 The Clarinet BBoard
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Author: Barry Vincent
Date: 2013-08-13 16:13
I just got my Lyrique RCP-570C Clarinet from Tom Ridenour and what a delightful little Clarinet it is. It's intonation is practically spot on and it's tonal quality is bright and clear.
This C Soprano has been modified to take a Bb mouthpiece and its bore dimensions are practically identical to the Bb Soprano.
It seems to be a bit of a mystery to me as to how this actually works.
In Anthony Baines 'Woodwind Instruments and Their History' he states "The reasons for abandoning the C , apart from the fact that it is comparatively seldom demanded , were firstly that it's tone lacks the dignified mellowness of the Bb, being in comparison hard and chirping, and secondly that it needs a different mouthpiece, since it's bore is over a millimetre smaller" (P 119)
So what has changed ? Has the relative positions of the tone holes been slightly 'repositioned' owing to the bore being enlarged to that of the Bb.
Whatever the extent of the modifications of this handy little Clarinet it's obvious that the results work very well.
So now we have 4 Clarinets that use the same size mouthpiece and hence reeds. The C . Bb, & A Sopranos and the F Alto (Basset 'Horn') A very handy situation indeed.
Skyfacer
Post Edited (2013-08-13 16:18)
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Author: Chris P
Date: 2013-08-13 16:49
The Lyrique C is based on the Leblanc and Noblet C clarinet which both use a standard Bb mouthpiece which is a good idea all round. Otherwise an in-between mouthpiece would have to be specially made and most likely it'll be expensive, then you'll have to find a ligature that fits it and possibly have to use German reeds which are narrower and shorter in comparison to French Bb reeds.
So whoever designed the C clarinet so it can use a standard Bb mouthpiece should be recognised.
Both Buffet and Selmer C clarinets also use a Bb mouthpiece which makes life easy for the orchestral player.
What I want to know is why can't they make affordable plastic bodied C clarinets to the same spec and quality as a Buffet B12 (as Schreiber already make wooden bodied E11 C clarinets), Yamaha YCL-250 (although Yamaha don't make C clarinets) or Vito (a plastic version of the Noblet C clarinet) so kids can start on a standard Boehm system at an earlier age (and be able to play the same music as their flute, violin, guitar and piano playing peers which would make primary school music teaching/performance much easier) or those of us wanting a good C clarinet which costs the same as a student Bb clarinet? I know there are Chinese C clarinets on eBay etc., but it would be good to have on offer a much better quality made plastic C clarinet.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Paul Aviles
Date: 2013-08-13 17:21
Hey Chris,
I just wanted to relate my experience with a B12 (only one I'd ever tried). The clarinet played so hideously out of tune as to be (no exaggeration at all) completely, and utterly useless. Perhaps this particular instrument was a fluke.
It is my reading of your post that by your estimation the B12 is a decent horn. I just want to confirm that so I don't continue to assume all B12 are what I experienced.
.............Paul Aviles
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Author: Chris P
Date: 2013-08-13 17:35
There must have been something seriously wrong with it as I've never had a bad experience with them. I've heard a teacher moan about tuning problems with Yamaha 26II clarinets but again haven't ever experienced this myself.
The only B12 which had serious intonation problems was one brought in by a pupil's mum where the teacher shortened the barrel to 60mm (or possibly less) because he said 'Why are all clarinets built to play flat? All my students' clarinets play flat when I play them' so he took his own remedial measures, took their barrels home and shortened them because he couldn't play their clarinets up to pitch with a stock barrel. Some background on him - he's primarily a sax player and plays a very wide tip opening on clarinet with a very soft reed so he can use the same sax embouchure on clarinet. He took over woodwind teaching at a school where the woodwind teacher retired, but he could play clarinet up to pitch and used double lip embouchure, so his successor also complained he he's having to teach them all the 'correct' embouchure - only modelling it on his own slack embouchure, hence all his clarinet pupils playing flat. So back to the B12 again, I had this pupil try her B12 with a stock 67mm barrel which I found in a drawer and it played perfectly in tune as is humanly possible (I had my tuner and watched the needle as she played) whereas before it was a semitone sharp in the throat notes and a quarter tone sharp at the bottom end.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Barry Vincent
Date: 2013-08-13 17:49
Chris , as you were saying "so kids can start on a standard Boehm system at an earlier age (and be able to play the same music as their flute, violin, guitar and piano playing peers which would make primary school music teaching/performance much easier)"
Well , there's the Clarineo, an all plastic (including the mechanism) Clarinet in C. One of my students is using one and even though it's not quite a standard Boehm, its close and very light and easy on the right thumb. The only thing I don't like about it is the mouthpiece. Now looking for a good second hand Eb Sopranino mouthpiece which apparently also fits to this Clarinet.
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Author: Chris P
Date: 2013-08-13 18:04
I bought a Lyons plastic C clarinet (forerunner of the Nuvo Clarineo) when was at college and the other purchase at the same time was a Vandoren B44 Eb mouthpiece to go with it. While these do have good intonation, they feel too bendy under the fingers, but that's not dismissing them entirely - Julian Bliss started out on one and look where he is now!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2013-08-15 08:52)
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Author: Barry Vincent
Date: 2013-08-13 21:56
The 7 year old female student that I have at the moment who is using the Clarineo is quite petite and just couldn't handle the Bb as it was too heavy for her right thumb. And this was a plastic instrument.
I thought of suggesting to her parents that they get a sling for her but I would rather see students holding up the Clarinet at approximately 45 deg or thereabouts. A support sling just encourages them to 'hug' the instrument as this is the position where the sling works best.
The Clarineo is so light she has no trouble supporting it at the correct angle.
She's yet to progress to using the levers but I doubt that she'd bend anything on it considering her size. The Clarineo seems quite sturdy for someone like this.
Skyfacer
Post Edited (2013-08-13 21:58)
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Author: Tony F
Date: 2013-08-14 01:11
I bought a Lyons C clarinet on EBay a couple of years back so that I could play along with some guitarist friends without having to transpose. I use a Rico Eb mouthpiece, which gives it a pretty good tone. It takes a while to get used to the slightly bendy feel of the keywork, but once you realize that it's not going to break under your fingers that's not really a problem. The keywork is optimized for small hands and I have large hands, so I've reprofiled some of the keys to suit. I also have a Chinese built Boehm C clarinet which uses my normal Bb mouthpiece and a no-name Albert C clarinet with a lovely grenadilla C mouthpiece. They all play pretty well, although the tuning is a bit iffy on the Albert. The Chinese instrument came with 2 barrels, neither of which was with shouting distance of correct pitch. I had a spare C barrel in my junkbox which, and after a bit of work it now plays in tune.
Tony F.
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Author: Barry Vincent
Date: 2013-08-14 02:21
Tom Ridenour's RCP-570C is a hard rubber (Ebonite) Clarinet made in China.
These are sent to TR for tweaking for good intonation ect. It has his 'fishtail' speaker key which is said to improve the 'touch' when it's used but I don't feel that there is any real advantage.
It has a vent hole in the bell (4mm) to improve the intonation of the E/F -B/C.
One thing I've noticed is that the mechanism is a bit 'crowded' for my fingers.
This is because the key work hasn't been scaled down to the smaller size of this Clarinet but this is a minor concern.
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Author: gemini-clarinet
Date: 2013-08-14 07:12
I use an Amati C clarinet in a couple orchestras I play in and I like it very much. It is a very nicely made grenadilla clarinet with silver plated keys made in the Czech Republic and plays in tune. The one quirk it has is that the F above the staff is very flat. If I finger an F# it is perfectly in tune. If I have to play an F#, I just add the first right hand trill key.
BARRY
Tucson, AZ.
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Author: Hurstfarm
Date: 2013-08-14 19:45
I'd endorse the comments about Amati's grenadilla model. I bought one as a project, having been persuaded to see how it fared against "professional" competition. I went into the shop expecting to come out with a new Prestige or perhaps a Patricola, but eventually emerged with an Amati (the better of 2 tried) at about a third of the price. The starting point was a nice, well-finished piece of wood with comfortable, solid keywork, acceptable intonation and (with a proper mouthpiece) a tone and response very similar to the higher end models. Shortcomings were poor regulation, some "fuzzy" notes and indifferent fit and finish of the cork damping, but it aroused my curiosity to see what could be done with it. During the month that followed I gave it a full work-over to correct venting and regulation generally, including better pads, and brought the overall finish up to scratch. A hole in the bell corrected a slightly flat long B/E, and a sliver of BluTack in the tone hole dealt with an over-bright C#/D#. Of course it lacks the immediate "street cred" of the mainstream professional models, and I suspect individual instruments "off the shelf" are less consistent in quality. Nevertheless, for a bit of work and a small additional cost, is an instrument able to pass muster alongside professional colleagues for occasional orchestral and chamber music outings, and good enough to give the doubters pause for thought when they try it! Altogether quite satisfying. Confession though - I'm also the owner of an older professional C clarinet, which I can't quite bring myself to sell...
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Author: Chris P
Date: 2013-08-14 21:18
Has anyone seen, played or owned either a Selmer or Leblanc full Boehm C clarinet?
I'd love to get one of these for my collection - since I recently found a full Boehm Selmer Eb I'd like a full Boehm C to fill in the gap.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Barry Vincent
Date: 2013-08-19 13:34
Chris. Looking at that image of the full Boehm C Clarinet it appears that it also has not had the mechanism scaled down slightly to the smaller sized instrument.
The rings and levers seem to be of the same thickness as the Bb but because the tone holes are closer you end up with a Clarinet which feels 'crowded' to the fingers. This is the feel I have with the Lyrigue.
As I said , I don't consider it a real problem. However in cases where there are rapid arpeggios it can be a problem. At the moment I"m using my C Clarinet in place of the Oboe (Reed 4 part) in the musical 'Sweeney Todd'. In the 19 th section for example there are fast e-g-c / f-a-d arpeggios where my left hand 3rd finger often makes contact with the Eb/Bb lever.
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Author: Chris P
Date: 2013-08-19 15:47
I wish my Selmer Eb clarinet had fatter touchpieces (like my Buffet), but they are resteicted where space is concerned but still a miracle Selmer managed to fit all the full Boehm keywork onto an Eb clarinet - but they have been outdone as I've seen an Italian Ab sopranino with 19 keys and 7 rings!
With regard to the LH3 Eb/Bb 'sliver' key, I've blocked off the tonehole as I don't use this key so that won't cause any problems if I catch the touchpiece by accident - on the Eb clarinet it gets in the way anyway.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Barry Vincent
Date: 2013-08-19 22:59
Chris, blocking off the tone hole of the LH sliver key is a good idea , and even perhaps removing the mechanism as well.
However , that is not an option for me as I always use the LH Eb/Bb 'sliver' key in chromatic passages. It keeps all the action there in the left hand fingers minimizing finger movement.
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Author: Chris P
Date: 2013-08-20 05:40
On my bass and basset horn (Buffets) I've completely removed the key and pillars as they really get in the way on them, but on my other clarinets I've disabled it by plugging the tonehole with a cork.
On my first set of Selmers I bushed all the smaller toneholes, but on the cross Eb/Bb tonehole I recut the bedplace but didn't drill the tonehole through so it was blanked off (although recently I drilled them through). I use the sliver touchpiece to prevent the LH ring keys opening too far so assembly is easier as it keeps the linkage raised (although I do still hold the top joint rings closed during assembly).
When I last borrowed a pro level C clarinet (a Leblanc LL) to do Mahler 1st several years back I really missed the extra gadgets I use on my full Boehms (same with my Buffet Eb which has basic 17/6 keywork which I used in this), so it would be nice to have full Boehms across the soprano range. The good thing with the Leblanc LL C was I could play it with my Bb mouthpiece and didn't notice any tuning or intonation problems. I wish I snapped up one of the used Noblet C clarinets I fully serviced while working for Howarth as one of them played like a dream - the other wasn't as good but was still a nice instrument.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Chris P
Date: 2013-08-24 11:19
Just saw this C clarinet listed on eBay for a good price (under £500), so hit the 'Buy it now' button. It's not a Selmer nor is it a full Boehm, but at that price how could I refuse?
http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=181189104949&ssPageName=ADME:L:OC:GB:3160
Looks like a Malerne-style clarinet - let's see what it's like when it arrives! I had a similar looking A clarinet (Selmer Sterling) which was a great player considering it wasn't even a pro level clarinet, so fingers crossed this one will also be a good player.
I'm already thinking of adding a LH Ab/Eb lever, forked Eb/Bb mechanism and possibly an articulated C#/G# mechanism as well.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2013-08-24 11:39)
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Author: Barry Vincent
Date: 2013-08-24 11:22
Chris , hope it all works out Ok for you. It does look in very good condition for it's age.
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Author: Chris P
Date: 2013-08-24 11:37
The tonehole chimneys look unworn and the tenon corks appear to be the originals, but it has been repadded with skin pads which is something I'll definitely be redoing - no offence to whoever repadded it (most likely to be able to sell it in fully playable condition), but I personally prefer cork and leather pads.
I'd also have to add an adjusting screw to the throat G# key and will probably go the whole hog and have the lot silver plated. But let's see how well it plays first.
I hope it takes a standard Bb mouthpiece! I don't know anything about Masspacher as a company or anything of their clarinets - are they stencils or original instruments?
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2013-08-24 18:17)
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Author: Chris P
Date: 2013-09-03 12:43
Update - the Masspacher C clarinet just arrived! It's in excellent condition for its age, the unplated nickel silver keywork is spotless and well fitting between the pillars and doesn't appear to have been played much (but has been repadded). It comes in a Yamaha German clarinet case which has plenty of room to fit some dividers in so all joints can be separated.
I've had a quick play test and checked it against a tuner.
With my A1 crystal (which fits perfectly) the 50.3mm barrel it came with all the way in it is a bit sharp, but pulled out by 2mm brings it all into tune, so I'm happy with that - I can use a 2mm tuning ring to rectify this as I doubt 52mm barrels are easy to come by. Both barrel sockets are exactly the same diameter.
The bore measures 14.6mm at the middle tenon and is slightly narrower at the top tenon being 14.5mm.
The keywork is of the older French style having flat springs on the C#/G# key and on RH F#/C# touch, the C#/G# tonehole isn't countersunk as seen on older Selmers and Couesnons.
I don't know anything about Masspacher as a company and the only other info I've found was they made brass instruments as well.
The address on the logo reads: 30 Pass. du Grand Ceré (Paris, France).
If anyone has any info on them, then please let me know.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2013-09-03 12:47)
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Author: Tony F
Date: 2013-09-03 13:08
Chris,
I was watching that item, and while I was dithering over wether I actually needed it or just wanted it, it disappeared. As they say, there are only the quick and the dead! Congratulations anyway.
Tony F.
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Author: Simon Aldrich
Date: 2013-09-03 16:09
"there are only the quick and the dead!"
I was raised with a longer version of the above:
There are only the quick and the dead and if you are not one you are the other.
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Author: tictactux ★2017
Date: 2013-09-03 20:00
Re plastic C clarinets - I have an Amati (ACL 251) C clarinet with ABS joints an a wooden barrel and bell. I can second the comment about finish and worthiness of improvement, even if in my case it just needed some minor tweaks to play with an acceptable tone and in-tuneness.
So yes Chris, plastic C clarinets do exist, however I am not sure mine is discontinued in favour of the all-wood model.
Too bad that Hanson aren't producing C clarinets (or Eefers) ...
--
Ben
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Author: Bill Patry
Date: 2013-09-03 21:29
Not by plan, but by opportunity, I have 4 C clarinets. Chronoliogically there is a February 1931 Hawkes & Son cocuswood Boehm. This is the last particular instrument Hawkes produced due to their merger with Boosey. While I like it well enough, it is the only one that is not outstanding tonally, but historically it is, at least to me, important. (I have a copy of Hawkes' final ledger showing this horn by serial number as their last).
I have a Selmer Centered Tone C in great shape that is to die for: it is quite in tune and has an easy blowing full sound. It is definitely the most fun to play.
Next (and the first one I bought) is a Rossi. I loan it out now and then for symphonic performances (Beethoven etc) because folks are most comfortable with it, and it has an even pitch.
I play these three with a Bb mouthpiece just fine.
Finally, I have an almost new Wurlitzer Reform Boehm C with a mouthpiece made just for it. This is a Rolls Royce of Cs.
To me, in pieces that call for more than one C, the distinct sound one gets in a section of really good Cs is worthwhile.
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Author: Chris P
Date: 2013-09-03 22:03
I was a bit annoyed to find the clarinet parts to Beethoven's Leonore No.3 overture have been transposed for Bb clarinets when they're written for C clarinets in the score - likewise the 2nd movement of Schubert's 9th has been written out for A clarinet.
I know two other players locally that both have and use their C clarinets (one has a Leblanc LL and the other a Noblet Artist) - they also use them to cover any flute doublings in pit band work. I would still love a CT or Series 9 full Boehm C clarinet, but I doubt that'll ever materialise for a long time to come.
This Masspacher will definitely benefit from a thorough rebuild which I will be doing in due course (when I get a bit of quiet time), but as it stands I really like the tone and have just been playing it for around an hour to get more accustomed to it.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Barry Vincent
Date: 2013-09-03 23:20
I've settled down now to using one of Tom Ridenours' mouthpieces. This is the Eroica. (Artist-Quality) It has a slightly smaller chamber than the Vandorens. This seems to give a more 'focused' sound for this smaller Clarinet.
As I mentioned above , the theater group that I"m playing in is doing the musical 'Sweeney Todd' I usually play Oboe in the orchestra but I quickly realised that I could use my new C Clarinet for this part. There are hardly any nice Oboeish tunes in this musical and our director and fellow musicians are very please with the sound of my 'alternative oboe'.
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Author: Chris P
Date: 2013-09-05 19:39
Your Couesnon C looks fairly similar to my Masspacher - I don't know if they're based on the same or similar instruments or French makers of this era shared key pieces. I do prefer the ring keys on your Couesnon and they're rounded on top (almost like Selmers) instead of having a sharp inside edge.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Chris P
Date: 2014-03-29 17:40
scroll down...
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2014-03-29 18:17)
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Author: Ursa
Date: 2014-03-29 14:54
Great looking work, Chris...as I've come to expect!
Could you post some sound clips of this being played?
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Author: Barry Vincent
Date: 2014-03-29 20:05
Paula S / Quote :- ". The m'piece is the original, on a Chedeville blank, and plays with good intonation at A=440Hz. Though this C will play with any standard Bb clarinet m'piece, e.g. a Vandoren".
Now there's a mystery to me. This C Soprano of this vintage has an original mouthpiece as stated. This is a smaller mouthpiece to suit this smaller Clarinet. It would therefore require a smaller type reed than a Bb Clarinet as well.
See Anthony Baines "Woodwind Instruments and Their History". Page 119.
So how could a Bb mouthpiece even fit into the top joint socket ?
BJV
"The Clarinet is not a horn"
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Author: Wes
Date: 2014-03-30 02:38
Masspacher was a music store in Paris, as I understand, in the first half of the 20th century. They sold many kinds of instruments with their name on them. I have a Boehm system oboe with their name on it. It does not appear to be a Buffet stencil. I recall that I have some more information on them but I'm not sure I can find it.
The work you did on that C clarinet is truly wonderful, Chris!
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Author: ThatPerfectReed
Date: 2014-03-30 04:47
Chris P.
You raised a wish for more solid C plastic clarinets directed at the entry market or those simply desiring a it over a Bb, at a student level of quality, wondering why this can't be done.
I'm going to claim the two lowest, but perhaps distinct levels of clarinets sold to be entry and student level. I'm sure there's overlap and in some people's minds synonimity with these levels. Maybe what seperates them are that clarinets for entry level students are geared to players who start playing very early, like Julian Bliss did, while student level clarinets are geared to those who start the instrument at more common age.
Maybe I should replace "entry" clarinets with "early beginner clarinets" suggesting their size, more than their quality, is what distinguishes them from the "student" segment.
I'm of the opinion that there's nothing inherent to plastic that makes it a bad clarinet, therefore in theory your wish is doable. Rather, I believe that it's because plastic is perceived as cheap, that the market won't normally pay a premium for a plastic clarinet, and therefore manufacturers do not want to invest much craftsmanship into such product lines that won't be recouped in sales.
As Barry stated, but I'm not sure from context you knew, the Ridenour version of this clarinet is made of hard rubber to very exact tolerances. Also as Barry specified, the Ridenour model discussed is made in China, but between Tom Ridenour's quality control, hand finishing, relationship with such vendors, and willingness to pay for the quality he seeks, I think an excellent product is produced. I prefer to see China as a market, like many others, where you get what you pay for, not one that invariably produces sub-standard clarinets.
Barry:
Your choice of the Clarineo for weight is certainly one I think best left in your hands as you are the guy on scene with the student while I comment blindly. That said, I also agree with your concern over neckstraps creating the potential for clarinets to be held too close to the body, but have personally found the BG strap I use, when otherwise attached to the accompanying rod that is distanced (and attached) perpendicularly from the back of the clarinet to the player, reduces the chance for the proper angle between player and clarinet to be compromised.
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Author: Barry Vincent
Date: 2014-03-30 06:08
ThatPerfectReed.
That student has moved on from the Clarineo and now uses a Plastic Jupiter JCL-631-II. I've fitted the thumb rest of the Jupiter with one of those common rubber cushions that are often seen. She's still a rather small student but you can see her growing , especially after not seeing her for six weeks after the school xmas holidays.
The neck strap set-up that you mentioned (with the accompanying rod) would certainly be the way to go if this was thought needed. Someone here in Australia makes such a set-up. Must look into this for future reference.
BJV
"The clarinet is not a horn"
Skyfacer
Post Edited (2014-03-30 06:12)
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Author: Tony F
Date: 2014-03-30 19:57
"Now there's a mystery to me. This C Soprano of this vintage has an original mouthpiece as stated. This is a smaller mouthpiece to suit this smaller Clarinet. It would therefore require a smaller type reed than a Bb Clarinet as well."
I have a couple of Albert system C clarinets dating to the late 1800's which use mouthpieces which are midway between a Bb and Eb mouthpiece in size. One is wood and the other hard rubber. They both play well. I also have a modern "No name" Chinese made C clarinet which takes a standard Bb mouthpiece, in fact it plays very well with my favourite Selmer 85-115.
Tony F.
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Author: Barry Vincent
Date: 2014-03-30 18:06
Tony F. Those mouthpieces that you say are midway in size between the Bb & Eb that came with your old Albert System C instruments are the special C size mouthpieces that Anthony Baines mentioned. I assume that you would also have to use the special size reeds on these as well.
The Chinese C instruments, being modern is the reason why I started this discussion. Now a Bb mouthpiece can be used on this smaller instrument.
So what has changed ? Has the C Soprano Clarinet 'evolved' (been modified) to be able to accept the larger size Bb mouthpiece ? Not just by increasing the size of the tuning barrel socket but also by slightly increasing the bore dimensions ect as well.
Modericus. Amati Klaslice probably do make a plastic C Clarinet and this would be an ideal instrument for a young & smaller child to initially learn on. The problem is finding a dealer that sells these.
BJV
"The clarinet is not a horn"
Skyfacer
Post Edited (2014-03-30 22:07)
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Author: Paula S
Date: 2014-03-30 22:43
Barry I can turn the barrel around on my C to fit either mouthpiece and it sounds great. I have also used a Buffet C on my Cousenon C and it works fine :-)
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Author: Chris P
Date: 2014-03-30 20:49
My Masspacher barrels are the same - both sockets are regular Bb mouthpiece tenon-sized. However the one I made has slightly narrower diameter sockets so they're a better fit on the tenons.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Caroline Smale
Date: 2014-03-31 02:13
My understanding is that german system C clarinets have a bore between Bb and Eb size and need a special mouthpiece. Not sure about reeds but the common practice of using Bb reeds on Eb would probably work equally well on these Cs.
In my opinion the use of Bb bores on modern Boehm Cs is purely a convenient compromise that probably saves manufacturing costs and proves handy when switching between Bb and C instruments.
I can't help thinking that the true C clarinet tone quality (and intonation) would only emerge from a properly proportioned instrument.
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The Clarinet Pages
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