 The Clarinet BBoard
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Author: Paul Aviles
Date: 2011-11-20 13:29
Just so I can fully express my excitement over this topic, I wanted to make the Gerold Clarinet its own thread.
If you go to:
www.gerold-klarinetten.at/index.html
Click on the 'Amadeus deluxe' (top of the line) and click on technical specs, you'll find some pretty interesting ideas.
My favorite is the "one side distance control" (a new approach to the key rod). I have deduced from a slightly less than perfect translation and only one photo, that this redesign is quite revolutionary. Instead of the rod being the passive pivot we all know and love, it now becomes one of the posts (in a manner of speaking) so that once in place, there will never be and affect of expanding wood to allow the key movement back and forth between pillars. They do this by putting a head on the rod which passes through the near pillar and abuts the axle tube of the key itself. The best way to envision what's going on is to imagine removing the close pillar altogether and the rod would hold the perfectly adjusted key in place just screwed into the receiving pillar.
To finish off the redesign of the axle, Gerold added two o-rings onto this 'rod head' so that once in the near pillar, it will not have the tendency to 'unscrew itself.' In addition to this, the o-rings also help to dampen key noise.
Another interesting design idea is the use of an optional 'satin finish' to the keys. On the keys where you slide (ie right hand clarion 'C' to 'Eb') the satin texture to the keys aids the sliding (fewer micro contact points as they describe). Of course they offer a complete key work done in satin as well to finish off the aesthetic.
Then there is the raised pad chimney on EVERY hole that utilizes a flat design for the pad striking surface. This DOES affect the sound in how the air is directed out of the tone holes. They claim improvement; I want to try one out first, but it is a jumping off point for discussions between performers and OTHER makers as well I should hope.
They only offer Oehler clarinets but I firmly believe that their new approach to clarinet building will add greatly to the design conversation of nothing more.
........................Paul Aviles
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Author: Ken Shaw ★2017
Date: 2011-11-20 15:08
Paul -
From the photos and (English) text on the Gerold site, it looks like the "one side distance control" prevents binding (due to wood shrinkage) of the left little finger keys. While I play Buffets, I've never had any binding problems with these keys. The distance between the posts is quite short on both French and German instruments, and the Gerold site illustration shows a quite short distance (perhaps the register key).
The only binding problem I've ever had is between the posts for the ring keys on the upper and lower joints, which are much further apart. I wonder what other people's experience has been.
While the Gerold clarinet is definitely sophisticated and interesting, they make some rather fanciful claims, such as that a raised plate for the thumb rest "has a positive impact on the clarinet's oscillation behaviour," "Silver Line" tenon rings and gold-plated posts make a big difference in playing qualities, or that various types of grenadilla let them make a clarinet "in harmony with the musician's personal vibrations."
I'd welcome a Boehm or Reform Boehm model from them, so that I could check the playing qualities, which are undoubtedly very fine.
One very interesting feature is that the hand position is identical for Bb and A clarinets. They also say that their key placement is more ergonomic than on typical German clarinets. I've always had trouble with Albert and Oehler clarinets because of the wide separation between the right index and middle fingers, which freezes my right hand position and quickly produces pain. At this point in my life, I wouldn't make a switch, but this is tempting.
Ken Shaw
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Author: Paul Aviles
Date: 2011-11-20 18:31
Attachment: Thomas-Unterrainer.jpg (32k)
Ken,
The spacing on the typical German 'A' is even MORE daunting than the 'Bb.' I think they make an issue that at least they've conquered this added spacing problem, not the typical German spacing to begin with (look at the pictures in the "Customers" section). I will try to add one of the pictures to this post ..... wish me luck!!!
As for the binding thing, for me the issue is usually one of TOO much space and therefore what happens is there is too much play in the key (side keys, register key, sliver keys...you name it). Then the solution was to swedge the key (literally bend out the 'axle tube' to fit the bigger space). With the Gerold configuration this is no longer necessary.
The rings at the top on Oehlers use rods without any pivots ..... no problem. On the bottom of my '84 vintage Wurlitzers, they used pivots on these rings. But I can see where it wouldn't be too hard to make ALL Oehler keys utilize rods (except for the low E/F vent key, but B&H 1010s use really long rods for the left and right alternates therefore I know it's possible).
I attribute some of the other 'fanciful' claims in part to translation, though I would LOVE to try one of their horns out to put it ALL to the test !!!!!
.................Paul Aviles
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Author: Chris P
Date: 2011-11-20 20:16
I never got to try any of his clarinets out whenever he came to the Howarth factory while I was there as he never brought any finished clarinets with him - he usually came over to set out the body joints (and joints were later made on the CNC machine and sent out to his factory for him to finish) and get his keywork plated.
The index rolls for his clarinets (with all the locations for toneholes, pillar holes and spring slots marked on them) as far as I'm aware are still at the Howarth factory - the joints were set out with large recesses for the tonehole inserts which he fitted at his own workshop. I'm not sure how large the bore is on his clarinets, but the Howarth clarinet reamers still weren't large enough being 14.65 and 14.75mm.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: oca
Date: 2011-11-20 20:26
Paul Aviles,
I am fascinated by any clarinet that is not designed traditionally.
The design of the clarinet is extremely under-designed given the amount of time that it has been around.
Any other new designs?
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Author: Bob Phillips
Date: 2011-11-21 00:06
The Gerold clarinet, regardless of its playing attributes is a wonderful bit of machinery and a beautiful sculpture.
But, hey, it costs as much as a MOBA.
Bob Phillips
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Author: Ralph
Date: 2011-11-22 13:17
Several observations:
1. In the pictures Gerold appears to be relatively young. Interesting that an individual as young as he appears to be has developed all these innovations. Almost as he is on a mission to improve the clarinet.....which is a good thing !!
2. In the European world, people like Gerold traditionally learn by serving an apprenticeship with another manufacturer. Any idea where he may have apprenticed ?
3. The claim of the different materials influencing the tonal qualities is similar to the Yamaha claim abouth the Hamilton plating material.
4. The claim of the extra thick barrel influencing the sound is similar to the Selmer Recital claim that its extra thick body produces a warmer sound.
5. As to bore diameter, there is a note stating that the bore diameter is 15 mm. Is that standard for Austrian clarinets ?
Ralph
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Author: Paul Aviles
Date: 2011-11-22 13:27
Ralph,
I am inquiring as we speak about the bore diameter issue. At least one other manufacturer of Germanic horns uses the same (or similar) measurement.
Actually the Selmer Recital DOES get a less overtone ridden sound and it's not just the barrel. The entire clarinet is a heavier (thicker) wood. It makes the clarinet more uncomfortable to hold over all.
Maybe I'm just not paying attention but I only saw a group picture. Which young cat is Gerold?
...........Paul Aviles
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Author: Ralph
Date: 2011-11-22 15:01
1. If you go to the page labelled "team", there is a sidebar with individual pictures. If you pause over each picture with your mouse, the name of that individual is listed.
2. I actually play a Recital and have become accustomed to the weight....not a problem for me. By the way, the mass of the Amadeus is listed as 720 grams. Don't know how this compares to the typical French clarinet.
3. The other interesting item is the proliferation of boutique clarinet shops in Germany and Austria, where the focus is on "old world" craftsmanship. As compared to the high volume manufacturing we see in France.
Ralph
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Author: Ralph
Date: 2011-11-22 20:31
I was curious and checked the weights of a few Bb instruments for comparison:
1. Gerold Modesto: 650 g = 22.9 oz *
2. Yamaha 350: 663 g = 23.4 oz
3. Selmer 9*: 719 g = 25.4 oz
4. Gerold Amadeus: 720 g = 25.4 oz *
5. Selmer Privilege: 825 g = 29.1 oz *
6. Selmer Recital: 868 g = 30.6 oz
* = from website....others are actual measurements w/o mouthpiece.
Ralph
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Author: Paul Aviles
Date: 2011-11-22 23:59
Ralph,
That's a weird statistic with regard to the Selmer Privilege. I tried them; didn't notice any particular weight issues. Odd that it comes in almost as heavy as the behemoth of a clarinet in the Recital.
......................Paul Aviles
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Author: Lam
Date: 2011-11-23 11:35
Ralph,
Gerold made his apprenticeship at Otmar Hammerschimidt. For Austrian clarinet, usually the bore is 15mm or 14.9 mm.
By the way, any player has experiences of Gerold clarinet? I am really interested to know how they compare with brands like Hammerschmidt (Otmar/Frank) or Wurlizer.
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