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Re: Cork vs. Bladder pads

Author: Vytas
Date: 2006-08-27 05:22

> *** Let us assume that a stepped pad is chosen so that it can be fitted with the felt slightly covering the edge of the key cup... *** <

Why do we have to assume this? How many percent of all clarinets made these days are large bore clarinets? Only large bore clarinets are the ones that require stepped pads (one pad on the UJ and usually four pads on the LJ) More than 98% of all clarinets made today are smaller bore clarinets and don't require or benefit from stepped pads.

> *** "there have been MANY where misalignment of the three lowest keys (i.e. key cup arms too long or two short, for an appropriate thickness of pad to seal centrally) has been evident. It is also common on other keys". *** <

Despite the level of the clarinet misaligned keys should be fixed. Sticking a large stepped pad and forget it is just lame excuse for any pro tech. Smaller pad = better venting. If you (just like clarnibass) decided to WORK AROUND THE PROBLEM INSTEAD OF FIXING IT that's your business! LOL

Do you even aware that pads used on clarinets at the end of the 19 century and until about 1930 were felt and leather pads? These pads were not stepped. The stepped pads appeared only when Selmer started 'messing' with big bore design. This design required larger tone holes without undercutting. Selmer could easily make larger key cups for larger tone holes but venting became a problem. So they made key cups as small as possible. The inner diameter of the cup was almost the same as the diameter tone hole. Stepped pad was covering only the thickness of the side wall of the cup. This way optimal venting was achieved. The basic idea was TO USE THE SMALLEST PAD POSSIBLE. Later these stepped pads somehow found its way on smaller bore clarinets. I don't know why it happen? Why anyone wants to use a bigger pad when smaller pad = better venting = better tone etc.

> *** Vytas, I guess you work only on professional instruments. In the 124+ brands of clarinets i.e. hundreds of different models) I have worked on, ... *** <

Do you think it's enough to learn the craft of repair and one day you can say to yourself: OK, from now on I will work ONLY on professional instruments? You've got to be kidding! Try it! And you'll go broke in a very short time. It's not that easy. I've been evolved with clarinets since 1974. I took woodwind repair and 'piano repair and tuning' 2 year course at music conservatory where I've studied clarinet in Europe. I've been called Jack of all trades. I have learned to repair woodwinds, pianos, electric guitars, electric guitar electronics, guitar tube amplifiers, clarinet mouthpieces etc. and no mechanic ever touched my car.

At first like every beginner I worked on any lousy student brand and wouldn't touch pro instrument. It took probably about seven years until I felt confident enough and ready to repair pro instrument for professional player. After a while I was doing all right but in 1990 I've moved to USA and had to start everything from the beginning repairing anything I could lay my hands on. One day in 2001 when I had to tell to my customer to wait five months until I get a chance to fix his clarinet. I thought: It's good but it's crazy! Since then I decided to work only on clarinets and latter, only on PRO soprano clarinets and PRO clarinet mouthpieces. After all of this I was fortunate enough to build my business like this without any advertisement or need to work on the 'other stuff'. I don't know how it works in NZ but here in the US if you screw-up once or your customer doesn't like the quality of your work you loose your customer. So, it's not that simple Gordon.

Vytas Krass
Professional clarinet technician
Custom clarinet mouthpiece maker
Former professional clarinet player

Post Edited (2006-08-27 05:23)

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Cork vs. Bladder pads new

ChrisArcand

2006-08-25 00:47