Author: Franklin Liao
Date: 2011-10-20 05:38
Trevor, Clarnibass has in the past made a review of the Forte' C clarinet, which the newer Amati followed rather closely. Granted, it is best that you judge each instrument individually, but I share his sentiments about the altissimo and upper clarion response with him. As I've only tried Patricola CL.2 Bb, I cannot really say much on the C horn.
Intonation issue with C often arise, from what I've gathered thus far, with the incorrect assumption that one can merely scale the dimensions of the Bb down to make a C. Many earlier instruments as a result are pale shadows of their Bb cousins. Later works, such as Leblanc horn under Rideour, have seen an improvement, but some issues remain.
With contemporary Cs, one could say that typical issues on a Bb are inherited and a few one ones would gnaw at the user. The bell note, the throat note, the D# key for example are compounded with the difference in resistance. Mechanical issues such as keywork spacing considerations crop up as well, and that must not be understated.
From prior correspondence with Morrie Backun, I can say that he has had RCs and R13 in C in need of tuning, while urging sincerely against the older C instruments. (as a sidenote, the best C instrument I've ever tried was one that he tuned and paired with his bell and barrel)
Ridenour horns are what one can achieve with expert tuning and dimensioning on the Chinese manufacturing norm. There are good and bad associated with this approach, but it does deliver the goods in having a playable instrument instead of a clarinet-shaped object.
I cannot really say definitely if intonation issues have been solved with the premium RC Prestige in C. What is known from my very short time playing on one is that the instrument is not nearly as alien going from Bb to C as comparing E11 Bb to C, and that the resistance is far more even to this novice.
Post Edited (2011-10-20 05:45)
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The Clarinet BBoard
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