 The Clarinet BBoard
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Author: C2thew
Date: 2007-04-19 15:46
I know there's been loads of discussions between older buffet clarinet and modern clarinets, but i feel that they don't adequately cover the tonal comparisons of these clarinets. I mean if you buy a modern buffet clarinet today, you will probably find that the intonation will be very very darn good. How does it compare to the older buffet clarinets? i mean, over time, isn't wood supposed to distort or deteriorate over time, thus creating some sort of instability between notes? well that's my hunch anywho. Granted they still have a unique sound, is it possible that old instruments are inferior in some respects to modern instruments?
Our inventions are wont to be pretty toys, which distract our attention from serious things. they are but improved means to an unimproved end, an end which was already but too easy to arrive as railroads lead to Boston to New York
-Walden; Henry Thoreau
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Author: Brad Behn
Date: 2007-04-20 13:49
"Is it possible that old instruments are inferior in some respects to modern instruments?"
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Old instruments can be inferior to modern instruments in many ways, but a good one is as good as it gets (in my opinion).
On intonation, there are many old instruments that have tuning characteristics that are not as good as modern instruments. This is probably the main reason why many people don’t pursue a good vintage horn. A good buffet made in the golden era however may play with intonational characteristics that are equal or superior to many modern options. Buffet clarinets made before the war can have usable intonation but it is much less common.
On sound, I would describe the golden era Buffets to have a wonderful combination of power, sweetness and flexibility. They offer the individual a full palette of colors to create their own sound but still maintain their own character as well. Buffet’s ability to influence the playing experience in a way that is flexible (for the individual artist to paint his/her own picture of sound), and at the same time interject a certain character that is uniquely Buffet, is for me what begins the process of “having a relationship with ones instrument.” It is a two way street. The instrument gives as much as it receives. As your input into the clarinet is processed through the instrument’s design and resonance, the output may be bigger than the sum of the parts. The clarinet is helping to produce a sound that is not only beautiful, but inspirational. What I have described here is something that is very important to me, and I find much easier on good vintage Buffets than on anything else.
On feel, this is where the older horns come alive. For me, the combination of flexibility and resistance is just right. I like a little more resistance in my clarinet to work with a reed that is very responsive. The reed’s vibrant energy is then processed by the mouthpiece and clarinet into a sound that I can work with. Golden era Buffets tend to create the feel that lets me get inside my sound.
Brad Behn
http://www.clarinetmouthpiece.com
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Author: sinkdraiN
Date: 2007-04-20 14:38
The "golden Age" R13s "sound better" because they are romantic. We have an emotional attachment to them. Our god-like teachers and heros played them. We played them as a kid. These new ones seem to blow a bit differently. We like our old ones.
What overtones are present in the old ones that make them better? What overtones are present in the new ones that make them less satisfying? Who decides this?
I play a Leblanc LL. It is a fine instrument. I decided I should follow the trend and get an R13. So tried many. They were also really nice. I stuck with my Leblanc because I think it sounds better. But who am I to decide which is better...I've become attached to it's playing characteristics...I'm biased now.
We do NOT play the best sounding instrument...we, as humanbeings, play the one that we are most comfortable and familiar with. Then WE sound the best on that particular instrument.
And the audience could care less!
Post Edited (2007-04-20 15:13)
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