 The Clarinet BBoard
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Author: jeffreyc
Date: 2005-06-07 08:30
Hi all,
I've been asked to play in the Gran Partita with a pickup group here in SF. While I'll be playing regular clarinet, I'm trying to find some information about basset horns. The people we are asking to play are area pros, but don't have their own basset horns.
I'm sure there are some very knowledgeable people about basset horns in this forum, so I'd like to pose a few questions.
1. What are the best brands of basset horns being made today?
2. Does anyone know of a company that rents professional quality basset horns? What might be a going rate?
3. For mouthpieces, anyone have suggestions there? I've heard the Lomax BH mouthpiece is quite good.
Thanks in advance for any and all information.
jeffreyc
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Author: Alphie
Date: 2005-06-07 17:57
I don't know what it's like in SF but where I come from we're pretty generous lending out our BHs to professional local players if someone need them. We have three orchestras here and each of them have at least two BHs so there is always a possibility to find a pair for occational productions. As they're rarely required in the orchestras someone else can just as well use them just to keep them alive.
I would not hesitate to ask the players of the SF Symphony or at the Opera.
Brands and mouthpieces are strictly a matter of personnal taste so I'll pass on that one.
Alphie
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Author: David Peacham
Date: 2005-06-07 18:45
While you wait for more real experts to reply, can I just chip in that previous posts have indicated that there are significant differences in bore size between different brands. Some are more like stretched Bb clarinets, others more like altos. Given the poor reputation of the alto, you might prefer the former type.
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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: BassetHorn
Date: 2005-06-07 20:40
Hello,
The 3 makes of basset horn you are most likely to encounter in North America are Buffet, Leblanc, and Selmer. You can expect good quality work from these makers; although you will need plenty of time to familiar yourself with their strengths, weaknesses, and idiosyncrasies. It will be the best situation if you are able to locate all three and play test them in your area, then you will out for yourself what works best for you.
But the mostly likely scenario is that you may only be able to find one to test play and rent, in this case, you will do best if you equip yourself with as much information as possible, to have as much reference points as possible, in order to determine if the instrument will suit your playing style and the music, and hopefully make a satisfactory decision from there.
To that end, you need to educate yourself. Go to the basset horn pages at Steve Fox’s website www.sfoxclarinets.com. The pages are informative. He is a maker of both the narrow bore and medium bore models. Also, search the archive on this board and the Klarinet List for more varied personal opinions.
If you can find a copy at your libraries, read John Newhill’s book “The Basset Horn and its Music”. I think it’s for sale for about $20.
I have only played the Selmer, so please take the following for what it is: mix of common knowledge, hearsay, and person bias.
Are you mainly a clarinet player? If so, the Selmer will theoretically make the transition easier, because it takes a “clarinet” mouthpiece and reed. I don’t think the basic design of the Selmer has changed much; it still has the smallest bore instrument of the group and handles like a soprano clarinet in terms of outside dimension, and yes, the octave key hole also serves as the vent hole for throat Bb and it’s a big compromise. The Bb is customarily stuffy. Use the corresponding side trill key for this note.
Old Buffets were built similarly, with a small bore and single vent hole. But a while ago it was redesigned and the new instrument is reportedly superior. The bore size is enlarged. Not sure if it has a separate Bb vent hole. It uses the alto clarinet size mouthpiece and reed, and has a vent hole on the bell for improved tones. A player who has owned both the new Buffet and the Selmer told me he prefers the Buffet because of the improved tuning. There is a European recording of the Mozart basset horn trios by Trio Ebene, and the new Buffets were used. Great CD, get it if you can. There are numerous photo shots of the instrument on the CD cover.
The Leblanc, similar to Selmer, hasn’t changed for years. It has the largest bore size of all existing makes, and takes an alto clarinet mouthpiece/reed. Many players inherently dislike it because of its similarity to a proper Eb alto clarinet, in size, tuning, etc. (Usually, this group also detest altos : ) ) Haven’t got any experience with it, so can’t comment. Personally I wouldn’t have a problem with it.
Keep in mind that fingering and key layouts for the basset notes are not standard. Make sure you get clear instruction from the owner (write it down if necessary).
Another thing, if you are playing the first basset horn part, and can’t find a true basset horn, an alto clarinet in F would work just fine provided you can find one (it’s probably rarer still). No basset notes are need for the first basset horn part.
Good luck!
Willy
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Author: larryb
Date: 2005-06-08 04:50
snowy,
that link is to info about the chadash's basset clarinet - a different beast that deserves its own thread.
not much to add to bassethorn's post which covers the essentials from a small bore guy point of view.
I own and play a Leblanc - currently rehearsing the mozart requiem with my community orchestra and a great chorus and soloists - a fantastic experience. I played the Gran Partita last summer and expect to play it again in a few weeks. It's too bad that the basset horn isn't viewed as a standard part of the clarinetist's equipment, like an A clarinet. There really is a lot of great music for basset horn (much of it by Mozart) and I think playing the Gran P. with basset horns is a much better experience than with all clarinets (I've done both) - the tonal, blending differences are real and striking.
another great source of info would be Dan Leeson's numerous opinionated (and mostly fair) posts on the Klarinet listserv - just search the archives hear under "basset horn" making sure to check off the Klarinet box.
p.s. - there's a bsthrn for sale on the classifieds section of this web site - the owner of that one might be open to renting it or one of his other horns....
Post Edited (2005-06-08 04:55)
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Author: graham
Date: 2005-06-08 08:20
The Buffet does have a separate B flat hole, and the mechanism is not always co-operative. I have briefly also played the Selmer. The Buffet is noticeably rounder and smoother in tone. The Buffet will play like a traditional basset horn if you use a close facing mouthpiece. An open mouthpiece will honk like an alto. Irrespective of the brand chosen, I suggest a close facing for this instrument.
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Author: larryb
Date: 2005-06-08 18:31
as for rental rates for basset horns, I know that Weiners in New York asked $400/month for a basset horn rental (it was a buffet). That seems a little steep, but maybe that's what the market it.
I would recommend dealing with an individual, and anyone who owns and basset horn has to be honest, or at least too foolish to be dishonest
next year should be a bull market for basset horn rentals - Mozart's 250 b'day.
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Author: msloss
Date: 2005-06-08 20:39
Larry -- are you buying basset horn futures? I don't remember seeing those trading on the NYBOT...
New Buffet basset horns (RC Prestige) cost upward of $10K EACH, so $400 for a month doesn't seem all that egregious. That's a lot of Gran Partitas and Di Zauberflotes to recoup on that investment.
Some of the music schools will loan their basset hounds out, particularly if you have a relationship with the clarinet prof. Making a donation to the music program also wouldn't hurt to grease the skids.
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Author: BassetHorn
Date: 2005-06-08 22:39
When I asked my city's university if I could borrow/rent its Leblanc bassets, I was politely refused by the administration office. But yes, they are often lent/rented out to our local orchestras for performance. So either they don't deal with individuals or they don't with non-professionals. But later on when I approached a music professor to see if I could test play the university's Leblanc contra when I was contemplating a purchase, I was permitted to do so, provided that I made the appointment, not take it out of the school, etc. I guess the essence is that you get to know the faculty first and go from there.... It's just like all other businesses, music business is about contacts. If a good relationship is there, almost everything is possible.
Another personal experience: I did not go fancy when I was looking for a suitable mouthpiece for my Selmer BH. I was very happy with the sounds produced with the common Vandoren 5RV, B44, and B40. I also find softish Rico reeds work even better than Vandorens, and that the fabric Rover ligature helped produce that plaintive yet soothing sound characteristics that so many seem to fall in love with!
Also, make sure you always wear a neckstrap while playing it. You can't trust the integrity of the peg system, if the peg slides and the instrument is not supported with the neckstrap, you run a very high risk of dropping the basset. Don't let this happen!
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Author: contragirl
Date: 2005-06-09 08:26
Our school owns fairly new basset horns. One is a buffet (which is supposed to be the better of the two) and a Selmer. Both are very nice. And I just used my regular Bb mouthpiece for one, while I had to use an alto cl. mpc for the other.
I wonder if Weiner still rents instruments? They used to rent out an Ab sopranino, I know. Or if you can talk to any local colleges about it.
--CG
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Author: diz
Date: 2005-06-09 22:19
What are you talking about? Basset horns or basset clarinets, there is a distinct difference. thanks
Without music, the world would be grey, very grey.
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Author: larryb
Date: 2005-06-10 01:18
diz,
I think this thread is about basset horns. Snowy posted a link to a basset clarinet page, but that was days ago.
I'm not sure I understand what the reference to Robery Lynd is - did he play a large or small bore basset horn?
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Author: jeffreyc
Date: 2005-06-11 06:41
Thanks all who replied. There is a lot of useful information in here, which is helping me a lot.
Sincerely,
Jeffreyc
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Author: Chris P
Date: 2008-04-24 16:04
I'm seriously considering buying a Buffet RC Prestige basset horn, and currently have one with me to try out.
More vent keys than I can remember on this current version to the slightly earlier basset horns from the late '90s and redesigned keywork, though the throat Bb mechanism does feel unreliable when going from A-Bb-A - a bit on the sluggish side as the Bb vent is slow in closing. It's a simple mechanism, though I'm sure there's a much better design in the pipeline that can make it work more positively without the need for the throat A key to act upon a rocker which in turn acts on a flat spring to make the switchover work while the throat A key is opened. But I'm sure a bit of tweaking and balancing of the flat springs can get things working much better.
Low C issues through a vent hole on the bell bow (there's no bell key) and the numerous vent keys kinda remind me of Uebel basset horns with the doubled toneholes for the thumb, LH3 and RH3 - but unlike Uebels, the vent keys are adjustable and not fixed to the same key barrel which makes pad seating a pain (and endless bending things around to get both pads to close with the same pressure).
What I found strange was the throat Bb vent doesn't have a tube (which will help reduce the amount of water that collects in it), though the side Bb trill tonehole does, when with the throat Bb mechanism the need to use the side Bb trill key is less of an importance compared to bassets without the throat Bb mech fitted. The inset speaker tube and the Bb trill tube are gold plated, so they'll stay relatively tarnish-free.
Tuning is spot on with the long crook (with respects that clarinets aren't perfect) and general tone quality is even and response is good. This one is supplied with a Vandoren B40 alto mouthpiece (and Rovner lig) and works fine with my alto sax reeds (Vandoren ZZ and Java 2.5).
The downside for me is the positioning and action of the low Db and C keys - they're set to the immediate left of the thumbrest, not large plates set below as on Prestige basses so reaching them can be a bit awkward. And as they're anchored over on the right side, there's a lot of travel in them and no rollers to help with sliding between them.
All five of the lower joint LH levers (including the LH F/C lever) are indeed all lever keys (see-saw action) and mounted between pillars that are all set above the joint surface (not inset into the wood with cut-outs) as the LH F/C lever end is connected directly to the F/C key (with the usual nylon pin) and this means the LH F#/C# won't clatter with it.
Gone is the low D-Eb connection adjustment screw which was fitted with a long piece of heavy gauge needle spring - the key pieces have been redesigned so it now only has a short (normal length) adjusting screw with a domed plastic tip acting on the lever connected to the low Eb key so it slides smoothly across it in use.
The low Db-D connection pushrod that goes through a hole drilled through the joint wall is still there, though this works fine. If the thumb keys were mounted with the pillars on the left, this could be done away with and the low Db and C thumb keys won't have the amount of travel they do.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Ed
Date: 2008-04-24 16:34
Being in San Francisco, if I were you, I would contact Clark Fobes for his input. He makes a great mouthpiece and knows a heck of a lot about clarinet acoustics. He also tends to specialize a bit in the lower instruments.
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Author: graham
Date: 2008-04-24 16:40
The B flat mechanism remained a problem until I removed all the cork between the A key and its activating mechanism. There was no clicking from this as the springs keep the pieces pressed together at all times. That said, I am not keen on the mechanism.
The two lowest semitone keys are fairly dreadfully positioned, I have found over the years. This was bad ergonomic design. I improved matters by tinkering with the venting heights of the relevant lower keys, so that the travel needed to close them is much less. This produces a more covered sound, but actually that struck me as preferable, so two birds taken out with one stone. Those key positions remain a serious source of annoyance.
The side B flat trill key produces a bad stuffy tone. I see no use for it at all. The problem is I cannot stop reaching for it, becuase in all other instruments it is preferable.
The instrument leakes out of tone holes (presumably as a function of small tone holes referable to bore measurement). This means that gurgles are never far away, which is a pity.
On mine, the throat notes are prone to sharpness, though my biggest struggle is that they sound flat even though they are sharp. But they can be controlled, so it is certainly possible to play them in tune.
Thus far, I have not found all the multiplicity of screws needed any adjusting (except with regard to bottom joint venting discussed above). I think this may be because I have so little chance to play it that the key work action is almost as new. It certainly feels very solid indeed.
Enough of the negatives; this is a stunning sounding instrument. To say people like listening to it is an understatement. It cannot be praised too highly for its sound.
I use a 1.3mm opening Pillinger alto mouthpiece designed to accept alto sax reeds, and play strength 4 Vandoren alto sax reeds. I got it with the B40, but that does not bring out the basset horn in it. Beejay found that too and also got a close facing Pillinger to go with his.
Chris, if you were up in London (Howarths) one day, I could bring mine round if you were interested to look at it, though it sounds identical to the one you have.
Basset horn trios a possibility?
graham
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Author: Chris P
Date: 2008-04-24 18:04
I'll probably get a selection of mouthpieces to try out, though I was pleasantly surprised this basset horn came with a Vandoren B40 rather than the plastic Buffet alto mouthpiece which was standard with the ones from the '90s, so at least a mid-price mouthpiece is better than a throwaway one, and worth keeping as a spare.
Another thing I forgot to mention is the spring tensions. Whereas my Prestige bass was pretty much nicely balanced from new (and I didn't have to do too much to make it feel right under the fingers), this basset has certain keys and vent spring tensions set too firmly, so I'll be putting this right before too long.
Having got used to playing my ancient narrow bore Selmer ring key basset horn, the Buffet is quite a revelation (though my old Selmer is still much easier to get on with compared to the two Communist-era Uebels I've tried). I've only tried one other Prestige basset horn before belonging to a local player with the stock Buffet mouthpiece as I didn't want to use the player's own set-up (he still kept the Buffet mouthpiece there just in case) as it was immediately before he went off to do Gran Partita on it, though during the performance the throat Bb mechanism failed on him rendering it useless (the Bb vent remained open until he pressed the pad cup shut).
I'm not sure how much is time is spent on research and development due to basset horns being made in relatively small quantities, but they could do with tonehole bushes on more top joint toneholes to reduce the risk of gurgles (you can tell by the staining on the pads which toneholes collect the water) and a few mechanical alterations and improvements to reduce key travel here and there, and for a more reliable automatic speaker/throat Bb mechanism. If it was aimed at being nearer a scaled down version of their low C bass (within reason), then they couldn't go far wrong as these have perhaps the most comfortable and reliable keywork.
Not sure how much they drew inspriation from German basset horns (in both Oehler and Boehm system form), though what with some French ideas being incorporated into German instruments and vice versa, there may be an element of truth in that speculation. It's a case of finding what works best, and if a certain design or idea does the job, then why not use it? There's no harm in trying.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: J. J.
Date: 2008-04-24 18:50
I love when old threads get reopened that are years old and the original author has moved to a different state but continues to get advice.
It's hard to justify $11,000 for a basset horn. At the same time, with the slowing production of bass clarinets from Buffet it's conceivable that the instruments will virtually disappear soon.
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Author: Chris P
Date: 2008-04-24 21:27
"It's hard to justify $11,000 for a basset horn."
Indeed it is which is why I was shocked to find the prices of Buffet instruments are higher in the US compared to Europe, though the cost in the UK is far less than $11,000 (which is why I'm striking while the iron's hot) - probably the equivalent of around $7000 to $8000 with the current exchange rate - the UK price for a Buffet basset horn being around the £3750 mark.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: J. J.
Date: 2008-04-24 21:40
Ah yes, now that I look back I see that it was you, Chris, who mentioned it. That's still awfully expensive, but I have heard many people say it's the best instrument available. Can I assume that your interest in the instrument means that you find it more appealing than the small-bore Selmer you have? I imagine it would be a whole different instrument.
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Author: Chris P
Date: 2008-04-24 23:11
I know with the Buffet it will be much better and far less worry free compared to the Selmer which has it's faults (mainly intonation and tonal evenness issues) - and presumably these same faults came from the old Buffets from the late 1800s to early 1900s which this Selmer basically a copy of, and Selmer haven't really done a great deal of improvement since. I last tried a brand new Selmer basset horn back in 1989 and it had similar tuning problems that my old one has - though the narrow bore Selmer is still a much more free blowing basset horn compared to an Uebel.
The RC Prestige basset horn is a complete departure from their basset horns of a far more previous era, also being fairly unique among the others and addressing problems that some other models still harbour, though not entirely eradicating them. Though it does share the same keywork layout as other Buffet clarinets built down to low C, so top marks for continuity.
In the UK, the Buffet is the least expensive basset horn to buy, followed upwards in price by the Leblanc and the Selmer being the most expensive of the holy trinity of French basset horns. Funny that the most radical of designs commands the lowest price - well, over this side of the Atlantic anyway.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: cigleris
Date: 2008-04-25 00:11
Get a Selmer. I play a Selmer Basset horn and like it because it is like playing a clarinet in F. Having played period basset horn which are pretty much clarinets in F i'd suggest the Selmer.
Peter Cigleris
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Author: J. J.
Date: 2008-04-25 02:33
Peter, I respect your opinion on the instruments, but it's as if you didn't read any of the previous entries from Chris on this topic.
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Author: graham
Date: 2008-04-25 10:36
I did once blow some notes on a very decent Selmer at the same time I was playing my own Buffet in a Mozart Requiem. I think the reason to buy Selmer is purism, as it has the narrower bore and plays on a modified B flat mouthpiece rather than alto. There are going to be people who say that the Buffet is just an alto pitched in F etc etc.. Other than this it seems to me to be no contest in favour of the Buffet, since it produces a much warmer sound which comes closer to an original basset horn tone.
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Author: Chris P
Date: 2008-04-25 11:11
But in essence the constitution of a basset horn isn't down to the bore size or the type of mouthpiece used with it, but an instrument pitched in F that descends to low C.
I know some may say the Leblanc basset horn is an alto clarinet in F with it's 18mm bore and alto mouthpiece, but it is built for the purpose a basset horn is required to fulfill - a low pitched clarinet in F that descends to low C, even though it has more tonal weight than the others.
The Selmer may be the nearest to the earlier forms of basset horn in terms of it's narrow bore size and Bb mouthpiece, but even in this form there are improvements that can be made. But as it's only built in small quantities it's not getting the attention it deserves to spend a lot of time developing, and with the way the whole industry is run I can see it's hardly likely to be considered for future development at all. Same with the Leblanc being part of this same super company.
Although I've never gone for Buffet clarinets being a Selmer and Leblanc fan, I do like their harmony clarinets in comparison to both Selmer and Leblanc's instruments in that I find them easy to live with, and can see they've been making progress with their basset horns (though there's still more that could be done in time), whereas the others have pretty much stuck with what they've done for decades.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: graham
Date: 2008-04-25 12:20
But, as has been debated at length on this forum before, there are many who say that the essence of the basset horn is not its precise pitch and range, but the kind of character it has, and that this is linked to bore size. So it can be, to some extent, but is also related to other acoustic design factors. What we don't want is a basset horn that sounds like an alto clarinet. But the Buffet, for all its alto mouthpiece and 17.2mm bore (not much wider than an Uebel) need not sound like an alto clarinet. With careful mouthpiece selection it sounds like a basset horn that has more the covered and warm character of older basset horns than the narrow bore Selmer is inclined to do. So the Buffet is a good bet, and the purists would be wrong to decry it (though, no doubt, they will anyway).
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Author: beejay
Date: 2008-04-25 12:42
There is an excellent article on the basset horn by Georgina Dobrée in the Cambridge Companion to the Clarinet. She makes the very good point that the basset horn requires a relaxed embouchure and possibly softer reeds than you are used to on the clarinet. The Buffet Crampon model comes with a Van Doren B40 mouthpiece, which is well-suited to the instrument.
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Author: graham
Date: 2008-04-25 16:02
Softer reed resistance is almost certainly better, though with a close facing mouthpiece the actual grade of strength is likely to be harder. I am inclined against the B40. It is generally a good mouthpiece, but the instrument sounds too similar to an alto clarinet with it. The facing is more open than really suits a basset horn.
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Author: Chris P
Date: 2008-04-25 16:28
Playing both the Buffet and my old Selmer side by side shows a distinct tonal contrast between them. The Selmer has a much more compact and darker sound against the Buffet's broader, fuller and woody sound (like a large RC, which it is). I could do with a much closer mouthpiece than the B40 - probably an alto 5RV or similar facing (of which there are several makes to choose from).
It's difficult to tell which I prefer as they both have characteristics which I like, and the old ring key Selmer plays much easier than I thought it would, especially when going across the break - probably as it has no throat Bb mech, just a standard speaker key. But with the lack of a perforated plate for LH1, the tuning in the lower altissimo is all over the place, so having to half-hole LH1 or use the throat G# is a must.
Some alternative fingerings are much easier on the Buffet, such as using the low notes as throat notes:
Throat G - as low C with LH1 rolled down uncovering the perforation, or with the thumb off (slightly sharp).
G#/Ab - las ow C#/Db with LH1 rolled down uncovering the perforation, or with the throat G# open (and thumb off to flatten it).
A - as low D with the throat G# open.
Bb - as low Eb with the throat A open (but keeping LH1 covering the perforation).
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2008-04-25 16:30)
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Author: J. J.
Date: 2008-04-25 19:37
If we start defining basset horns by their supposed character, we are getting into a subjective discussion with words that have very little meaning from person to person. For this reason, I don't think we should care much these days what the bore size is and whether or not that makes it a basset horn. We're already miles away in the clarinet world from what things sounded like 100 and 200 years ago.
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Author: David Spiegelthal ★2017
Date: 2008-04-25 21:09
Actually, J.J., you're half right --- 100 years ago clarinets were essentially identical to 'modern' instruments --- I have a few such clarinets at home. Mine are standard Boehm system, differing only in having a wraparound register key (thus a top-mounted, raised register vent) which makes no diference in how they play. But I'll grant you that 200-year-old instruments are quite different!
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Author: graham
Date: 2008-04-27 13:33
JJ seems to miss the point that what I was saying is that the bore size ltself does not matter. However, the character of the instrument certainly does, otherwise why choose basset horns to play the Mozart Requiem when clarinets will cover the range perfectly well? Objective criteria can only ever cover the most basic aspects of an instrument's defining characteristics, or any kind of noise (including something a composer never considered) could be the result.
100 year old clarinets do sound different to modern ones, despite looking superficially the same. But not as different as trombones, in respect of which the modern instrument would surprise, and perhaps appall many composers who used it in the late 19th century.
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Author: beejay
Date: 2008-04-27 15:05
I entirely agree with Graham about the B40. The point I was making is that it is not a bad mouthpiece if you play the Basset horn rarely and want to avoid squeaks. It is reasonably forgiving and produces a nice rich sound, but yes it does make the basset horn sound a little bit like an alto clarinet.
If you want that beautiful silvery sound that is so typical of the basset horn, you have to experiment. I finally ended up with a Pillinger mouthpiece that I think brings out the best qualities of the instrument.
I am sorry to use the word silvery, by the way. It is subjective, but no more so than the term "dark" that I keep reading about on this bulletin board.
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Author: Chris P
Date: 2008-04-27 16:53
"I am sorry to use the word silvery, by the way. It is subjective, but no more so than the term "dark" that I keep reading about on this bulletin board."
There's no need to apologise for using whatever adjective sums up how you feel something is best described in your own opinion. We all have our own interpretations and opinions of things and merely use the words we ourselves know that best describe something, as we're all individuals that can think for ourselves.
There are probably far worse adjectives used in far more inapropriate manners that are used by people who really ought to know much better.
If you like the word 'silvery' and choose it to mean what you think something is like, then by all means use it. I like that word, and it's a very multi-purpose one at that. I don't know if the word 'melifluous' ever gets used much by anyone on here (if at all), and it's not really a word that immediately springs to mind either. And 'melifluous' only got two hits when I just searched it.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: graham
Date: 2008-04-28 09:52
apropos of nothing in particular I heard the last two movements of Gran Partita on the car radio this weekend (engine off sitting in a car park waiting for baby to wake up) and the basset playing sounded great (and quite silvery). It turned out to be a group from Vienna, under Harnoncourt. I think the Buffet is capable of such a sound (in the right hands of course).
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Author: Chris P
Date: 2008-04-28 10:52
What with all the extra vents the Buffet has, it's a wonder why they didn't fit an Acton vent to give full venting when playing xxx|oxo. Unless they felt it wasn't needed or simply don't have the room to fit it.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Ebclarinet1
Date: 2008-04-28 12:26
What a lot of interesting posts. I printed it out to study in more detail later.
I own a LeBlanc basset horn and really do love it. With the right reed and mouthpiece combination it plays beautifully and sounds quite distinct from the alto clarinet. Definitely a more veiled tone. In going from either Bb or bass, it will feel much different and the reeds I use are much softer on it than the Bb clarinet. It must be sort of coaxed or it will tend to sqwauk.
The LeBlanc model I have has the low C as the only thumb key and that does make some passages more difficult to negotiate in the basset range. Walter Grabner adjusted the mechanism of the low notes for me and they sound better now. The low C is the biggest problem in this respect and even now I have to precisely set the position of the bell so that the key closes firmly.
Very interesting on the prices of Buffet's in the UK vs. the US. Maybe we all need to take a trip to London and bring an old clarinet case (or three) so we can take it through customs!
Eefer guy
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The Clarinet Pages
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