 The Clarinet BBoard
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Author: aero145
Date: 2009-11-29 09:41
Hello!
I was checking Stephen Fox’s website and I came across a touchpiece to play a forked Bb xox|ooo. http://www.sfoxclarinets.com/Accessories.html (L1 bis).
Does anyone here have experience with it? This note is the only extra note I would want to have on the clarinet, and because the oox|ooo C/G hole doesn’t protrude I couldn’t imagine that adding a Full-Böhm key would be possible.
I used the search engine but didn’t find this particular discussion, so I decided to make this thread.
Thanks in advance,
DAE
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Author: cigleris
Date: 2009-11-29 10:18
This is the bis key that comes a standard on any saxophone. These were put onto pre-war Boosey 1010s. I wonder why it never really caught on. I would use it if the need arose.
Peter Cigleris
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Author: aero145
Date: 2009-11-29 10:31
Thanks for the reply! I haven’t had to play too much saxophone so I didn’t realise it was standard. Will get myself one of those then.
Regards
D
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Author: Chris P
Date: 2009-11-29 10:35
I've fitted the forked Bb mechanism to my plastic Yamaha YCL-24 (and a LH Ab/Eb lever), so it can be fitted to a standard Boehm system - but it will be an expensive alteration:
http://www.clarinetperfection.com/galleryclar/Keywork/CP2/10.jpg
http://www.clarinetperfection.com/galleryclar/Keywork/CP2/09.jpg
The only drawback with the Bis key on clarinets is the Eb will be on the sharp side - the long Eb (xoo|xoo) is already sharp, so the x,oo|ooo fingering will be a shade sharper still.
With the forked Eb/Bb mechanism, the Eb is well tuned as is the Bb.
Although I'm mainly a sax player, I generally use the Bis Bb fingering much more than the long or side Bb on saxes - though I do still use the other Bb fingerings where they make things smoother. On clarinet, I've found the forked Bb fingering very useful and do feel lost without it - my Eb, basset horn and bass clarinets don't have such luxuries as my full Boehms!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-29 10:45)
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Author: aero145
Date: 2009-11-29 10:53
My clarinet is a Selmer Saint Louis. I am skeptical about the worthiness of the full-Böhm mod, I think a bis would be enough for me - I am only talking about the Bb here, not the Eb - the overblown notes are much more sensitive about too slow fingers or not-completely-closed holes.
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Author: Chris P
Date: 2009-11-29 11:03
It's such a shame that Selmer once offered all manner of keywork options and you could get a clarinet with just the forked Eb/Bb mechanism, yet they only stretch to adding a LH Ab/Eb lever nowadays.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: aero145
Date: 2009-11-29 11:06
Well wasn’t that over hundred years ago? Or was it only then when the started with Full-Böhm? :-P
There must be a reason for that, no?
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Author: Hank Lehrer
Date: 2009-11-29 11:44
Hi
Here's a thread I started a ways back.
http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=83577&t=83577
I would really like a BIS key on my clarinets and may have Eric Satterlee rig up something. I got a Runyon key and lost it in the grass on one of the first gigs I played. The screw that is used to tighten the BIS does not have that great of a purchase on the Eb key arm.
It would seem that a simple nib could be soldered on. Chris P. can probably tell me.
HRL
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Author: Chris P
Date: 2009-11-29 12:01
An oboe d'amore spatula key (for LH1 to hold down while playing an A#-B trill) can be hard soldered to the key barrel (which is what the older 1010s appear to have had fitted), or a piece of metal bar with the top side shaped can be hard soldered to the LH2 pad cup arm.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: aero145
Date: 2009-11-29 12:19
I tried playing x,ox|ooo, and the note was completely impossible. I played x,oo|ooo and it was just fine. I thought one could play a clean xox Bb with the bis but no, that doesn’t work out. Guess I’ll have to have a Full-Böhm fork added on my horn then. I sometimes play a xox, and although it’s not nice, it sometimes sounds close enough to the Bb to be usable.
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Author: Chris P
Date: 2009-11-29 12:28
When you play x,ox|ooo and the LH2 ring is lowered closing the E/B vent, that'll make the Eb/Bb too flat as LH3 is closed below it. So to compensate for LH3 being closed you need the small vent key in between LH 2 and 3 to remain open while LH3 is closed.
This small vent key is connected to the LH2 ring and the bridge key - the adjusting screw makes sure when you close LH2 the E/B vent pad and the additional vent pad both close. Lifting LH2 allows the vent key to open but the E/B vent to remain closed (held closed by LH3) so Eb/Bb issues from the LH2 chimney and is helped up to pitch with the small vent key being open.
On the Yamaha the small vent tonehole is 5mm in diameter and the pad cup has an inside diameter of 7mm, so it's important the key arm is the correct length as a 7mm pad hasn't got much margin for error seating on the bedlpace crown which is 5.5-6mm.
Also on this Yamaha, the LH3 tonehole was originally 8mm, but after fitting the chimney the tonehole diameter had to be increased from 8mm to 9mm to bring D and A (xxo|ooo) up to pitch.
Unfortunately (but only slightly), the heat generated by cutting out the LH3 tonehole to fit the chimney caused the plastic to melt a bit, so I had to go really slowly when doing this. Not the case with wooden instruments as a high cutting speed won't cause the wood to burn provided the cutting tools are kept nice and sharp.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-29 12:41)
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Author: aero145
Date: 2009-11-29 12:56
Problematic, really. Why oh why did the have to stop having the ring key and as standard? It makes many passages so much easier and when both xx,o and xx’o are full of water one still has two ways to play the Bb - xoo|xoo and xox.
Anyways, the Selmer will likely be shipped to Backun for an overhaul soon and I will try to have an Oehler side Eb/Bb key and a fork Eb/Bb mechanism added.
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Author: Chris P
Date: 2009-11-29 13:16
Normally with the forked Bb mechanism that's a factory fit, the LH3 ring and E vent are mounted seperately on the lower level pillars and the trill/side key pillars have been moved to make room for the key barrel.
But due to placement of the side/trill key pillars there's no room for the LH3 ring key barrel on standard clarinets, so a floating pinned steel with all the mechanism mounted on was the only way around it. This is mounted on the existing point screws so no alterations are made to the pillars.
An additional spring will need to be fitted for the LH2 ring so this can either be a separate stud pillar with a spring fitted to it (as I did on this Yamaha) or an extra spring fitted to the middle LH main action pillar.
I was going to fit a similar forked Bb mechanism to my 1010, but someone bought it off me before I had the chance. But I then tried out the prototype forked Eb/Bb mechanism on this Yamaha to see if it worked (which is what you see in the photo), and I'm pleased with the result.
On Leblanc pro model alto clarinets (excluding Vito, Normandy and Noblet) and their basset horns, the LH3 fingerplate closes the E/B vent pad cup so you can play a forked Eb/Bb - but you will need to open the C#/G# key to compensate for LH3 being closed, so a Db-Eb and Ab-Bb trill can be done by playing the Db/Ab and trilling with LH2 only.
Along with Selmer, Leblanc and Buffet also made Boehm system clarinets with all manner of keywork configurations from 17/6 to 20/7 (and more besides with the Selmer Marchi and Mazzeo systems), and you could have just the forked Bb mechansim on an otherwise standard clarinet making it a 17 key 7 ring instrument. But this is all history and you're only likely to find full Boehms currently being made by Amati and also by several German makers with their handbuilt and expensive instruments.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-29 13:24)
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Author: aero145
Date: 2009-11-29 13:24
Thanks for your time Chris, but this looks like Dutch to me. I somehow didn’t see in the text if you said you don’t think it’s a good idea or you think it is or that it’s completely impossible - could you tell me that? Because I really want the ring but if it’s too messy to be worth it on a clarinet worth €1500, I won’t have it done.
Regards,
D
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Author: Chris P
Date: 2009-11-29 13:33
Anything is a good idea if you want it regardless of the cost of the instrument, and provided you know someone with the equipment and the skill to make and fit this mechanism, then it shouldn't be a problem to them and it'll only benefit you.
Admittedly it isn't economical to fit such a mechanism to a plastic Yamaha as the cost to make such a mechanism is most likely to exceed the cost of a new YCL-250, but it does offer some of the possibilities I have on my Series 9 full Boehms and my other clarinets that have the forked Bb mechanism that I've played from early on in my clarinet playing days - and it spares me playing wooden clarinets outdoors which is an added bonus.
http://www.clarinetperfection.com/galleryclar/Keywork/FB/07.jpg
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-29 13:33)
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Author: aero145
Date: 2009-11-29 13:35
Maybe finding a pair of full-Böhms would be a better idea? What do you think this modification would cost? If it’s somewhere around the $1000 then I’d rather try to find full-Böhms.
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Author: Chris P
Date: 2009-11-29 13:57
I've no idea of the cost, though I suspect it to be around the $500 mark at a very rough guess.
And as your clarinet is a St. Louis, I could easily justify the cost of fitting a forked Bb mechanism if I owned one myself.
You can still find Series 9 clarinets with the forked Eb mechanism (17/7) on the famous auction site, but they won't have the LH Ab/Eb lever.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Ken Shaw ★2017
Date: 2009-11-29 14:13
I have two older Buffet Bbs (1929 and 1939) with seventh ring for the left ring finger and the current mechanism (with the tiny hole), and have owned and sold a couple of others with the doughnut ring. They work well for clarion Bb but less well for chalumeau Eb, which is sharp, like the forked "1 and 1" fingering.
They do however create an adjustment problem. The 1 and 1 fingering requires that the bridge key be adjusted to make the pads on the upper and lower joints match exactly. Adding the ring means that a third connection must match the other two, and the extra small hole means there are four things to synchronize. Any change for tuning purposes means that all four have to be changed -- by no means a simple process.
Also, on the standard design, without the seventh ring, the hole for the left ring finger is offset to the outside and has a curved surface. At least on clarinets I've played that have the factory-installed mechanism, the hole for the left ring finger is in line with the other holes on the upper joint and has a flat rim. My fingers are unequal lengths, and I'm bothered by the extra reach for the ring finger. YMMV.
I've seen a simple tab soldered to the strut for the pad between the left left index and middle fingers, which you hold down with the tip of your index finger. (Most oboes have this.) It sort of works, but both the clarion Bb and Eb are sharp. I've also seen a tab soldered to the rod for the left middle finger ring and key, extending down by the trill keys so it can be pressed by the tip of the right index finger, which closes the same pad and has the same tuning problems. I suppose it would be possible to add a quarter-moon pad to this that would shade the left ring finger hole, but that would further complicate the mechanism.
Of the important clarinetists, I know of only one - Gino Cioffi - who had the seventh ring on his clarinets. I've read that Marcellus said that he got on fine without extra keys, and his students should too.
Ken Shaw
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Author: aero145
Date: 2009-11-29 14:14
The St. Louis is pretty annoying now, because most pads have started to stick annoyingly and rods, mostly the low E-F-F# rods, have this undescribable amount of play (even when screwed [the literal meaning, not the curse] completely), which, amongst other things, means I cannot trill B-C because the B-hole isnþt covered completely cause of the mechanism. I would send the clarinet to Canada, but would have to decide on ”the Bb-fork” before sending, because I wouldn’t want to have to send it twice.
Maybe I should just stop nonsensing and just have it done and be happy. :-P
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Author: aero145
Date: 2009-11-29 14:18
Ken, thank you for the message.
This forked Bb is not the most important thing I would want to have on the clarinet (a stretched Eb/Bb side key is IMO more important). If this isn’t such a good idea for a factory without-fork horn, I will of course not do it.
Has anyone had this done to his wooden clarinet? Chris is the only one I know of that has done it, and it was on a rubber clarinet...
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Author: Chris P
Date: 2009-11-29 14:33
Ken,
On the later Selmers (from the '70s) with the forked Bb, the LH3 tonehole chimney is offset unlike the earlier Series 9 and CTs with the inline tonehole chimneys. If you compare the photo of my Series 9 full Boehms you'll see the A (from 1962) has the inline top joint chimneys and the Bb (from 1978) has the offset LH3 chimney: http://www.clarinetperfection.com/galleryclar/Keywork/FB/07.jpg
Likewise with the Yamaha - I didn't relocate the LH3 tonehole to put it inline with the other LH chimneys, but instead used a longer key arm for the LH3 ring. The ring is the same diameter as the RH1 and 2 rings on then lower joint to take in to account the larger diameter of the LH3 chimney.
I wouldn't hesitate to fit this mechanism to any wooden clarinet if I was asked to - and probably much easier to do this on a wooden clarinet than a plastic one.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-29 14:38)
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Author: aero145
Date: 2009-11-29 14:40
I didn’t realise that the Bb wasn’t inline until you mentioned it, haha!
What about the chimney? Would one have to make one or is it possible to drill out and make one in the wood?
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Author: Chris P
Date: 2009-11-29 14:48
The chimney will be made from a seperate piece of grenadilla or ebonite and glued into the joint. I used a threaded ebonite bush and this screwed into the joint. I used a special tap to cut the internal thread where I cut into the joint and screwed the bush in.
In this instance (as it was only an experiment) with the Yamaha I used superglue to glue the bush in place with (it was slow setting superglue so allowed me time to screw the bush in fully) but normally Araldite would be used, then left for 48 hours before the next stage.
Then another cutter is used to profile (cut the shape and diameter of the sides of the chimney) and also to level the top of the chimney in one action.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-29 14:50)
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Author: aero145
Date: 2009-11-29 14:53
Thank you!
I won’t try it myself because I don’t have the tools and wood, but I guess it wouldn’t be dangerous to have Backun do it? I at least haven’t read anything bad about them, only good...
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Author: Chris P
Date: 2009-11-29 14:59
Anyone with the skill to make clarinets can do this - the chimney is the same as the RH 1 or 2 chimneys as is the ring that will be used for LH3.
The other key pieces may have to be specially made or adapted from existing parts (I used discarded oboe/cor anglais key pieces for these and got a workable mechanism from them). Then once finished and it all works, it all gets plated to match the rest of the keywork.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-29 15:03)
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Author: aero145
Date: 2009-11-29 15:01
Alrightey then. Thanks again, I will post more when done or decided not to do.
Regards
D
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Author: Chris P
Date: 2009-11-29 17:40
If you had a Selmer Signature, that already has a raised LH3 tonehole that would make things easier when it comes to making the chimney as it can be formed from what's already there (and it'll be integral like the others), otherwise it's a case of making and fitting an inset chimney.
The top of the LH3 chimney on my Series 9 Bb is pretty much flush with the joint surface and is flat across the top as a finger chimney normally is. I skimmed the top to sharpen it up and that removed around 0.3-0.5mm off the height when I rebuilt this clarinet (and I did the same with the other chimneys as they were worn).
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: aero145
Date: 2009-11-29 18:14
If I only had liked the Signature when I bought my St. Louis in 2005.
Otherwise no problems with skimmed chimneys? Sound differences? Difficulties with covering chimneys because rings are much higher up? Or is that only a Selmer problem? At least I haven’t experienced that feeling with the Buffets, only Selmers…
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Author: Chris P
Date: 2009-11-29 20:05
The LH3 chimney won't be all that much higher than the surrounding joint surface but it will have a flat top compared to the curved top of the plain tonehole - so that will probably feel better plus there's also the ring key which will be around 0.5mm higher than the chimney so locating LH3 won't be a problem.
You'll get accustomed to it soon enough - and if you've already played German or Oehler systems, it will have a similar feel to them (plus you're having the elongated side Eb/Bb touch fitted which will only add to that feel).
Considering all the other toneholes are flat on top anyway apart from the LH3 tonehole on standard clarinets (which is the only plain tonehole remaining), the addition of the chimney for LH3 will make all the toneholes feel the same.
I didn't notice any problems in tuning when I skimmed and levelled the chimneys on my Series 9 Bb to tidy them up - it plays just as in tune and is as predictable as any other older Selmer clarinet which is what I'm used to.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: aero145
Date: 2009-11-29 20:33
Alright, thank you!
I’ve always found Oehlers easy to play on - easier than the Böhm. I didn’t think especially of the LH3 rings, they just were there and I played and I could also play xox Bb’s…
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Author: Chris P
Date: 2009-11-29 21:31
Yes - if you use the sliver Eb/Bb key, then the touch will have to be bent up higher so you can still get the correct venting on the cross Eb key pad, otherwise the venting will be diminished and the LH ring keys may not open far enough.
As I never use the sliver Eb/Bb key myself (and block up the tonehole), the touchpiece acts as a stop for the LH rings to keep them from opening too far when the joints are seperated - in a similar way you'd have a stopper cork fitted to the bridge key to stop the LH2 ring opening too far and also from clattering against the joint when the joints are seperated and it also makes assembly easier as you don't need to close LH2 during assembly (though it's always good practice to do so).
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-30 08:07)
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Author: Chris P
Date: 2009-11-29 22:00
Attachment: ForkedBbMechExploded.jpg (34k)
Exploded view of the forked Bb mechanism to show how the parts are all mounted.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-29 22:01)
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Author: Chris P
Date: 2009-11-29 22:28
Ignore this message!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-30 08:29)
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Author: Chris P
Date: 2009-11-29 22:28
Attachment: ForkedBbMech+Standard.jpg (46k)
Comparison betwen the pinned forked Bb mechanism (top) and standard LH2 ring key (bottom) as fitted to 17/6 clarinets (without the forked Bb mechanism).
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-30 19:39)
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Author: Don Berger
Date: 2009-11-29 23:48
Being a long-time lover of the extra keys available on the Boehms, my first good cl was a P M F B from the 1920's, I have a G Bundy with the fork only, a 1950's Leblanc Dyn 2 with the artic. C#/G# added. a Pruefer [date uncertain] with the Ab/Eb added. and a Selmer R I with the low Eb added. So I feel comfortable about talking about the 4 steps to F B to students etc. Each serves some fingering purposes, so I use what makes cl life easier. Chris, I admire and learn from your above discussions, and your patience in answering the many questions posed. A keeper, perhaps, GKB ? Don
Thanx, Mark, Don
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Author: Chris P
Date: 2009-11-30 09:51
Attachment: ForkedBbMechBridged.jpg (31k)
Attachment: ForkedBbMechBridgedExploded.jpg (37k)
Attached are a couple of diagrams of the forked Bb mechanism without the pinned steel (but is still mounted on a floating steel between point screws), so both parts are bridged instead of the LH3 ring and the E vent being pinned to the steel.
I was originally going to fit this type (with two bridges) to my Yamaha, but instead went with the pinned steel version with a single bridge as it was much easier to make.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-30 15:46)
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Author: Bassie
Date: 2009-11-30 10:47
This note is only slightly sharp on my own instrument as it stands. I get the feeling this is unusual...?
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Author: Chris P
Date: 2009-11-30 11:29
What clarinet have you got and what fingering are you using?
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Bassie
Date: 2009-11-30 11:50
Selmer Prologue II, LH xox. The Bb is quite believable at a fast tempo. Doesn't work at all for the chalumeau Eb.
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Author: aero145
Date: 2009-11-30 12:32
Chris: Thank you for those diagrams - they were very interesting!
Now I see there are two types of the Fork - standard and bridge - you have the bridge on your Yamaha - what are the pros and cons of each?
Thanks again
D
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Author: Chris P
Date: 2009-11-30 13:35
Bassie - without the extra mechanism, forked Bb won't work on a standard Boehm system so you won't get a decent forked Bb on a Selmer Prologue or any other clarinet without the ring for LH3. You can only get Bb with the three (or four) standard fingerings - xxo|Eb/Bb ooo or xx\o|ooo or xoo|xoo (or xoo|oxo).
David - the one I fitted to the Yamaha has the pinned steel connecting LH3 ring with the E vent, but the pinning screws have to be done up tight to ensure the key pieces are secured to the steel so it all works well.
With the double bridge, both parts of the mechanism are mounted freely on the steel - and you could even use a single rod screw to mount all the LH rings on (like a B&H 1010). This is a more reliable mechanism than the pinned steel, but it will be even more costly to make due to the extra bridgework to connect LH3 ring with the E vent pad cup.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-30 15:50)
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Author: Chris P
Date: 2009-11-30 13:43
Scroll down to next message.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-30 15:17)
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Author: Chris P
Date: 2009-11-30 15:17
Sorry, I'll try that again.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-30 15:26)
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Author: Chris P
Date: 2009-11-30 15:27
Attachment: ForkedBbMech17-7.jpg (41k)
Attached is a diagram of a forked Bb mechanism as fitted to a clarinet with standard C#/G# key (a 17 key 7 ring model) - you'll see this on Selmers and others that don't have the articulated C#/G# but do have the forked Bb mechanism fitted. The C#/G# key is mounted on the same rod screw as the LH3 ring and E vent pad cup (the LH3 ring and E vent are mounted on the same barrel).
The placement of the side F# key pillar will prevent this mechanism being fitted to most clarinets as an aftermarket alteration unless the inner F# pillar (the threaded one) can be relocated under the trill keys, but that will mean the side F# key will end up with a much shorter key barrel.
On a clarinet with this fitted, the LH3 and E vent key barrel and pillars will be directly beneath the LH2 ring key barrel - that wouldn't make much sense if I showed it like that in the diagram so that's why it's been flattened out.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Chris P
Date: 2009-11-30 17:26
Attachment: ForkedBbMechBodywork.jpg (48k)
Attached is a diagram of the basic stages in converting the top joint of a standard 17/6 Boehm system to fit the forked Bb mechanism (in cross-section).
1 - Standard joint.
2 - Cutting the recess for the tonehole chimney insert (cutter 'a') and the bedlace for the vent (cutter 'b').
3 - The tonehole chimney insert (c) is glued into the recess in the joint, the LH3 tonehole is drilled through and then the insert is profiled to form the chimney (cutter 'd'). The vent tonehole is drilled through to the bore (cutter 'e').
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2009-11-30 19:23)
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Author: aero145
Date: 2009-11-30 18:48
Hello Chris!
Once again, thank you very much for all those detailed ways and types of the Fork.
The 17-7 way of adding the Fork looks by far the most logical, but as you say, the side F# has to be altered in location and size, so I guess that wouldn’t be too possible or pay off.
Don’t you think that my best guess would be to have the standard ”way” added, and just take good care of the mechanism for longer lasting?
Regards
David
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Author: aero145
Date: 2009-11-30 19:22
Thank you still once again!
I will discuss this with ”the whoever” who’ll do this for me.
Best best regards,
David
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Author: GBK
Date: 2009-11-30 19:54
Chris P wrote:
> I think this is probably the first thread that I've managed to
> remain 'on topic' in!
[ We've noticed - GBK ]
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Author: Chris P
Date: 2009-11-30 21:57
On the standard factory fitted version of the forked Bb mechanism as you'd find on Selmer, Leblanc and Buffet clarinets (and other makers of full Boehms), the two parts of the mechanism are mounted in different planes to each other, so there will be a certain degree of sliding/friction between the adjusting screw and where it contacts the E vent pad cup arm which will in time wear a groove or even right through the silencing material stuck to it (or the nylon tip of the adjusting screw).
On the versions I described that have both parts of the mechanism sharing the same set of pillars and moving in exactly the same plane, there's no such sliding action at the adjusting screw tip, so therefore the adjusting screw tip is less likely to wear through the silencing material as there's no friction. You'll still have some compression of the silencing material, but that's easy enough to adjust.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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The Clarinet Pages
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