 The Clarinet BBoard
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Author: BartHx
Date: 2011-08-24 15:23
I have acquired a Selmer 55 (1945) that has obviously had a very long, well loved, well maintained, and well played life. Other than some polishing, the only thing it needs is the replacement of one tenon cork. It is a fantastic player and a close look shows that it has been maintained by a really good tech. My question has to do with the fact that it has solid sterling keywork. With the relatively soft metal in the keys, the ring keys are very worn. Some are worn fairly thin. Given that I am in love with it and plan to use it regularly, would it be better to find someone to rebuild the rings now, or should I just wait until/if the thin rings become a problem and have it addressed then. As a collector of old Selmers, it is not something that is likely to sneak up on me in the middle of a concert with no back-up. However, this is a problem I have not come across before, so I am open to suggestions.
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Author: Chris P
Date: 2011-08-24 17:40
Solid sterling (silver) keywork? Most Selmers of this era had unplated nickel silver keywork.
What can be done is having the rings skimmed to make them level, then nickel silver discs turned and silver soldered to them to increase the thickness to what they should be, then tidied up and polished to resemble the original rings.
Use a later Selmer with plated keywork (that's not worn) to see how thick the rings should be, then it's a case of either soldering on sheet nickel silver discs or machining rings from solid nickel silver bar to be silver soldered on.
If the keys are unplated solid silver, then use sterling silver sheet or bar to make the discs from and silver solder them in place.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: BartHx
Date: 2011-08-24 22:52
I realize that solid silver keywork is very unusual. However, the 55 is an anniversary edition made only in 1945. The keys are too soft and the wrong color to be nickel silver. My wife collects silver flatware and I have learned to identify the alloy (coin vs. sterling) by how it polishes. These keys polish like sterling. They do not match the nickel silver (not actually any silver) on my early CT or my pre-war Kohlert. They are absolutely beautiful. If it were plated, there would be evidence of that because of the amount of wear. The pivot rod on the lower joint LH F/C key has flat spots worn into it by fingertips of the right hand.
Thanks for the suggestions on how to repair the wear. It sounds like, when the time comes, I'm going to have to find someone really good to do the work. On the other hand, the way this instrument plays and speaks, it will definitely be worth the time and cost.
Not to open a can of worms, but I think this instrument could be the poster child for the argument against blowout. ;^)
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Author: Chris P
Date: 2011-08-25 00:36
"Not to open a can of worms, but I think this instrument could be the poster child for the argument against blowout. ;^)"
That and the old Selmers (and old Buffet Eb) I've collected over time!
You can buy sterling silver sheet and rod, but see if a silversmith can get some or maybe have them do the repair work as key making isn't all that far removed from jewellery making.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2011-08-25 00:38)
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Author: Tony F
Date: 2011-08-25 14:45
When I had some intricate keywork to be repaired my local instrument tech really wasn't interested in the job, so I approached a friend who makes gold, platinum and silver jewellery as a hobby. He did the work for me at a very reasonable price, and has done several other jobs of a similar type for other musicians. These days I do such work myself, bit I'd certainly suggest that a jeweller would have the skills to do a good job.
Tony F.
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