 The Clarinet BBoard
|
Author: Ken Shaw ★2017
Date: 2011-12-16 14:14
Resonator pads are nearly universal on saxophones, and the Leblanc contras also have them.
Has anyone tried them on clarinet, at least for the four large pads at the bottom?
Ken Shaw
|
|
Reply To Message
|
|
Author: tictactux ★2017
Date: 2011-12-16 14:18
I have a gut feeling that resos only have a discernible effect when the tone hole diameter is significantly larger than the tonehole (chimney) height.
Sax pads of comparable diameter only have rivets if anything at all...
--
Ben
|
|
Reply To Message
|
|
Author: LCL
Date: 2011-12-16 14:27
Ken, I have them on my Leblanc Model 430 low C BC and my Selmer Model 40 Rosewood Contra-alto. I think they have added a lot to both horns and got them put on after reading the attachments.
Regards,
Lynn
|
|
Reply To Message
|
|
Author: Chris P
Date: 2011-12-16 14:38
Selmer bass clarinets are designed to take sax pads in the largest pad cups - Leblanc and Buffet (and I assume Yamaha) are designed with thinner pads in mind.
Buffet Elites had screw in resos fitted to the largest pads as do Leblanc Opus.
Yamaha CSG clarinets have resonator pads pretty much everywhere - they're skin pads with a plastic rivet through them.
Early to mid 20th Century it wasn't uncommon to see oboes with resonators fitted in the largest pad cups - they had a screw soldered into the pad cup and the resonator screwed onto it once the pad was in, but most of them have the resonator screw cut, ground or unsoldered so standard pads can be used.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: tictactux ★2017
Date: 2011-12-16 14:48
oh, my bad, I thought this was about soprano clarinets.
--
Ben
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2011-12-16 15:17
The Yamaha CSG comes standard with the Lucien Deluxe Pads. These feature little plastic buttons at the center of EVERY PAD. I believe that Yamaha claims these improve the tone. The clarinet does sound wonderful but I have yet to replace the pads, so I have no clear personal experience with the instruments without them.
...................Paul Aviles
|
|
Reply To Message
|
|
Author: David Spiegelthal ★2017
Date: 2011-12-16 16:57
Please don't get me started. Every time I try to play "Mythbuster" the big spenders come out of the woodworks and burn me at the stake.
Suffice it to say I've repadded just about everything of alto clarinet/soprano sax size and larger with pads having nearly every type/size/material of resonator (and sometimes none at all), and my opinion is simply this: The resonator is mostly there to keep the centers of larger pads from sagging down into the tonehole, and partly there for the placebo effect it has on players who have a particular favorite resonator that makes them feel better about their playing.
My flame suit is on, but please, in the holiday spirit, don't flame me if you can resist the temptation. I donated blood this morning (actually, platelets) and I'm feeling vulnerable ![[frown]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie2.gif)
|
|
Reply To Message
|
|
Author: Caroline Smale
Date: 2011-12-16 19:29
Peter Eaton uses resonators on the lowest 4 pads as do at least some of the Leblanc Opus clarinets I have seen (theirs were screwed in a la flute if I remember correctly.
|
|
Reply To Message
|
|
Author: Wes
Date: 2011-12-16 20:39
A full Boehm Silva Bet that I own has some resonators on the lower pads.
|
|
Reply To Message
|
|
Author: Chris J
Date: 2011-12-16 21:49
Norman
You are right about the Leblanc Opus pads being screwed in. Here is a picture of mine.
Chris
Post Edited (2011-12-16 22:16)
|
|
Reply To Message
|
|
Author: Phurster
Date: 2011-12-16 22:12
I've just been looking at Peter Eaton's website. He claims having resonator pads on his clarinets gives quite an effect.
Chris.
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2011-12-17 09:53
You know, I find this area of discussion quite fascinating. Is it the material the air hits on its way out of the tone hole that makes the difference....... or is it the nature of that surface (perfectly smooth, soft, hard, granular?) .......or is it the overarching design of the entire system (what path the air moves across, ie shape of tone hole, shape of pad).
These mirrors of the Eaton look like they imply that 'reflectivity' (read 'more sound') is best if the surface immediately encountered by the escaping air is PERFECTLY flat. However, there is the padding surrounding the 'mirror' over which the air has to travel. In the typical 'resonator' scenario (aside from a screw in the middle) the surface is smooth and flat creating less of an obstacle for the air.
I noticed on the Gerold Clarinet website that one of their dedicated design improvements was to incorporate a 'zwirrel' (or chimney) at EVERY tone hole so now the pad sits on a FLAT tone hole rather than one that is 'cone' shaped. As quoted from the Gerold website..... "They improve the clarinet density, avoid disturbing air noises at the air output and optimize the sound quality with regard to resonance, rich harmonics and intonation."
................ FASCINATING !!!!!!
.........................Paul Aviles
|
|
Reply To Message
|
|
Author: Chris P
Date: 2011-12-17 10:18
I dunno - I'll just stick to using cork pads as they don't bulge in the centre. If it ain't broke and all that.
Whenever I've repadded Opus clarinets I've used leather pads in the largest pad cups with the centres punched through so the reso can be screwed in. Haven't worked on an Elite as I don't know of anyone that ever bought one.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2011-12-17 10:55
Attachment: Zwirrel4.jpg (64k)
Image of Gerold 'zwirrel' for those who are interested (must make mental adjustment of this lower joint due to 'German System').
|
|
Reply To Message
|
|
Author: Chris P
Date: 2011-12-17 12:34
Just for old time's sake after seeing Gerold's clarinet - "Amadeus Amadeus, A-ma-deus, Amadeus Amadeus, A-ma-deus, Amadeus Amadeus, Oh-oh-oh Amadeus."
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Caroline Smale
Date: 2011-12-17 16:05
Stephen, I think you will find that the "super pads" copied their reflectors from Eaton's design.
Virtually all the Eaton pads were made in house.
Whilst working with Peter I expressed concern that the relatively large area of foam like surface on the larger pads might have a damping effect on the tone and that the example provided by sax reflectors might be investigated.
Shortly after this Peter created the new reflector design and I made several hundred of the early samples for him.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
