Author: kdk ★2017
Date: 2010-09-30 17:03
One of the differences I'm fairly certain about is in the position of the register vent.
The S, as I remember, replaced the 10G after Selmer's association with Anthony Gigliotti (whom the G signifies) ended. The 10G was modeled, but with some adjustments, on the Buffet R-13 with the modifications developed over the years by Hans Moennig. It was designed for an American market to produce what was described in their advertising as the "American" sound - a cross between the weight and depth ("darkness") of the sound recognized at the time as the German sound and the clarity and flexibility of what was then the stereotypical French sound. When the 10S replaced it, the register vent and a few other small changes, I think in the bore, were made to improve some of the intonation compromises that had been made with the 10G (every clarinet design involves a series of choices), and probably some details of key shape that Gigliotti had insisted on were changed.
I don't know how the 10S played first-hand, but my suspicion is that if it had been redesigned to produce a radically different sound or response, they would have completely renamed the model to distance it from the 10G, which was an excellent clarinet but never, I don't think, came near to overcoming Buffet's popularity outside the Philadelphia area. Maybe someone knows more about the technical differences, but they were both excellent instruments aimed at the professional market.
Karl
|
|
The Clarinet BBoard
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
