 The Clarinet BBoard
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Author: Jerry
Date: 2013-12-19 00:58
There is roughly $300 difference between the all wood Amati 351 and the hard rubber Ridenour 570C, $850 vs. $1,195.
What are the pros and cons of each, which would you recommend for the money and why? The higher price would be stretching my limit, so the recommendations of purists for a LeBlanc or Buffet will not help.
Are there any others WITHIN THIS PRICE RANGE worth considering?
Jerry
The Villages, FL
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Author: Ken Shaw ★2017
Date: 2013-12-19 03:57
The Noblet 45C was the C clarinet of choice while it was being made. They come up from time to time on eBay within your price range and would be worth considering.
Ken Shaw
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Author: clarnibass
Date: 2013-12-19 05:16
Last couple of times I tried an Amati C clarinet, it was their "top" model (I think they offered a few models) and I'm pretty sure (but not 100% sure) it was the 351. It was the one that looked identical to a Forte C clarinet. I have a ful review in a *.doc file if you are interested that I can email you.
I haven't tried the Ridenour C clarinet.
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Author: ruben
Date: 2013-12-19 18:31
I have a Ridenour Lyric C clarinet and am delighted with it. I'd played Selmers and Buffets that cost 3 or 4 times as much-lent to me-and I like the Ridenour just as much if not more. It being made of hard rubber makes the sound more mellow. It has fewer harmonics than if it were made of wood, and I like that because it makes the C clarinet less squeaky
rubengreenbergparisfrance@gmail.com
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Author: Jerry
Date: 2013-12-19 15:13
Richard: Excellent advice. I wouldn't purchase without trial privileges. I bought my R-13 that way. I had charged untold thousands from 3 different dealers in different parts of the country for 4 or 5 different instruments sent to my home. Returned all but one. My card was maxed for a month or two, but it was worth it.
Ken: I prefer to avoid eBay. The locals on Craigslist, less so, because I can deal directly, as in "I know where I can find you" implied if not stated.
Ruben: Interesting observation between wood and hard rubber. Who would have thunk it? Is that observation/benefit rather universally agreed upon for C clarinets, and by extension, for Eb's as well?
Jerry
The Villages, FL
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Author: JJAlbrecht
Date: 2013-12-19 22:04
I have not played Tom's C clarinet, but I had extensive experience with his 576 BC Lyrique Bb clarinet. It is an excellent instrument. If the C performs as well, it will be a winner. Also, there is always the issue of wooden instruments being susceptible to ctracks within their lifespans. The hard rubber Lyriqe will not craclk due to temperature/humidity fluctuations. Furthermore. as you deal directly with the man who designed the clarinet and can customize it to your wants, you are jmore apt to get an instrument that is the best Tom can make it for *you*.
Jeff
“Everyone discovers their own way of destroying themselves, and some people choose the clarinet.” Kalman Opperman, 1919-2010
"A drummer is a musician's best friend."
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Author: ruben
Date: 2013-12-20 01:49
Jerry: I will stick to my guns on this point: hard rubber works best on C clarinets because it eliminates the bad harmonics that make the instrument so sour and squeaky, generally speaking. In addition to this, there is the the excellent acoustic design of Toms clarinet(s). His C clarinet is neither squeaky, sour nor out of tune, but a joy to play. Give me a 4000 euro Selmer or Buffet clarinet and I will go on playing Tom's "cheapy". I'm pretty good at transposing, but I often play the C clarinet not because I'm too lazy to transpose, but because I love the sound and response of it. It truly feels like a different instrument. The only thing is that you might have to experiment with mouthpieces: what works on the B-flat clarinet might not work as well on the C clarinet. I find that my Lomax Andrew Marriner mouthpiece works very well on the C clarinet because of its very dark round sound.
rubengreenbergparisfrance@gmail.com
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Author: Jerry
Date: 2013-12-20 04:44
I presently have a 5RV Lyre and an M30. Any thoughts on the use of these on the C? What are the specific characteristics of mouthpieces that cause those suitable for the Bb to be less suitable for the C? Aside from sampling dozens, what should I look for in a mouthpiece that would make it more suitable on the C, i.e. measurable criteria?
Jerry
The Villages, FL
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Author: Garth Libre
Date: 2013-12-20 00:11
I'm learning that one should not judge an instrument by how it plays new or even used, until it has been gone over by one of the best technicians first. (I use Wesley Rice but there are many others). I hate to think of all the fine instruments I passed up like a pro level 70's Selmer, just because when I encountered it, it was unplayable. Others seemed harsh or resistant or clumsy. I now believe that any quality instrument can be vastly improved over what you initially encounter. Further, I am told, that certain pros send their brand new instruments out to be overhauled. I have read on this board about basket cases that were completely transformed with a major overhaul done by a master. Knowing this, I would not trust myself to judge any instrument until someone with more experience and more vision works on it. I do believe I am capable of seeing obvious cracks, obviously damaged tone holes and cheap key work. Short of that, I bet the best instruments are routinely passed over as worn out garbage, simply because they play badly when taken as is.
If I ever buy another instrument, I am going to test a similar one that has been fine tuned and then make my purchase not by how it plays but how I believe it may some day play. If 60's R13's sound good to you, why not buy one that currently does not play at a bargain price and then pay someone to bring out its potential. If I made my decision based on how a horn initially plays I would have ended up with a student Yamaha that seemed pretty good right out of the box. Instead I ended up with an older cheaper R-13 that sings like bird after a few hundred dollars of work.
Garth, 305-981-4705. garthlibre@yahoo.com
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Author: bradfordlloyd
Date: 2013-12-20 06:13
I bought a Forte C clarinet (which is similar to the Amati, but with a few additional features) and have liked it very much. I did need to have a custom barrel made as well as find just the right mouthpiece (it takes a standard Bb mouthpiece, but responds differently) to make it sound the way I want.
It turned up on eBay for a very reasonable price....
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Author: Ken Shaw ★2017
Date: 2013-12-20 06:19
My 1929 Buffet C got put in a drawer and never played. Kalmen Opperman set it up, and it's the best instrument of any kind I've played.
Several years back, I tried a Leblanc Opus that came close.
Ken Shaw
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Author: donald
Date: 2013-12-20 06:33
I know a pro player here in NZ with an Amati C clarinet and another with a Ridenour. I prefer both of them to the awful RC Prestige C clarinets owned by the local symphony, but confess I very much enjoy the Amati over the Ridenour. I have a lot of respect for Tom Ridenour and his knowledge and experience, but really didn't like the C clarinet. For an instrument "set up" by someone i have a lot of respect for, I wasn't impressed by the attention to detail/padding etc, it did play well in tune but felt DEAD, and the sound seemed to be inflexible- I could make it sound good but only within narrow paremeters if that makes sense. The Amati wasn't "wildly out of tune" (in fact slightly better than my favourite R13 C, and the most obvious problems were actually easily tweakable unlike the RCs i mention above) but had a clearer tone quality- still with a lot of warmth in the sound... and a feeling that the instrument wasn't restricting me.
My 10 cents, it would seem most people above would vote for the Ridenour. The "try before you buy" advice is always good- but in this case would involve arranging to have both instruments at the same time in order to make a true comparison.
i'd be very curious to know how many of the people who posted above have actually played both instruments you ask about.
dn
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Author: dibble
Date: 2013-12-20 14:56
Dave Blumberg, how can you say "slam dunk" about an instrument you have never played?
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Author: Jerry
Date: 2013-12-20 19:39
Donald said:
"i'd be very curious to know how many of the people who posted above have actually played both instruments you ask about.
dn"
Me, too.
Jerry
The Villages, FL
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Author: Jerry
Date: 2013-12-20 21:34
So, based on all the replies so far, here is the essence as I understand it:
Both are decent instruments, and in the experience of some, superior to better known brands costing more.
The intonation of the Ridenour is better than the Amati, but the Amati is tweakable by folks who know what they are doing.
The hard rubber of the Ridenour compared to the wood of the Amati makes the Amati a bit brighter and the Ridenour less bright or "dead" by comparison. Others might call the Ridenour more mellow than the Amati. Is this a matter of taste?
The impression I get from the Ridenour people is that their customer service and satisfaction will be better for those who are not good tweakers themselves or for those who do not have access to a quality technician.
I am tempted to order both for trial for a concurrent test.
Jerry
The Villages, FL
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Author: Jerry
Date: 2013-12-20 18:17
This link on Tom's page...
"To hear Tom Ridenour play his own adaptation of the Mozart K. 377 played on the C clarinet in a live performance accompanied by Dr. Stephen Allen, piano, click here."
...is unresponsive, like its not connected to anything.
The second one, with the orchestra, for me is hard to critically hear the instrument.
Jerry
The Villages, FL
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Author: Jerry
Date: 2013-12-20 23:18
This link on Tom's page...
"To hear Tom Ridenour play his own adaptation of the Mozart K. 377 played on the C clarinet in a live performance accompanied by Dr. Stephen Allen, piano, click here."
...is unresponsive, like its not connected to anything.
The second one, with the orchestra, for me is hard to critically hear the instrument.
Jerry
The Villages, FL
Post Edited (2013-12-20 18:23)
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Author: Jerry
Date: 2013-12-20 23:22
This link on Tom's page titled...
"To hear Tom Ridenour play his own adaptation of the Mozart K. 377 played on the C clarinet in a live performance accompanied by Dr. Stephen Allen, piano, click here" and linked here http://www.ridenourclarinetproducts.com/mozart.html
...is unresponsive, like its not connected to anything.
The second one, with the orchestra, for me is hard to critically hear the instrument.
Jerry
The Villages, FL
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Author: dibble
Date: 2013-12-20 20:40
I HAVE a Lyrique Bb hard rubber pro clarinet and I only use it when I play outside (which is why I originally bought it). I also find the tone to be dead sounding for me too (though VERY nice in the altissimo). The low register is particularly weak compared to, say, an R13 or a selmer 10s, or any other clarinet I have tried. When playing with other clarinetists, I find it hard to match their fortes in the first register.
Even Leslie Craven says the low notes are not as sonorous. So he adds a wooden bell and barrel to the horn to make it better. I find that when I put a wooden bell on the lyrique, the lower register can be played a bit stronger. Conversely, when I put my hard rubber bell on my R13, the lowest notes lose a bit of power.
I know the material thing has been done to death, but there are Backun pro players who say that granadilla has more power than cocobolo. I think there is substance to what they say. I hear the difference when they play a cocobolo clarinet and granadilla one, of the same design, side by side.
Anyway, rubber, I think, has its own acoustic tendencies too.
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Author: ruben
Date: 2013-12-20 21:19
Dear Dibble: I agree with every word you've uttered. I am advocating rubber for the C clarinet-perhaps for e-flat, though I hane no experience of this. In short, for the C clarinet and the C clarinet alone. The B-flat needs wood and its complexity of colours and harmonics. An "all of a piece" tone is boring and thus unartistic.
rubengreenbergparisfrance@gmail.com
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Author: Garth Libre
Date: 2013-12-21 02:47
This is confusing to me. People are saying that the rubber Ridenour clarinet lacks harmonic and tonal complexity. However the Buffet composite clarinet is not supposed to have this problem. Is this because the rubber material is by its nature dead, but the composite Buffet is by its nature more lively? The Ridenour, I know is much less expensive and has cheaper key work, but I thought the design compensated for any material limitations.
Garth, 305-981-4705. garthlibre@yahoo.com
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Author: afmdoclaw
Date: 2013-12-21 07:06
Wow-- The Villages apparently has as much music happening as golf and shuffle board. COOL.
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Author: Jerry
Date: 2013-12-21 08:35
Indeed. The Villages has two New Horizons Bands with over 90 in each. It has a 50 + piece wind ensemble, 2 clarinets to a part, formerly conducted by Jack Bullock. It has a 50 piece symphony orchestra, a sax ensemble, a 14 member clarinet ensemble, a flute ensemble, trumpet ensemble, brass ensemble, many retired band directors. Not to mention dozens of miscellaneous dixieland, jazz, country, and rock ensembles as well as a great choir, The Village Voices. I have to really constrain myself to not keep busier than when I was working.
Now, back to figuring out the best C clarinet for my budget...
Jerry
The Villages, FL
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Author: afmdoclaw
Date: 2013-12-21 10:09
Jerry
You won't find THE answer here just opinions/suggestions etc
You will need to play them so buy one and if
1. you like it--- keep it;
2. you don't like it sell it or send it back
Either way not a major risk and more likely than not a major mistake.
Carnegie Hall is a way north and at this stage in your life have fun and don't worry-- be happy
hmmm --- a good song?
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Author: Barry Vincent
Date: 2013-12-21 10:51
I'd assume that the Amati Klaslice C and the Ridenour C are the ones within the price range that Jerry is asking about. There are certain Chinese C Clarinets other than Ridenour's that are cheaper but I wouldn't consider them.
The problem here is that hardly any of us have a Ridenour AND an Amati to enable comparisons. And the Ridenour RCP-570C is far more readily available than the Amati.
As this is the case, I"d go for the Ridenour. I own one and I know you'd be on a winner.
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Author: Barry Vincent
Date: 2013-12-21 11:21
I started a discussion about the C Clarinet last Aug (08-13-2013) entitled
"Evolution of the C Soprano". It gives my opinion of the Ridenour RCP-570C.
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Author: donald
Date: 2013-12-21 11:05
Come Monday I'll see if i can borrow the Amati C plus the Ridenour one, and make a sound clip where i play both side by side so you can make your own mind up about intonation etc. It might not be possible as the friends who own these instruments may have left town, but I'll see if it's possible. It seems Mr Blumberg hasn't played the Ridenour, I'd be surprised if he's played the Amati (at any rate, he didn't chose to enlighten us on this when invited).
dn
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Author: Tom Puwalski
Date: 2013-12-21 17:24
I've had All the C clarinets mentioned in this discussion with the addition of a Buffet Prestige RC C clarinet. My opinion is if you're not going to go for a custom built Steve fox C, the Buffet E-11 C ( customized by Morrie Backun) is the best C clarinet you can play. I've played the Fox it's really nice, I know of a few klezmer players who have made a Steve Fox C with the low D, their instrument. In that case pretty much klezmer is all they play and the only instrument they take on the gig is That "C".
But since this discussion was Amati or Ridenour, I'll assume a custom built instrument is not in the running. At one point I had the Amaiti, Ridenour, Buffet RC prestige, E-11 C, another inexpensive Chinese built C, and a Patricola all in my possession at the same time. I actually had each instrument gone over by my repair guys. I had the Ridenour C totally re-padded with Valentinos by John Parrette.
I played all those different clarinets for about 2 months on gigs, rehearsals, and some test recordings in my basement. The only one I have in my possession now is the Buffet E-11 C. My Buffet RC prestige was the C clarinet I had before I decided to test these, and the purpose of the test was to answer the multitude of Emails I get asking essentially the same question, " I want to play Klezmer music, I want to use a "C" Clarinet. What is the least expensive instrument I can get that will do the job?" My RC-C had the full Backun treatment, C Barrel and Bell and Morrie Backun did a lot of custom intonation work, and was going to be my test standard. I figured in 2 months I'd have answers to the question and be back to just my RC prestige. I ended up liking the E-11 with the Backun Barrel and Bell better than the RC, it had a mellower sound, and a more even response, and it felt better in my hand, it had a different key set than the RC. There were a few funky notes so I had Morrie fix them, and the buffet E-11C is my c clarinet of choice, for the last 3 years.
I didn't end up feeling the other instruments were remotely in the ball park. Could one use the other instruments on a gig? I did. Could the other instruments be improved to the point that would be really good? Maybe if the person doing the overhauls really knows a lot about "that" particular make instrument. After the repad of the Ridenour I thought it did play better than the Amati, I felt that it a tie between that and the Patricola, but neither of the those clarinets played as well as the E-11 (before I had a complete MoBahaul on it)
I know there are clarinetists out there who are performing on all the clarinets I've talked about, some even have tape clips of various performances on a particular brand. Professionals can make anything work. One of the biggest factors in playing a "C" clarinet is enjoyment. Most people are going to be using the C clarinet as a doubling instrument. To me, that means that you will be playing other instruments and even other clarinets and switching to the C clarinet. If the C clarinet you choose isn't of the highest quality, it won't bother you as much after you've been playing or practicing on it for an hour plus, it will bother you right from the moment you switch your mouthpiece on to it and it doesn't play as easy or feel as good as the clarinet you've been playing for years. I have found when that happens you don't play it as often.
I hope this helps, I know these are my opinions, yours may vary. And my conclusions weren't what I was hoping they would be.
Tom Puwalski, former Principal Clarinetist U.S Army Field Band, Author of "The Clarinetist's Guide to Klezmer" and the new "Klezmer Basic Training" and owner of Clarinetgourmet.com
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Author: Jerry
Date: 2013-12-21 17:45
Donald: Wow. That would be great. While I would have fun ordering both the Amati and Ridenour on trial and testing both together for a few days (at a price: shipping and maxed out card), your testing would be very helpful. Thanks.
Jerry
The Villages, FL
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Author: dibble
Date: 2013-12-22 01:54
I eventually had my Lyrique Bb repadded too because the cheap glue behind the pads often resulted in pads moving and leaks (what The Windsmith in San Diego told me and showed me). I had it repadded by them 6 years ago and the job is still holding up well.
I like the instrument for what it is, but with all of this talk about the company's attention to detail on every horn that leaves the place, I was disappointed that I had to spend more money.
Isolated incident?..........I have the bass clarinet version too. Same story.
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Author: tictactux ★2017
Date: 2013-12-21 23:02
I have an Amati 251 C (plastic body, wooden barrel and bell) and it's doing fine in my hands. I was brought up on an Amati 211 (wooden body, plastic bell) and the transition was smooth.
Say what you want about them, I like them.
--
Ben
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Author: Barry Vincent
Date: 2013-12-22 05:27
After reading Dibble's comments about the pads on the Lyrique Bb I have had a close look at my Lyrique RCP-576BC (Bb).
Cork is used for all the pads on the upper joint except the one between 1st & 2nd fingers and on the B/F# pad on the lower joint. The rest of the lower joint has skin pads.
I assume that T Ridenour did the cork pads.
After closely inspecting the instrument for any problems with the pads, I see nothing that would be of any concern. I've had this Clarinet now for over 3 years and it has been through several Australian 'heat waves' during this time and there's been no problems with 'moving' pads or leaks.
Of more concern to me are the blue steel springs that are used on this instrument. These do rust over time when exposed to moisture. This can be easily prevented to a certain extent by applying a 'smiggin' of oil.
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Author: Jerry
Date: 2013-12-22 01:01
Yes, I noted that dibble purchased his Ridenour over 7 years ago. Suspecting that if that was indeed a widespread problem back then, that Ridenour would have made improvements since then. Giving them the benefit of the doubt, I emailed that very question to them about the pads. I don't really expect a reply for a few days given the holidays.
Jerry
The Villages, FL
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Author: donald
Date: 2013-12-22 06:34
David B, I had always regarded Amati as a fairly low rent instrument not to be taken seriously, and had only played their student instruments until about 10 years ago. The student instruments are on par with anything offered by Vito/Bundy/Selmer etc, and while maybe not up to the standards of the top Yamaha or the B10, are definitely many miles ahead of the various CSO instruments available.
The professional instruments? Well, there's a reason that there's no major symphony players using Amati- but I've also played examples of Buffet/Selmer/Leblanc that had ridiculous intonation problems clearly caused by poor manufacturing.
Where Amati has the most to offer, in my estimation, is in the "intermediate" models- these compare very well to other instruments in the same price range and are quite playable. Just to be clear- I'm not saying that we should all turn up to perform K622 playing Amati, but that on a dollar-quality ratio they are good value and can present an acomplished player with an instrument that is better than a student instrument without breaking the bank (or braving the "Buffet roulette", for those unable to select from a wide selection).
By posting such strong opinions on instruments you don't appear to have actually played (please let us know if this is not the case) you appear biggoted and foolish (which, of course, we trust you are most likely not) and are not really contributing to this thread in a helpful way.
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Author: DavidBlumberg
Date: 2013-12-22 07:28
Ok, so by those words, if someone in say the LA Philharmonic was playing a Ridenour C Clarinet as their main C Clarinet, would you still say that?
I have my reasons, and they are quite valid.
Remember my experience, as that's all I can say.
http://www.SkypeClarinetLessons.com
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Author: DavidBlumberg
Date: 2013-12-22 07:37
But as you yourself wrote "no major player would play an Amati C".....
"The professional instruments? Well, there's a reason that there's no major symphony players using Amati".
------------------------------------
So if a Major Symphony player used a Ridenour C by choice, when money was no object whatsoever, wouldn't that make it that choice instead of one that nobody would play? If a player is making a very good salary, and it's deductible, a thousand $ or 2 doesn't make much of a difference for equipment.
Just because I haven't played it, doesn't mean that I haven't heard about it.
http://www.SkypeClarinetLessons.com
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Author: donald
Date: 2013-12-22 10:03
Now that you are writing complete sentences your opinion makes much more sense but still doesn't actually address the issue- you have no idea what an Amati C clarinet is like, do you?
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Author: DavidBlumberg
Date: 2013-12-22 10:09
No, but I do know Tom's designs are quite good. And I hear about quality instruments, yet rarely hear anything about Amati's being anything special.
Intonation wise, I'd bet that the Ridenour C can run rings around the Amati.
And I like a mellow C Clarinet that isn't kazoo like in tone. So again, the Ridenour would be probably a good fit. Combine that with my friend who loves the Ridenour C, and to me it's a slam dunk.
Your mileage may vary. Of course I'd say try both if you can.
http://www.SkypeClarinetLessons.com
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Author: Tom Puwalski
Date: 2013-12-22 12:25
I'm curious how many of the people here have played both these C clarinets? Because as typical on this list I'm hearing way too many: I've heard this about this clarinet, or this person designs great clarinets, or this person plays it in this orchestra, or nobody plays it in orchestra. When the proper response is either no response or "no I haven't played it" or "I own it, play it, I like it, or don't like it" what ever.
I had these clarinets in my hands for 6 plus months, I played them, on gigs, rehearsals, practicing and some recordings. Is anybody is asking me questions about anything I found out? No, people are arguing non-issues. That always happens on this board, opinions with no direct experience. As I've gotten older I've become a real fan of the show, "Myth Busters", because these guys try to use the scientific method to answer questions. This list needs some "myth busting". That's not to say that all "unbiased" scientific opinions are correct and I can illustrate it by this. Back in the mid 90's I picked up a Consumer report magazine, the Camera issue, this was before digital photography, to see what they were saying about film cameras. At the time, most professional photographers, including myself where shooting high end Nikons, F3 or F4s. Because there were tough, dependable had great lens, great motor drives and they fit in the hand nicely. Well when I looked at the ratings this camera that I owed and used, I owned one and I got the Army to buy me one, was dead last in the ratings. Why, because the premise of the test was, what is the best 35mm camera for the average person. I think some Canon eos or something won that contest that year. What had made this camera get such a bad rating? Price! The Nikon F4 with a normal lens cost $3000, the EOS at the time was around $350. Could the Average Joe take Christmas photos with the Eos and have them turn out?, yes. At 1/10 the cost of the Nikon professional. I was amazed consumer reports got it 100% right and wrong at the same time. When I thought about it, had anyone asked me about a Camera back then I would have given them the same advice, buy the Canon.
So, upon ready the original post again, I have a few questions.
1. why do you want to get a C clarinet?
2. what and where are you going to play it?
3. Do you have money to get it worked on after you buy it.
4. Do you have money for a "C" Mouthpiece, and or an after market barrel?
5. What make and condition is your main Bb,A clarinets?
6. again, why do you think you need one or why do you want one?
I originally bought my RC Prestige when I was writing my first Klezmer Book, " A Clarinetist's Guide to Klezmer", That book contains a load of transcribed Dave Tarras and Naftule Branwein solos in it, they were playing Albert system C clarinets, I figured that I would do the transcribing based on me playing the same key horn they did. I also had an very old Selmer Albert C that I was also using at the time I had the Buffet RC prestige C. That was 5 years before I started to try to answer the "inexpensive C clarinet question" Now, If I play my C clarinet 20 hours a year that would be a lot. On Klezmer gigs I play Bb, I've know how to transpose for years. The last time I really used it was for a production of Fiddler on the Roof, where I had to read sight read the show off the score, for 3 shows. This was a private school production where I was like the only reed player. I was Damn glad to have a C clarinet for that.
Tom Puwalski, former Principal Clarinetist U.S Army Field Band, Author of "The Clarinetist's Guide to Klezmer" and the new "Klezmer Basic Training" and owner of Clarinetgourmet.com
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Author: rtmyth
Date: 2013-12-22 13:36
Also, try many of the same make and model, not merely one.
richard smith
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Author: DavidBlumberg
Date: 2013-12-22 19:09
Guys, I had surgery the morning of the 20th, so wasn't feeling like writting much. I posted right after I got home.
All Clarinets, regardless of manufacturer need work right out of the box. Pads shift, we want springs to be at our strength, etc, etc, etc.
1988 I bought a set of Prestige R-13's, would put them up against any Clarinet here, but they took $1000 of set up work. $500 each, multiple trips to Jacobi.
That's like $10,000 today (kidding, for those who can't tell)
http://www.SkypeClarinetLessons.com
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Author: Jerry
Date: 2013-12-22 21:10
As the OP'er, I thought it wise to answer the good questions posed to me by Tom - thanks for asking, by the way.
Tom asked:
"So, upon ready the original post again, I have a few questions.
1. why do you want to get a C clarinet?
2. what and where are you going to play it?
3. Do you have money to get it worked on after you buy it.
4. Do you have money for a "C" Mouthpiece, and or an after market barrel?
5. What make and condition is your main Bb,A clarinets?
6. again, why do you think you need one or why do you want one?"
1. and 2. Play at church maybe once or twice a month. Have the flexibility to play flute and oboe parts where needed in a small local orchestra. Play pick up flute or duets with a flute player or two. Just all-around increased playing options. I do like to hear instrumental harmony in a small group ensemble, duets or larger. I don't transpose on the fly. I would find that as painful as trying to translate Hebrew, as would singing, which I also avoid.
3. I do but I don't want to have to spend money to have it worked on right after I buy it. That is one reason I am presently leaning toward the Ridenour. I get the impression that their instruments are given a more thorough tweaking than the Amati before it is sent out. Not sure if that is wishful thinking or not. But also, if there is a problem, my hunch is (correct me if I'm wrong) that they would be there to fine tune a problem in the instrument if I brought it to their attention. There is nothing about the Amati warranty for followup service on WWBW's site, and I do not know who does their Extended Warranty Service for Amati's. I have an inquiry in to them.
4. Not intending to get a C mouthpiece. I presently have a 5RV Lyre and an M30. I will see how those work out.
5. My main instrument is an R-13. I have it checked and worked on a couple times a year by Bill Marking in Jacksonville, the intake-tweaker for new incoming Buffets in the region.
6. See above.
Jerry
The Villages, FL
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Author: Jerry
Date: 2013-12-22 21:56
From Ted Ridenour regarding the pads on the current "C" clarinet:
"We use skin pads on the lower joint and valentino synthetic on the upper joint."
Jerry
The Villages, FL
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Author: Barry Vincent
Date: 2013-12-23 00:17
Tom asked:
"So, upon ready the original post again, I have a few questions.
I know that these questions are being directed at Jerry, but it is such a 'neat' set of questions I just couldn't help but answer them myself. Sorry
1. why do you want to get a C clarinet?
Because it is very handy to have a Clarinet in the C Soprano tonality for playing oboe & flute parts. This really came in on it's own recently whilst taking part in a group get-together performing Xmas carols and old Baroque pieces such as those of Bach & Handle.
2. what and where are you going to play it?
See above. It also is an excellent Clarinet to give me a 'rest ' from playing Oboe and it's ongoing problem with making good reeds for it. I'm now almost 70 years old and I"m finding the Oboe more & more tiring to play. But playing Clarinet is easy compared to Oboe.
3. Do you have money to get it worked on after you buy it.
I have a Ridenour Lyrique RCP-570C. There was no need to spend more money getting it 'worked' on as Tom Ridenour had done that prior to sending it to me. And soon after I received it I realized that he'd done an excellent job of it.
4. Do you have money for a "C" Mouthpiece, and or an after market barrel?
No need to get a "C" Mouthpiece for the modern C Clarinet as it uses a Bb mouthpiece and thus the same size reeds. (See my thread on this discussion board "Evolution of the C Soprano") I use T Ridenour's Erocia mouthpiece. As for getting an 'after market' barrel. Why ? Nothing wrong with the two tuning barrels that came with it.
5. What make and condition is your main Bb ,A clarinets?
My principle Bb Clarinet is the Lyrique RCP-576BC and my A is an Amati Kraslice ACL 675 (full Boehm) Both these are excellent Clarinets. My previous principle Bb Clarinet was the Amati Kraslice ACL 605 (also a full Boehm) but is in need of repair. I actually wore it out. Now that I have the Lyrique RCP-576BC I probably won't bother.
6. again, why do you think you need one or why do you want one?"
See question 1.
Skyfacer
Post Edited (2013-12-22 19:24)
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Author: Tom Puwalski
Date: 2013-12-22 20:17
Barry you're not the one asking the original question about the clarinet so my initial thought was why are you asking these questions after you all ready had the clarinet.
My experience with the Lyric C Clarinet was very different from yours, I found that I had to have it completely redone by John Parrette before it was going to be in the ball park of an instrument that I could compare to the others.
I found that all the C clarinets that I played including the Buffet RC all were supposed to play with a Bb mouthpiece every one including my now regular C e=11 needed the C mouthpiece ( Morgan o6 C) or a much shorter barrel than any manufacturer provided, including Ridenour.
the Amati i had in was in better shape out of the box than the Ridenour. But I also had some work done on mine. I had all these clarinets showing the same numbers on a Magnahelic machine. Like I said I'm into scientific method. Playing a leaky clarinet next to one that seals doesn't give you any real information. When it was all said and done the Buffet e-11 played better, for me that my RC Prestige C, and it was better than all the other C clarinets. And it was
very inexpensive. Even with the Backun Barrel and Bell, I spent less than $2k. It is my C clarinet when ever I feel like playing C.
Tom Puwalski, former Principal Clarinetist U.S Army Field Band, Author of "The Clarinetist's Guide to Klezmer" and the new "Klezmer Basic Training" and owner of Clarinetgourmet.com
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Author: Barry Vincent
Date: 2013-12-23 02:02
Quote. Tom :- "so my initial thought was why are you asking these questions after you all ready had the clarinet".
Tom, they are your questions, not mine. I was just having a bit of fun answer them as I think they are well thought out, except the last which is a repeat of the first one.
Also, Jerry may get something 'out of' my answers as well. Hopefully.
Interesting comment you said concerning the need for a "C" mouthpiece OR a much shorter barrel.
A real original C Clarinet mouthpiece is smaller and needs a smaller reed.
I don't think anyone makes the original C Clarinet reeds anymore. You'd have to make your own.
Yes , like you I did have a slight problem insofar as the barrels that came with my Lyrique , a 48mm & 45mm seemed to be too long. I just couldn't get up to pitch (A440) I got Ted Ridenour to send me a 44mm and that was Ok but with the warmer weather that we are now having here , the 45mm is the one I'm mostly using.
As for the mouthpiece , I was using a Vandoren B45 which sounded OK to me , but when I played the C in front of one of my colleagues who is into this sort of thing, using that MP he said that the instrument lacked 'focus'. As I also had Ridenour's Eroica (Artist Quality) handy , I put that on and repeated the playing and he said that the C Clarinet now had a far more focused and 'centred' tone.
Well I guess he should know. I"ve been using the Erocia ever since with no apparent problems of tone or intonation. Lets just say that the Erocia is now my 'defacto' "C" mouthpiece.
Skyfacer
Post Edited (2013-12-23 02:32)
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Author: Jerry
Date: 2013-12-24 15:13
Tom said: "...I found that I had to have it [the Lyrique C] completely redone by John Parrette before it was going to be in the ball park of an instrument that I could compare to the others."
As I understand it from Ridenours claims and many customers testimonies, one of the pluses of getting an instrument from Ridenour is that they will fix/refine any problem with their instrument that we bring to their attention. Did you attempt to bring your concerns and standards to Ridenour's attention before going to Parrette? If so, what was your experience and the result? If not, why not?
If not, that would be equivalent to paying a bit extra for a product from a company noted for its expertise and customer service and going elsewhere when service is required. That would not make sense to me unless you had a local, trusted expert that just made things easier than mailing an instrument back across country.
Your Lyrique was purchased seven years ago. Have you heard of or experienced any change in the quality of Ridenour products or services since that time?
Jerry
The Villages, FL
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Author: cyclopathic
Date: 2013-12-24 23:04
Jerry wrote:
> Tom said: "...I found that I had to have it [the Lyrique C]
> completely redone by John Parrette before it was going to be in
> the ball park of an instrument that I could compare to the
> others."
>
> As I understand it from Ridenours claims and many customers
> testimonies, one of the pluses of getting an instrument from
> Ridenour is that they will fix/refine any problem with their
> instrument that we bring to their attention.
This is a good question.
With respect to Lyrique it could be the way Tom uses air and sets up his instruments. If your idea of where/what/how much resistance is similar to Tom's it would work well for you, if not...
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Author: gemini-clarinet
Date: 2013-12-25 01:25
I have not played both, but a friend of mine who is in one of the orchestras I play with in town has an Amati and brought it to rehearsal for me to play for a piece that required a C clarinet. It was a lot less expensive than the other one being discussed in this thread, so I bought one. I have been very pleased with it and play it pretty regularly.
Barry
Tucson, AZ
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Author: Jerry
Date: 2013-12-28 01:06
I ordered an Amati C from WWBW and a Ridenour Lyrique C from Ridenour and expect to received each and test them the week of January 12.
I asked WWBW to "shop check" the Amati for me, following the lead of someone else who purchased an Amati there a while back, and who said they obliged. Their policy must have changed. The WWBW rep I spoke with today said they do not do that with Amati's because, as he stated, they are not permitted to open the packaging without the item being consider "used" and Amati has great quality control so a shop check is unnecessary. We shall see if that is true in my case.
I had to pay the entire amount for the Amati. WWBW allows a 45-day trial.
I was able to pay just a third down for the Ridenour. Their trial is 5 days with some flexibility if required.
I will post my review shortly after deciding on the instrument I keep.
My expectations are these:
The Amati a bit brighter; the Ridenour a bit warmer.
The intonation on the Ridenour a bit better - degree to be determined.
A slightly more uniform transition across the bridge with the Ridenour.
Slightly stronger projection with the Amati.
Beyond this, I'm not sure what to expect. It should be interesting. Stay tuned.
Jerry
The Villages, FL
Post Edited (2013-12-28 01:07)
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Author: Barry Vincent
Date: 2013-12-28 01:31
Best of luck Jerry.
I don't know how you are going to 'test' the projection. You'll probably need another person to position themselves some distance away from you , both indoors and then outdoors. Cooler ambient temperatures gives you better projection and warmer ambient temperatures gives you less projection. It's really very subjective.
When I first got the Ridenour Lyrique I found that I couldn't get it up to A440 and ordered a shorter barrel. (63mm) It came with a 64mm & 65mm. However, after I settled down to playing the Lyrique I now find that I can get up to pitch easily with the 64mm.
I test the pitch by playing along with a 'minus one' CD after the initial tuning.
I use the the 'Guest Spot Play Along' books. This is a real 'test out' as CDs are usually very well in tune, perhaps slightly higher than A440 at times. This is better than looking a a digital readout or a needle on an electronic 'tuner' as it forces you to use your ears.
If the key work on the Amati Klaslice is silver plated , it will look better than the Nickle plated keys of the Lyrique. You can't have silver plated keys on an Ebonite Clarinet.
Skyfacer
Post Edited (2013-12-27 20:33)
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Author: concertmaster3
Date: 2013-12-27 21:46
I just want to add my $.02 in...
I have only tried a Forte C clarinet, and find it to be rather good. I ordered 2 custom barrels for it (41 and 42mm) and those helped bring the pitch up to 440. As many people state, the stock barrels are hard to bring up to pitch. The two barrels (FatBoy-like in design) also made the tone a lot warmer and really close to the tone of my Bb and A clarinets (Yamaha CSV).
Intonation is similar to my Bb and A clarinets. The notes that are out of tune are in the same places as they are on most clarinets, so with that said, I can expect some of the same tendencies that are on my normal clarinets, which makes life a LOT easier when switching!
Although they are out of production, if you can find one at a good price, it would be a good investment in my eyes.
Good luck!
Ron Ford
Woodwind Specialist
Performer/Teacher/Arranger
http://www.RonFordMusic.com
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Author: Jerry
Date: 2013-12-28 03:24
Testing projection:
I have a couple of rooms I can test in - one is a 30 by 50'; another is a small auditorium about 75 by 100'. Another person or two will be in the middle of the room. I'll play a few things from p to ff and switch between instruments.
Any other suggestions?
Jerry
The Villages, FL
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Author: Bobby McClellan
Date: 2013-12-28 03:45
I currently own an Amati 351 C. I like it for what it was intended for, to play out of piano books so I do not have to transpose. It is nothing "special" I have not noticed any issue with tuning. I have loaned it out on several occasions for others to use. I have tried the Ridenour C. My preference between the 2 is the Ridenour. it did have a nicer sound to me. I will say that the only reason that I do not own the Ridenour C is simply because I own the Amati already and since it is not a primary instrument I could not justify buying the ridenour to replace the Amati.
If I was buying new again and was looking between the 2 I would go withthe Ridenout over the Amati.
Bobby M. McClellan
Flowood, MS
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Author: Barry Vincent
Date: 2013-12-27 23:20
David Quote :- "No problem with Gold plating".
Wouldn't that be nice
But me being a lover of Gold (aren't we all) , it'd have to be nice and thick , not that woosey couple of atoms thick pretend plating.
Skyfacer
Post Edited (2013-12-28 04:30)
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Author: Barry Vincent
Date: 2013-12-28 04:23
Jerry Quote :- "I have a couple of rooms I can test in - one is a 30 by 50'; another is a small auditorium about 75 by 100'. Another person or two will be in the middle of the room. I'll play a few things from p to ff and switch between instruments"
I've probably got this wrong but shouldn't you be at one end of the room/s and the listener/s at the other end ?
Skyfacer
Post Edited (2013-12-28 04:24)
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Author: Jerry
Date: 2013-12-28 04:54
My experience as part of an audience in an auditorium is that the least coloration typically occurs near the center - that is why sound control boards are typically located there, or better, one third back. And no, I will not have any acoustical measuring equipment, sound engineers, acousticians or audiologists there, either. In other words, I'm not going to let too many details drive me (more) nuts.
Jerry
The Villages, FL
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Author: Barry Vincent
Date: 2013-12-28 08:05
I've played at several outdoor weddings and I always use one of my 'knock-about' plastic Clarinets, either the Jupiter or the Schreiber. I remember one of those weddings which was in January , on a stinking hot Summers day. Yes , I'm in the Southern Hemisphere. Apparently after asking around , no one seemed to have had any problems hearing me loud & clear. But then , I always play with the instrument held up at about 45 deg so the sound is also being projected straight out of the bell.
But once again, as I said previously, it's all very subjective. If I had of used a good quality wooden Clarinet or even an Ebonite one, I'd probably have been even louder. But the fantastic plastic instrument did the job nicely.
I'm usually accompanied by a pianist. (Electric Piano)
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Author: Jerry
Date: 2014-01-06 06:25
Here is an update on my (attempt at a) trial of the Ridenour and Amati.
I called WWBW 3 days ago to get a status on expected delivery. The gentleman I spoke with said it will probably be another week to 10 days. I then called Ridenour and asked them to delay their delivery to me until I advise them to pull the trigger so I can be sure I have both instruments in my possession at the same time.
Yesterday I checked the WWBW web site just for grins, and there was a posting that the Amati will be available for shipping after January 31. Hmmm.
None of the affiliated web stores like Musicians Friend, etc. have them either.
Then I came across a large Wisconsin store on the web that displays a price $50 lower than WWBW. There was no web site indication it was out of stock. I have an email into them to confirm availability, delivery, etc.
Update on the Wisconsin store: The Amati C is not in stock and is not normally carried.
Stay tuned.
Jerry
The Villages, FL
Post Edited (2014-01-07 00:37)
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Author: JamesOrlandoGarcia
Date: 2014-01-06 19:54
I think I'm going to pull the trigger and try out the Lyrique.
What I really want a C clarinet for is the character of sound. I was blown away by the new dimension of sound having a C clarinet added to the clarinet section playing Strauss' Alpine Symphony.
I'd like to have that experience in certain sections of music like the 4th Mvt solo of Symphonie Fantastique, Mahler, Rossini and more.
Side note: Not for nothing but growing up being that 13 year old kid transposing the C parts in church really helped in my musical training as I got older not to mention being exposed to key signature of B major every weekend as a junior high schooler.
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Author: Jerry
Date: 2014-01-28 05:03
UPDATE:
Woodwind Brasswind posted on their website that the Amati C clarinet will not be available until after February 14.
I'm wondering how many more times they might extend that date?
Ted Ridenour is fine with waiting to ship the Lyrique C.
Jerry
The Villages, FL
Post Edited (2014-01-28 05:05)
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Author: Jerry
Date: 2014-02-12 15:56
UPDATE - February 11th:
WWBW just updated their website again to announce the Amati C will not be in till February 18th.
This is giving me enough time to question whether this is the best use of $850 to $1,200.
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Author: Wes
Date: 2014-02-13 02:17
Recently, I bought a used Forte C clarinet with two barrels, made in 2006 with a B45 mouthpiece and Rovner ligature. It has a great sound and the quality of manufacturing is very fine. The white Italian leather pads looked beautiful and were well seated. When I received it, it was at least a quarter tone flat with the short barrel.
After some tests and playing it many times, I realized that it had a lot of leaks from those beautiful factory pads and would never come up to pitch. First, I tried to seal the pads, but with little improvement in pitch. I've now replaced all of the top joint pads with those fine cork pads from Ferree's. It now plays at A440 with the long barrel when warmed up. I'm sure that standard double skin pads would have worked as well.
Flat Forte C clarinets have been reported by several online posters and some have bought shorter barrels to get them up to pitch. This Forte C clarinet is just great and in tune after the factory Italian leather white pads were replaced. It could be assumed that no one checked it with a tuner after it was made.
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Author: bradfordlloyd
Date: 2014-02-13 15:27
Thanks for your post. I had the same experience with my Forte C and went the shorter barrel route. Once remedied, the horns plays wonderfully well!
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Author: Jerry
Date: 2014-02-14 22:29
I have aborted my C clarinet comparison quest. Indeed, the delay of stock at WWBW gave me enough time to reconsider my reasons for purchase at this point in time. I am discovering a fair amount of both free and other clarinet/flute duet music. I was probably also over-estimating the need for a C clarinet in my particular church situation. Of course this could change in the future.
Jerry
The Villages, FL
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Author: SarahC
Date: 2016-01-22 19:53
i realise this is an old thread, so i am not sure who is still reading,,,
but barry vincent are you still around? would you be happy for me to drop round one day and see your lyrique clarinet please?
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Author: KenJarczyk
Date: 2016-01-22 22:26
Yes - an Oldies Thread.
For what it is worth - I play a lot of orchestral, chamber, and theater jobs. I am in absolute LOVE with my Ridenour C clarinet. Unless your going for the $7,000 Buffet RC Prestige (and even then, why?) - there is Nothing close to Tom Ridenour's C.
The only time I have an issue with this clarinet- is when the gig is over, and I have to stop playing and put it away.
Ken Jarczyk
Woodwinds Specialist
Eb, C, Bb, A & Bass Clarinets
Soprano, Alto, Tenor & Baritone Saxophones
Flute, Alto Flute, Piccolo
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Author: SarahC
Date: 2016-01-22 23:44
Thanks Ken. I can see many are in love with them here. And I can see the benefits. The other one I am considering is the Yamaha 650 -- because it comes with the Eb aux key. The E11 does as well, but it is $300 more than the yamaha...
due to the lack of the auxiliary key, i really want to be able to try them side by side, and see if i love the ridenour so much more to justify getting a clarinet without the extra key. Sadly, the shop in Australia that sells ridenours doesn't sell yamaha!
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Author: John Peacock
Date: 2016-01-23 00:01
SarahC: there have been comments on this in another thread recently. I reported my C buying experience comparing the options of a Buffet E11 and an Amati ACL354. I bought the Amati, which I thought was hugely superior to the Buffet in terms of intonation (and quality of construction). If you want the extra Ab/Eb key, the Amati ACL355 offers that.
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Author: SarahC
Date: 2016-01-23 00:18
Thanks John, I found an importer of Amati locally, so I will check them out. Thanks for pointing me towards this brand!
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Author: KenJarczyk
Date: 2016-01-23 03:13
Not to sound cruel or thoughtless -
An Amati is a well-crafted clarinet, especially if you're going to be specializing in ethnic styles where intonation is not really needed.
Sorry. But true.
Ken Jarczyk
Woodwinds Specialist
Eb, C, Bb, A & Bass Clarinets
Soprano, Alto, Tenor & Baritone Saxophones
Flute, Alto Flute, Piccolo
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Author: SarahC
Date: 2016-01-23 03:25
Haha.. No ken, I am hoping to do my diplomas on whichever instrument i buy!
I currently am playing an Armstrong student clarinet with a B45 mouthpiece. Which is pretty good intonation wise. And my teacher reckons i will get away with grade 8 on it... but I am a teacher myself, and i know that the students who use student instruments struggle to get the grade 8 type tone on them. Not impossible, and i've had students do it who couldn't afford a better instrument, but the instrument didn't help them at all. And of course, I am drolling over these LH Eb keys!
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Author: KenJarczyk
Date: 2016-01-23 03:58
Then go for it. You'll be very happy playing that sour note effortlessly with your left pinky.
I'll bet if you call Tom Ridenour, he will fit a key on the horn for you.
Ken Jarczyk
Woodwinds Specialist
Eb, C, Bb, A & Bass Clarinets
Soprano, Alto, Tenor & Baritone Saxophones
Flute, Alto Flute, Piccolo
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Author: SarahC
Date: 2016-01-23 08:17
I already asked him :( But he doesn't do it, and i can't find anyone in australia who does. Even the store that sells the ridenours here doesn't offer that service - and knowing he could get a sale out of me if he knew someone who did it, he still said noone... I have made a few calls without luck too...
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Author: SarahC
Date: 2016-01-23 12:30
I have found a local supplier of amati clarinets. I am impressed that even their base student model can come with the LH Eb aux key. I am going to try them and see what they are like, and find somewhere to try yamaha, and some where to try ridenour (although are his worked on by him before being shipped to Oz, or do our technicians work on them here instead?)... and then make my decision!
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Author: John Peacock
Date: 2016-01-23 14:23
Ken: you've obviously had bad experiences. Mine has been different. I play in high standard groups where I expect to deliver intonation that isn't going to get me into trouble with my neighbours. I found the Amati a pleasant surprise on that front, and had expected to have to work harder. I've seen it written that Amati revised the design of their C in recent years and improved its tuning in the process. Possibly this explains our divergent opinions. I've not played a Ridenour, so can't comment on these, but the Amati is undoubtedly streets ahead of the Buffet E11, and a bit better than a Noblet that I'd previously played (and these have a good reputation).
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Author: Tom Puwalski
Date: 2016-01-23 17:54
I've said it before, I'll say it again. I've owned all the C clarinets talked about here. The only one I still own and play is the Buffet E-11 C. I played something on a few weeks back here it is. https://soundcloud.com/klezmertom/tenebroso-played-on-e-11-c-clarinet
I've started using it on Brazilian tunes for a few live performances because it's just hard sometimes to sound "Frivolous" in the keys of B and C# sometimes. I like the E-11 C over the RC prestige C because the E-11 has more of a sound of an R-13 C that I used to have.
Tom Puwalski.
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Author: SarahC
Date: 2016-01-24 00:27
Tom, i jumped into this thread was because i was hoping barry vincent was still around! but seems he isn't.
i have the e_11 c clarinet. it is a Bb i am looking at getting now the full boehm idea is appealing to me atm...
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Author: donald
Date: 2016-01-24 03:57
SarahC- Maurice Reviol (based in NZ, but has worked in Sydney) can put a left hand G#/D# key on for you, and I can guarantee it will be good. I have no idea how much he'd charge. Google him- he knows quite a few of the Sydney people as he worked at "Sax & Woodwind and Brass" with Diane Gardiner.
dn
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Author: 2cekce ★2017
Date: 2016-01-24 05:13
Buffets are also well crafted but they are the worst sounding stuffiest instruments I have ever played and been around, bad intonation and to add those other major brands have their intonation problems as well. I have played them all and been around those who play them. I personally have two Amati pros one Bb and one Eb and love them both. and I don't have to spend time tweaking them as I had to do with the other so called "name brands."
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Author: SarahC
Date: 2016-01-24 05:38
Thanks @cekce for that feedback.
I have the C clarinet now, so not planning to get a different one. Although I do wish i had been on here first!!! oh well.
So my Bb clarinet shortlist
is
lyrique
Yamaha 650E - need to find somewhere i can try this one!
Amati -- not sure which one, i haven't tried them or seen the price list yet, tomorrows job.... like the idea of 19 keys and 7 rings though...
Hanson - not sure yet, The shop owner will get back to me later with what my options are.
Each clarinet has a quite different set of features! So I am really not sure which way to go!!!!
I am going to try and get to fiddle with each of them (except hanson, but all the reviews are positive on here), to see which of the extra features i feel i need...
I just wish i could see them all in one shop! but each brand is at a different shop!!!
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Author: JonTheReeds
Date: 2016-01-28 21:58
I'm trying out an Ebonite secondhand Amati ACL 351 with a mark of 'Anati Kraslice'
I'm finding the intonation a nightmare
I can just about get bottom C in tune by lipping up like a mad thing. Middle C is unstable and top C is very very flat, even when I lip up
Any tips, or is this just a dodgy clarinet/model?
--------------------------------------
The older I get, the better I was
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Author: SarahC
Date: 2016-01-29 15:40
Thanks Barry. much appreciated. I have replied via Facebook
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Author: farabout
Date: 2021-06-13 23:07
No C-clarinet in the value range beats Ridenour's. Ditto for Eb Thomann's.
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Author: nellsonic
Date: 2021-06-14 00:21
Ridenour just announced an improved C (and A) with silver keys. A new Bb is coming.
Anders
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Author: farabout
Date: 2021-06-14 01:10
As much as I've been praising Ridenour's Lyrique 570C [perfect intonation, dark focused timbre, and no need for any fancy extras - such as extension, barrel, bell(s) & whistles], I was disappointed with a rather poor performance of corresponding 576Bb and 575A. IMHO, I doubt that silver plating by itself will solve the problem of latter 2 models. Because, to paraphrase Tim Ridenour himself: other things equal, material doesn't really matter.
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Author: Roxann
Date: 2021-06-16 05:09
I owned a C Ridenour which I sold about a year ago because I just didn't use it enough to justify owning it. I found it difficult to play in that it required a lot bigger airflow than I'm comfortable with (I'm quite short). It seemed well-made.
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The Clarinet Pages
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