but I wouldn't dismiss the company just yet....their saxophones are very popular, as are their flutes ( at least with doublers in my area)...I don't know much about brass and electric guitars/basses, but I've seen quite a few on gigs over the years as well.
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Author: Terry Stibal
Date: 2004-10-22 15:14
I've never been impressed with Yamaha clarinets, and I've played a couple of the pro models (bass and soprano) over month long periods in the past. They're serviceable, but they felt vaguely "wrong" to me, both in pressure and in key layout and arrangement.
I have played (and will continue to play) Yamaha saxes, as I have been very happy with the fit, finish, intonation and "feel" of same. Now that they have corrected the LH little finger problem, you're going to have to show me some real differences in other horns to make me want to switch. The newer Selmer horns don't float my boat, and I've yet to find a Conn baritone that makes me want to switch.
However, I think that very few of us are truly qualified to make these sorts of judgments. (Well, I'll qualify that a little in my case: maybe in the limited field of bass clarinet playing, where I've spend long periods of time on "professional" horns of each major maker.)
Taking the relatively wide field of sax playing into account, I've played a lot of saxophone over the last thirty five years. But, I by no means consider myself an "expert" as to which horn is the "best".
Look at the holes in my resume. Most of my time has been spent on baritone (oh, the horror), with only the alto coming anywhere close in comparison. (I can see the legions of tenor players cringing with pain, but there are saxophone out there without the "stupid bend" of the tenor.) I've never laid a finger on a Couf horn, have had little experience with any Buffet sax or Leblanc sax, and only the occasional trial of a Buescher. There have been a lot of horns made over the years, each (more or less) has had its adherents (some paid to be so, some not), and they are not always thick on the ground.
All in all, I'd be willing to venture that my sax experience is wider than 90% of the rest of my saxophonic brethren. (And, that's without any consideration as to whether or not I'm even competent to comment on same in the first place.) But, I'm not willing to hold my relatively broad experience up as a beacon to the unwashed masses.
In comparison, most clarinet players of my acquaintance have spent virtually all of their time playing precisely one professional level horn, the magic 17/6 Klose Boehm R13. A good instrument, certainly, but not the only one by any means. Yet, there are many "experts" who "know" that other horns are "not the equivalent" of the gold standard. Perhaps they should broaden their horizons...
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Author: David Spiegelthal ★2017
Date: 2004-10-22 15:31
Terry,
Your comments are interesting, but stray pretty far from my post, which was meant to point out the nonsensical nature of Yamaha' s claims that their new model is 'a revolutionary redesign' and that such cosmetic changes as gold-tinted key plating will improve their sound. I did not mean to denigrate Yamaha as a manufacturer of quality woodwind instruments, which they certainly are, all ridiculous ad copy notwithstanding. By the way, I've always liked their motorcycles too --- have owned a couple of them.
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Author: Alseg
Date: 2004-10-22 16:18
FWIW a pro friend/teacher recently got a new student who needed a clar. The student (someone in their early 20's -a guitarist who wanted to learn woodwinds) picked up a Yammie intermed. horn on ebay.
My friend gave it a whirl...and it was very good for the money (MSRP, not the ebay cost) and was impressed that it had good intonation and reasonable sound. He has not yet tried a pro-level Yammie.
Their own website lists a bunch of horns with varying nomenclatures that is quite confusing.
What we really need are places that are easy to get to (No airplane required) with a wide selection.
Unfortunately most local stores near me (Pittsburgh area) cater to the marching band level of horn....so it is tough to get a feel for the pro horns.
(Dont even think about them stocking a Tosca or Signature)
We can not all visit conventions, convocations, etc to sample the exhibits.
Nor can we order up a batch online without forking over a chunk of change from the ol' credit card...and even if we do go that route, it takes forever to get credited for the return.
So if anyone gets to try the new Yammie....tell us if it is Yummie or not.
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Author: Matt Locker
Date: 2004-10-22 16:56
I have a Yamaha SE-V, owned for 4 years now. I mostly really like it except for a couple small issues. I just got it back from an overhaul and the person who did the job was very impressed with the instrument. He had one issue with the LH "F/C" key but other than liked it a lot. He thought the sound was very nice and the scale very even. My former teacher tried it a few times and really enjoyed the sound & feel. He still ended up with a new Buffet but because of trying mine he included Yamaha in the mix of instruments to try (or at least so I understand). I think it's a very nice instrument.
My personal opinion of the ads is that Yamaha is trying to build quantity into their market by selling to a younger market. Their photos & ad scripts are so obviously aimed at the younger players through high school. Even their pro instrument ads are aimed at the younger players. Pretty lame in my opinion. With that as background, it makes sense that they would go for the marketing speel.
MOO,
Matt
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Author: Synonymous Botch
Date: 2004-10-22 17:07
So long as they still make the genuinely beautiful SEv models, more power to the Yam marketing group.
As a former motorcylist (until my kids grad-yam-ate from College), I was forever sorting out the 'latest and greatest' ideas from the rice-burning factory... most of which were reintroductions from other manufacturing plants.
The variations offered may be just the thing to get people back in a buying mood - so what if it offers no benefit?
The object of the exercise is to sell, is it not?
How many of us thought the Ipod was a winner when launched?
(We've already got our gear, and probably won't drop dosh soon...)
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Author: Terry Stibal
Date: 2004-10-22 17:09
Regarding Yamaha's other products, I've had any number of folks tell me the logo that Yamaha uses for some products is a homage to their motorcycle heritage. They usually do this as a prelude to waxing on about how much better this bike or that bike is or is not.
I hate to point out that the fork in question is a tuning fork (associated with piano tuning, their musical origin), not the front end of a motorbike.
Then I tell them about Yamaha's "help" to the Japanese war effort (bomb and artillery shell fuses, if I recall my SBS reading correctly)...
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Author: CPW
Date: 2004-10-22 20:58
So when do we see the new Harley-Davidson clarinet?
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Author: Terry Stibal
Date: 2004-10-22 21:36
The way that the H-D empire is expanding these days (huge new dealerships sprouting up all over the map), it wouldn't surprise me to see one. It would, of course, be overbuilt, excessively sloppy in construction, and probably equipped with some form of handlebar streamers...
Anyone else notice how quickly H-D's "commitment to tradition" faded when they decided to go from nasty, greasy chain drive to a rubber belt (like virtually every other non-drive shaft motorcycle)? One week it was "We'll always stick with chain drive" and the next it was "Come see our new, improved belt system". If you blinked, you could have missed the corporate transition.
I've given to understand that the management folks of the Yamaha divisions (instrumental, piano, electronic (one of my mixers and both of my speaker cabinets are Yamaha products), industrial and motorsports) are required to mix at the corporate level. (I was told this by an industrial division rep at an oil & gas drilling industry conference a few years back.)
It must be a lot like the Canadian "armed forces", where the officers can be assigned to any of the three service components (ground, air, sea) regardless of their specialties. Being told 'OK, we're moving you from electronics to clarinet manufacturing, starting tomorrow' would be enough to make me go nuts.
Perhaps it accounts for their strange model number system (a bunch of letters strung together in apparently random order at first glance).
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Author: Bradley Wong
Date: 2004-10-22 23:21
I have played on the prototype of both the B-flat and the A, and found them to be excellent instruments - and I would consider getting a set if I were in the market. The key plating does make a difference, although I prefered the silver plated keys over the Hamilton plating. Just as there is a difference in the sound/feel of a gold plated ligature and a silver plated ligature (I have both a gold plated and silver plated BG Tradition), there is a difference in these clarinets.
I am surprised that people would be so critical of this clarinet without having tried it.
Brad Wong
Western Michigan University
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Author: VermontJM
Date: 2004-10-23 03:05
Funny this should come up...
I DID try one today at a conference. I, in fact, left the conference to go home to get my own R13 to compare.
Here's what I think:
I think that the claim that the Hamilton plating makes a difference in sound is a bunch of BS. That is mere speculation because I did not have a silver plated Yamaha G in front of me. I did like the look though- it's not garish gold like Selmer had a few years ago- it's more of a muted gold- from a distance, it actually looks silver, I think. The feel of the metal is good. (To me)
The G#/C# key is much too high for my (and my fellow Buffet player buddies who were there) liking. My pinky actually rubbed against my ring finger when playing- if I were to get the clarinet, I would first have it Brannenized and then have that key bent down to accomodate. In comparison to the Buffet, that key is about 2mm higher. Compared to a Selmer it is more like 3 or 4mm. (When looking at them, the distance between the third hole and the G# key was half the distance on the Yamaha than on the Selmer.) Oh yeah... I don't have large fingers, either and I am female (the key is much to close!)
I thought the instrument responded really well and I didn't feel like I had to work to make play in any register.
I hated the tone. There was something about it that I and my friend who listened just didn't like. It gave a focused tone, but it lacked depth. I had trouble keeping some of the high notes in tune (like high C) because it was just really easy to bend the pitch.
Now... I only tried one instrument. I don't really think that's giving it a fair chance. I would want to try a bunch before making a decision. I did NOT see anything resembling a remarkable, revolutionary design like the flyer states. The Tosca is more revolutionary than this, I think- this sounds no better and they didn't change the keys at all (other than the fancy-schmancy plating.) At least Buffet made the keywork more ergonomic when claiming revolutionary change with the Tosca.
In all fairness, I could possibly change my mind after trying more of them or changing my current mouthpiece setup. I could change my mind after actually playing it for a good length of time and learning how to get the best out of those notes- long tones or whatever, like I did with my R13.
I wasn't impressed. I won't be looking to purchase any time soon. I will wait for real change.
That's my two cents.
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Author: CPW
Date: 2004-10-23 13:24
Isnt it strange
isnt it queer
that the newest instruments
are not held to be dear.
(apologia to Stehpen Sondheim, I think)
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Author: Don Berger
Date: 2004-10-23 14:06
V G, CPW, Yes, we do fit his descriptiom of clowns. Don
Thanx, Mark, Don
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Author: Don Berger
Date: 2004-10-23 20:40
Well, "sorta" CPW, back in the very dark era, there are pics, ?examples?, of curved cls, of the Basset Horn [Alto cl ???] size/character, when {I guess} those makers faced up to designs which could be "reached" by early players. Otherwise, if brass, conical and curvey, yup, saxes. Should NEVER have sold my Old Conn Curved Soprano!! Have had ?fun? recently, tweaking my old Pedler alto [curved bell and neck]. It now plays quite well, has DRK !!!. Don
Thanx, Mark, Don
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Author: jArius
Date: 2004-10-24 07:31
I have a newly-acquired Yamaha CSV that I think is perfect for me. It feels like all the keys are in exactly the right position, the springs are a little stiffer which is perfect for me, and I like the sound.
Of course, don't take my opinion too seriously. The CSV just happens to be the only pro horn I've played, and I'm fresh out of high school anyway.
Jeremy Bruins
Proud member of the too-much-time-on-my-hands club.
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Author: jangjiman
Date: 2006-08-06 08:57
I hear many people saying that yamaha doesn't make quality pro level horns yet I haven't heard anyone whose skill level exceeded the quality of yamaha horns. Now for people who aren't as experienced, I understand that buffets or selmers may sound better at first but I assure you can produce as good of a sound with a yamaha horn once you obtain knowledge. Their horns are not bad at all. I actually own two yamaha. A ycl 650 and a csg. I also own a buffet r13 prestige. From my experience, I can get my yamaha pro and custom models to play just as well as my buffet. So it's all based on opinion.
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Author: Chris P
Date: 2006-08-06 10:22
I'm not that impressed with Yamaha clarinets that are 'box fresh' - if I was to buy (for example) a CSG I'd probably completely strip it down, cork pad it and increase the ventings as well as lighten the spring tension.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: jbutler ★2017
Date: 2006-08-06 14:41
I'm just glad the Yamaha sent out the information so that I would have (some) interesting reads on the BB. Thanks DS.
jbutler
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Author: Mark Charette
Date: 2006-08-06 14:48
jbutler wrote:
> I'm just glad the Yamaha sent out the information so that I
> would have (some) interesting reads on the BB. Thanks DS.
You mean you're just getting to the 2 year old info???
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Author: Dan Paprocki
Date: 2006-08-06 16:44
Since I just switched to Yamaha CSG's from Buffet R-13's it's interesting to see what people say. Here are my impressions after one month:
The CSG's have better intonation than the R-13's
The CSG's are much more even in response going note to note.
The key work is better than my Buffets - feels better to my hands (big).
The sound is focused throughout the registers.
It does project. When trying a number of CSG's - all were good. Some were slightly more covered, some had more projection - all were good intonationwise, it was just a matter of choosing the right one for me - like which ice cream do you want.
I like the tone color of the CSG's, but then I feel that the way someone sounds has much more to do with the tone picture in their head. Different clarinets only make it easier or harder to get that picture in our head out to an audience.
There are fine players playing Selmer, Leblanc, Buffet, Yamaha, and others. Are they fine players because of the clarinet or because of their idea on how the clarinet should sound?
Some of the players of the Yamaha CSG right now are Bil Jackson, David Shiffrin, and Peter Wright. I think this list will expand once people try the Yamaha clarinets.
In looking at a new set of clarinets I tryed the Selmer Signature, St. Louis, and Recitalist and the Buffet Tosca and the Leblance OpusII. None of those fit what I was looking for. Are they bad clarinets? No, but they were not right for me. Before judging a clarinet, try it or better yet try a couple and see if they are consistent. After I got these clarinets I played them for some colleauges and they all aggreed that these are great clarinets. I did get out my R-13's to compare and I couldn't go back to them. The Buffets were good clarinets but the Yamaha's are great clarinets.
Dan
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Author: cpark
Date: 2006-08-06 17:32
First off, it's amazing what people write on here have no access to the facts and have not tried this horn.
Despite being a very unique and well designed horn it's not expensive, I believe they are selling for $2200 and $2300. This is refreshing considering the all the $4000+ horns on the market....even R13s cost more than this new Yamaha. Also it comes out of the box with fantastic action and it actually seals....unlike buffets which need a $400 overhaul right away.
There are majors artists and priciple players who have already switched to this horn. David Shifrin was playing on one last year, he may still being using it I don't know.
As an owner of this horn I can say from my personal experience it's fantastic. Best feeling horn I have ever played...though the tosca comes close(and for those Tosca bashers out there....a lot of great players use that now as well). I'm very glad there are finally more options out there besides the R-13. Yes you can find one with a great sound....but they all have serious flaws(intonation and evenness) that can be inproved on and I think some of these new horns on the market have finally surpassed the R-13.
-Chris
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Author: clarnibass
Date: 2006-08-06 18:01
"unlike buffets which need a $400 overhaul right away."
I've never saw a new Buffet (and I saw many) that needed an overhaul right away. Maybe a few improvements, but not antyhing close to an overhaul (espeically not a $400 overhaul!).
"Best feeling horn I have ever played...though the tosca comes close(and for those Tosca bashers out there....a lot of great players use that now as well)."
I played the Tosca and the keys just aren't comfortable for me. The least comfortable of all the Buffet models (I've tried pretty much all of them). Is it likely that the Yamaha won't be comfortable also?
"I'm very glad there are finally more options out there besides the R-13. Yes you can find one with a great sound....but they all have serious flaws(intonation and evenness"
I've played many R13 that didn't have anything improved and they were very even and had good intonation, so I'm not sure how you can say "they all".
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Author: jbutler ★2017
Date: 2006-08-06 21:17
Mark,
2004/2006 doesn't matter. It's all "HooHa" as the subject title suggests (but still entertaining).
jbutler
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Author: Vytas
Date: 2006-08-06 21:44
> I think some of these new horns on the market have finally surpassed the R-13. >
There was a time when an R-13 was TOP of the line professional clarinet. These older R-13 clarinets are unsurpassable gems. The NEW R-13 is not on the top anymore. Buffet doesn't use the best wood (heartwood) for this model anymore. After about 10 years of heavy use the bore becomes rough because the lousy original finish is gone. Shiny clarinet bore is an indication that the finish is still there. You can find 50 years old R13 with a shiny bore. I have one with an excellent original finish but this finishing technique was abandoned by Buffet about 25 years ago. BTW there are plenty 100 years old pro Buffet models out there with the original finish still in tact.
So, there is an R-13 and there's an R-13. The older models can last you a life time, but the new ones become unstable in about 10 years.
Vytas Krass
Professional clarinet technician
Custom clarinet mouthpiece maker
Former professional clarinet player
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Author: Alseg
Date: 2006-08-07 03:38
How was the finish achieved in the old days, and how is it done now?
Or is it all in the wood?
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
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Author: CPW
Date: 2006-08-07 03:43
Where is Paul Lynde when we need him?
All sing along>>>>>>>>>
What's the matter with horns today?
What's the matter with horns today?
Why cant they be like Buffets were.....
perfect in every way.
What's the matter with horns...to..day?
.
.
.
.
Against the windmills of my mind
The jousting pole splinters
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Author: David Spiegelthal ★2017
Date: 2006-08-07 15:51
I'm flattered, and not here to boast,
that you're reading my 2-year old post.
Though the news isn't recent,
if the topic is decent
then it should be discussed coast-to-coast.
No information content whatsoever, but when one feels the need to limerick, then one should limerick, si?
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Author: Vytas
Date: 2006-08-07 18:40
> *** How was the finish achieved in the old days, and how is it done now? Or is it all in the wood? *** <
Allan,
Who cares how the finish is achieved now. Whatever the secret formula they use now, be it a black Ink of India or something else it's a total crap anyway.
In the old days a two feet long, slow spinning mandrel with a sand paper and a cloth wrapped around it, was used to apply the finish to the bore. The heat created by the friction would force the liquid shellac diluted with diesel and oil to fill the grain and create a durable mirror like bore finish. The oil acted as a polish. The heat caused the diesel to evaporate almost immediately.
It's costly, messy, time consuming but incredibly effective technique of the past.
Vytas Krass
Professional clarinet technician
Custom clarinet mouthpiece maker
Former professional clarinet player
Post Edited (2006-08-07 23:41)
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Author: cpark
Date: 2006-08-07 21:29
clarnibass,
"I've never saw a new Buffet (and I saw many) that needed an overhaul right away. Maybe a few improvements, but not antyhing close to an overhaul (espeically not a $400 overhaul!)."
I don't know of a single high level orchestral player who hasn't done this. When I say overhaul I'm talking about complete recorking/repad and having all key heights and tensions adjusted. The yamahas while many high level players would have work done anyhow come with much better pads and very tight queit and smooth key action.
"I played the Tosca and the keys just aren't comfortable for me. The least comfortable of all the Buffet models (I've tried pretty much all of them). Is it likely that the Yamaha won't be comfortable also?"
I was talking more about the feel when playing, resistance evenness etc. Though I do find that the Yamaha(ironically) feels more like an R-13 than a Tosca, both in terms of keywork and resistance.
"I've played many R13 that didn't have anything improved and they were very even and had good intonation, so I'm not sure how you can say "they all"
Yes there are very good R-13s out there much better than others. I have a Buffet Festival that is one of the best horns I've ever player but I do believe there are acoustical and intonation problems inherent in the design of these clarinets and that is why buffet came out with the Tosca, to compete with the new horns out there that have overcome many of these problems(although many of these new horns fall short in the sound dept.) I challenge you to compare R-13 to Tosca and the Yamaha CSG with a tuner, you will find they are significantly more in tune. That's not to say you can't play a R-13 VERY well in tune, it just takes a little more work.
-Chris
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Author: Alseg
Date: 2006-08-08 01:32
I am talking about the INTERIOR burnishing, not the color of the outside finish.....which is immaterial.
I thought it was the interior work that you were talking about...ie how the BORE was finished.
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
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Author: clarnibass
Date: 2006-08-08 05:05
"I challenge you to compare R-13 to Tosca and the Yamaha CSG with a tuner"
I would very happy to do it, if only just to play these great clarinets. Unfortunately the Tosca and all Yamaha professional models are special order only here, and even not at the same store (one store sell just Buffet and one store just Yamaha). I'm not saying the Yamaha doesn't have better intonation, but as always about intonation I recommend to read what Peter Eaton writes on his website, and especially the part of the book "Clarinet" by Jack Brymer that he mentions there which explains more about it.
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Author: Vytas
Date: 2006-08-08 16:42
> *** "Vytas is talking about the bore." *** <
Jack,
That's what happens when a surgeon has to make barrels to get rich like Trump and retire from surgery. LOL
____________________________________________________________
> *** (Alseg wrote:
"Dizklamer...I make barrels and I try to sell em so that I can get rich like Trump and retire from surgery, malpractise insurance fees, and defensive medicine. yada yada") *** <
Vytas Krass
Professional clarinet technician
Custom clarinet mouthpiece maker
Former professional clarinet player
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The Clarinet Pages
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