 The Clarinet BBoard
|
Author: Chris P
Date: 2016-02-13 21:08
Of all the old Selmer BTs, CTs and Series 9 clarinets I've owned or worked on, all have played very well and I've never encountered a dud.
Even with cracked joints and other age related problems or neglect, which can often be rectified if it's not too severe, they always play well once the work has been done.
So were these clarinets always this consistent even when new?
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Ken Shaw ★2017
Date: 2016-02-14 01:06
I played many new and old CTs, and they all played exactly the same.
Ken Shaw
|
|
Reply To Message
|
|
Author: fskelley
Date: 2016-02-14 01:12
Quality control is doable, it's just expensive and a lot of trouble.
So to me, the real question is, how did variability and some good, some OK, some poor- become acceptable in the realm of high end instruments?
Stan in Orlando
EWI 4000S with modifications
|
|
Reply To Message
|
|
Author: Clarineteer
Date: 2016-02-14 02:38
I believe that in the 1930's thru the 1960's quality was number one unlike today when profits are the number one driving force over quality.
Post Edited (2016-02-14 02:39)
|
|
Reply To Message
|
|
Author: Chris P
Date: 2016-02-14 03:35
You can see they took pride in making these clarinets at this point in time. But take a look at a '70s Series 9 or Series 10 and you'll see the attention to detail has gone by the wayside and that has continued to be the case.
But this isn't just confined to Selmer as all other big name makers have done the same.
Some Selmer clarinets that have had top joint transplants done to them also have a date stamp in the joint running under the LH main action key barrels as well as the * above the serial number. I had one like this (a P series) and saw another recently (Q series) with the same thing.
Some also have a factory mark stamped into the joint which is usually a letter - not sure if it's a keywork mounter's mark or a finisher's mark, but still interesting and shows whoever left the mark was proud of their work, just as a painter signs their paintings.
Does anyone know the significance of the letter stamped into the underside of the RH E/B key touchpiece?
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: MarlboroughMan
Date: 2016-02-14 04:25
I own several CTs and a BT; a 1955 Q-series CT has been my gigging horn for the last several years.
I find that each of my Selmers plays and handles slightly differently, but they are all high quality and excellent. The earlier the model, at least among mine, the mellower and richer the sound (especially true of my P-series 1952 CT and 1944 BT). What makes the '55 CT unique is it's 'jump' and centered quality. The later CTs are beautiful soundwise, but don't have quite the same balance as the 1955.
I have friends who prefer the sound of my 1952 P-series, so it's really just a matter of comfort and personal preference. I agree that there isn't a dud among them.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
|
|
Reply To Message
|
|
Author: Chris P
Date: 2016-02-14 05:30
Even the narrow bore/undercut tonehole combination of the Series 9* has still retained that certain Selmer quality about it and plays predictably as its predecessors as opposed to playing like a Buffet or Leblanc.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Clarineteer
Date: 2016-02-14 05:52
I just finished restoring a 1964 Selmer Series 9* and it has all of the excellent qualities that you mentioned. Has a sweet sound.
|
|
Reply To Message
|
|
Author: Reedman1908
Date: 2016-02-14 06:53
After I acquired a little used Selmer 9* circa 1965, I had Wes Rice completely rebuild. Fantastic horn, both in orchestral, chamber and wind ensembles. Tribute not just to Selmer quality and design in 1965, but to the contemporary improvements Wes crafted. I have a 9* in A currently at Wes Rice for a matched pair. My Series 9 Bb clarinet circa 1960, and Selmer Paris bass clarinet circa 1981 are also in the stable, and revered. The path to clarinet nirvana is as varied as there are clarinetists. My classic Selmer path with Wes improvements works for me, and apparently many others!
|
|
Reply To Message
|
|
Author: Clarineteer
Date: 2016-02-14 10:40
Attachment: s91.jpg (1245k)
Check out a photo of my current clarinet that I am keeping. It is a 1964 Selmer Series 9*.
Post Edited (2016-02-15 03:29)
|
|
Reply To Message
|
|
Author: SarahC
Date: 2016-02-14 23:32
"The path to clarinet nirvana is as varied as there are clarinetists."
that is such a cool comment!
|
|
Reply To Message
|
|
Author: Reedman1908
Date: 2016-02-15 04:16
Clarineteer,
Great restoration on your 9*! The nickel silver plating polishes nice, bit as you play, you start to see a gray cast. I use a polishing cloth to keep up with the tarnish. Silver is much easier to maintain.
Thanks SarahC, glad you liked my prose!
|
|
Reply To Message
|
|
Author: Jeroen
Date: 2016-02-15 14:09
Well, I own too many older Selmers: 2 RI, 1 Model 55, 2 CT and 4 Series 9. They are all different but good in their own way. During the years I came across several older Selmers with severe intonation issues that I would consider as a 'dud'. So, I would not buy an old Selmer without trying it.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2016-02-15 15:17
Attachment: selmerctfullboehm2.jpg (190k)
Attachment: selmerctfullboehm.jpg (330k)
The only one that I've bought that is a dud is an early wing/oval logo full Boehm where the top end of the top joint has been sleeved and the pillars by the lower joint socket have been butchered, but all others haven't had that unfortunate treatment done to them. Keywork issues can be resolved, but when the bores have been damaged, that's much harder to rectify.
Fortunately that was a one-off and never done to any BTs or CTs I bought. I thought my CT full Boehm was a no-hoper, but after some TLC it scrubbed up very well indeed!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2016-02-15 15:25
Ad I'm pleased to discover a seller on that famous auction site who has been meticulous in his attention to detail in restoring old Selmers to a condition worthy of listing them as being fully restored, fully refurbished, fully overhauled, fully rebuilt, etc. when those words often don't hold any value from the average seller. The BT I recently bought was listed as being I good condition, but I've since stripped it down and started again to get it into fully playing condition. I left the keywork unplated, cleaned it all up but didn't polish it so it still looks its age.
http://www.ebay.co.uk/itm/321984684529?_trksid=p2060353.m2749.l2649&ssPageName=STRK%3AMEBIDX%3AIT
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
