 The Clarinet BBoard
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Author: windline
Date: 2016-06-04 12:37
I would like to take this opportunity once to give a few critical comments on the new Buffet Crampon Clarinet "tradition". This model is certainly one of the best of Buffet Crampon clarinets, because there is nothing new. The base Model BC-20 has proved invaluable and has always been a very good clarinet. From a new development is nothing to see (in many aspects). The mechanism is Buffet standard and has nothing of development costs. The price of this model is much too high. What justifies this price? What I do see the worst, are not silvered pillars! How can someone come to such an idea? It will lead for any professional player after some time to big problems. We all know the German silver will be without galvanization by the hand welding damaged and some of the pillars will respond quickly. There will be erosion of the material and also we will see porous areas. The musicians can let silver plated the pillars in their repair shop, but you will loose the warranty, so no solution! There are no sound improvements with not plated pillars, this argument is nonsense. A classic example of how marketing can kill quality. I can express it only in the following formula:
Very good clarinet + not galvanized pillars + Price = customers dazzle "TRADITION"
SAD!
Post Edited (2016-06-04 12:45)
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Author: Caroline Smale
Date: 2016-06-06 17:35
If Buffet has used fine quality nickle silver for the posts (IF!) then there should be no problem.
My 1960 Leblanc pair are both entirely unplated quality raw nickle silver and after 66 years exhibit no significant metal erosion, purely a lovely gold patina of age. Much nicer than worn nickle or silver plate.
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Author: Liam Murphy
Date: 2016-06-07 01:58
I got the impression this clarinet was released to compete with the Yamaha customs - maybe an attempt to slow the rate at which people are changing from Buffet to Yamaha.
I only tried one Tradition, and it had much less edge and power than I was expecting - almost like the customs I have tried.
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Author: Ed
Date: 2016-06-07 05:21
It is all a matter of taste. I would have no issue if the keys were unplated in the style of the older instruments as Norman suggests. I also like the look of the logo.
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Author: seabreeze
Date: 2016-06-07 05:29
Players go in every direction. Loren Kitt, who just this year retired from principal clarinet in the Washington, D.C. National Symphony, played on a Yamaha for the last several years. John Yeh, in the Chicago Symphony now plays Yahama SEV and SE Artist models. Tom Pawalski, who played and sold Backuns for the past few years said 4 months ago on a "Clarineat" interview that he now plays Buffet Divine, Tosca, and Festival clarinets. The interview is here:
https://www.youtube.com/results?search_query=S01E03+Tom+Pawalski+of+the+U+S+Armyy+Field+Band.
Post Edited (2016-06-07 07:07)
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Author: DavidBlumberg
Date: 2016-06-07 06:51
Kitt played a Selmer 10G - who plays those anymore? So he went to Yamaha.
But the majority of the switching these days are going to MoBas.
Both teachers at U Michigan, San Francisco Sym members, myself (from Buffet Prestige which I thought I'd never stop playing), Bil Jackson, David Shifrin - the list of top players goes on and on.
Drives innovation, that's for sure!
http://www.SkypeClarinetLessons.com
Post Edited (2016-07-18 15:16)
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Author: Mark Charette
Date: 2016-06-07 07:02
DavidBlumberg wrote:
> But the majority of the switching these days are going to
> MoBas.
Interesting. Can you give me the total number of players switching, what they switched from, and what they switched to over the last year, or is this just some self-serving advertising hokum you've invented? Or have you cherry-picked it?
If you don't have numbers, you don't have s... diddly-squat. You might be right, but you need to prove it. Feelings aren't enough.
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Author: brycon
Date: 2016-06-07 07:22
But Mark, the list of top players goes on and on!
(Except for the NY Phil, LA Phil, Boston Symphony, Chicago Symphony, Atlanta Symphony, Houston Symphony, Dallas Symphony, Pittsburgh Symphony, Baltimore Symphony, etc....Oh, and pretty much every orchestra outside the US.)
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Author: DavidBlumberg
Date: 2016-06-07 07:31
Every Orchestra outside the USA what?
Buffet players like Buffet. And Buffet has had the majority of the Market for years. Other companies haven't put the slightest dent into their market share.
My point was that some very long time Yamaha Artists switched over to the MoBa. The players who played the Selmers, Leblancs, Yamahas wanted something different that they didn't get from Buffet.
I'm not paid to advertise - nor on staff to.
http://www.SkypeClarinetLessons.com
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Author: Francois Kloc
Date: 2016-07-18 08:49
I am sorry you feel that way. As some people have said below, it is all about taste. The reason why we went with "raw" German nickel is because during the development with our 8 artists 5 US and 3 Europe, they ALL picked models which had un plated posts. This is not marketing, this is pure facts and acoustic feelings from the players.
I wanted to clarify this point.
Mr. blumberg, you can dislike something without being rude. Please know that people are working very hard and are putting their love into making instruments, designing logos, etc.
I never understood the need for people to criticize something they would probably not be able to do or make.
Best Regards,
Francois Kloc
President & CEO
Buffet Crampon USA, Inc.
Post Edited (2016-07-18 08:53)
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Author: Francois Kloc
Date: 2016-07-18 08:51
I am sorry you feel that way. As some people have said below, it is all about taste. The reason why we went with "raw" German nickel is because during the development with our 8 artists 5 US and 3 Europe, they ALL picked models which had un plated posts. This is not marketing, this is pure facts and acoustic feelings from the players.
I wanted to clarify this point.
Mr. blumberg, you can dislike something without being rude. Please know that people are working very hard and are putting their love into making instruments designing logos, etc.
I never understood the need for people to criticize something they would probably not be able to do or make.
Best Regards,
Francois Kloc
President & CEO
Buffet Crampon USA, Inc.
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Author: JamesOrlandoGarcia
Date: 2016-07-18 10:51
I think I'm going to step into this one now:
Mr. Kloc, maybe in your world someone who isn't pro-buffet is being rude but to some of us, it is just having an opinion and here are a few for you.
You've have presided over a company that has made what I believe to be the most inconsistent products I have ever seen anywhere on the world market. They are so inconsistent and most were so bad that people have built businesses solely on "hand selecting" good Buffets. Many of us even purchased our Buffets and only considered them half way made until a good tech could service (repad, major adjusments, revoicing, changing out register tubes and more) to them to bring them up to a consistent hand crafted level.
I've never heard of anyone out there making a career hand selecting brand new Brannen flutes, fox bassoons, Laubin oboes. Many of us read the Powell announcement and thought it was an April fools joke. A company that arguably produces perfect flutes every time was taken over by a company that doesn't make nearly perfect instruments some of the time. Are there people out there that hand select new Apple iMacs, or Honda Accords? I think not, because if they had the level of inconsistency Buffet does, they'd be out of business.
You're right, most of us will never be able to make a clarinet. We're just the fools that play them and depend on them to bring some extra happiness to our lives. I know very little about the obstacles that make it so hard to produce good clarinets most of the time but I know its not impossible because Yamaha does it. Perhaps instead of trolling people online, maybe you should go back to the drawing board and figure it out.
James Garcia
Bass Clarinet/Clarinet III, Des Moines Symphony Orchestra
Post Edited (2016-07-18 10:53)
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Author: Francois Kloc
Date: 2016-07-18 14:25
Mr Garcia,
Thank you for your e mail. I am not going to get into a back and forth game with you or anyone else. You have the right to your opinion and I respect it. Obviously, I may have not made myself clear or my comment may have been seen as unfounded.
There are plenty of people that do not play buffet (which many of them are my friends), but do not spend their time being aggressive and disrespectful toward people. I know that it is the way things are being done now days but it does not mean that it is right.
As for your statement of inconsistency, I am sorry you feel that way and I invite you to come to Jacksonville (as many clarinetist do) and sit down with our technician and myself so we can look at the issues together. This is what we do with everyone who is coming to see us. All the clarinets are play tested before they leave our office and we make sure we provide the best service possible.
For your information we had our summer academy last week and several of our faculties selected instruments for dealers. I spend the day on Thursday with one of them who had just picked 20+ clarinets for a dealer he is working with. I would think that he would have expressed concerned or at least told me if the instruments he tried and "attached his name" to it were terrible and unplayable. Will there be some adjustments to be made on instruments? yes. But I can tell you that the clarinets do not need to be rebuilt as you refer to.
Now people have a choice and preferences in how their instruments are set up, some want to have the Brannen in Chicago go over them, some prefer Mark Jacobi, or Tim Clark, or someone else that provides them with the "feel" they want. As you said it is a business and people in the business of setting up instruments will always find things to improve, change etc.
It is funny that you talk about Powell because I was just in Paris visiting dealers and was in a flute shop who sales our flutes and many others. He makes his own pads and often has customers asking him to set their new flute up with his pads and adjustment technic. You see evened the "perfectly" set up flutes are not that way for everyone. We can talk about this until the end of time and never agree because there will always be exceptions and preferences.
One never achieve perfection, this is what makes life worth living. For the one on this list who believe they have achieved it congratulations! For myself, I have worked since starting my career in 1985 toward learning and trying to help musicians with the limited skills I have. I hope to be able to know half of what my masters knew by the end of my career and I will be a very happy man.
In the mean time, I will continue to work every day as hard as I can to provide the musicians who chose to play our brands with the best service we can provide.
Thank you,
Francois Kloc
President & CEO
Buffet Crampon USA, Inc.
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Author: dorjepismo ★2017
Date: 2016-07-18 17:40
Wow! Is that cool or what? Until fairly recently, the scarcity of readily available alternatives made Buffet (in the U.S., anyway) seem a lot like Microsoft, and like Ford and G.M. 20 or 30 years ago--we make it like we make it, and like it or not, you'll still buy it. Probably unfair and certainly not the attitude of the people making the product, but effective monopolies tend not to be popular. Now that competition on the high end is a lot more lively, criticism is useful, and increasingly garish branding can seem a little like incipient insecurity. Still, Buffet's Pope Francis compared with Steinway Pianos.
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Author: Francois Kloc
Date: 2016-07-18 19:00
Francois Kloc
President & CEO
Buffet Crampon USA, Inc.
Post Edited (2016-07-19 07:25)
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Author: Chris P
Date: 2016-07-18 21:15
Francois, the common complaints and issues I have and get from owners of Buffet clarinets (RC/R13 upwards) are:
- Adjustable thumbrests breaking
- Adjustable thumbrest baseplate placed too low on the lower joint
- Synthetic key 'corks' peeling off
- Synthetic key 'corks' used on pro and Prestige level instruments
- The wire side Eb/Bb stopper on Toscas being an obstruction to the RH3 B/F# key screw
- Too much lost motion in the LH F/C lever
- Nylon pins breaking
- Toneholes tearing through pads
- Toneholes having natural defects in them
- Greenline instruments with inherently weak and fragile tenons
- RH F#/C# key springing
- RH F/C touchpiece bends very easily
- Rocking middle tenon on some Prestige models
- Tenon slots with the wavy profile and the slot cut too deep
- Point screws with the plastic collars being lost
- LH Ab/Eb lever bounce/rebounding when using the RH Ab/Eb key
- Double case that keeps the bells fitted to the lower joints
- Tosca case not of a standard expected of the price of the instrument
- Prestige bass and basset horn cases (as above)
I realise as Buffet are a high volume clarinet maker, there is only so much bench time that can be spent on some models. But now you're making high end clarinets (above prestige level) with prices not far off those of prestige level oboes, surely they ought to be finished using better quality materials as key corks/silencers to reflect they are high end instruments.
People want to see where the money they've spent has gone into making and finishing such instruments so they know they're getting their money's worth. The last thing anyone wants to see on a Prestige, Tosca or Divine is peel-n-stick foam shapes stuck to keys instead of either natural cork, rubberised cork or felt/ultrasuede used in the right places as the mechanism demands.
I realise the instrument manufacturing world isn't the same as it was back in the 1950s as things have become marginalised and rationalised to meet targets (realistic or otherwise such is the case everywhere), but it should still be a duty for any company with a long history to honour what has gone before and to maintain a good reputation.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2016-07-18 22:03)
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Author: ruben
Date: 2016-07-18 23:30
I've learned a lot from this "thread" and I certainly congratulate you on your eloquence, terseness and persuasiveness. I don't know whether you're a lawyer, but you certainly have the makings of one. As somebody working for a small maker, our parameters are quite different from Buffet's or Yamaha's, as our strength is customization: no clarinet is off the assembly line. Be that as it may, the lesson I derive from your comments is: let no clarinet leave the shop without having reached the highest standards. This would seem obvious enough, but wisdom bears repeating.
rubengreenbergparisfrance@gmail.com
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Author: Chris P
Date: 2016-07-18 23:43
Innovation is a good thing as long as it works in the long term.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: KenJarczyk
Date: 2016-07-19 00:41
Mr. Kloc,
First, and foremost- WOW! The President & CEO of Buffet USA is contributing to the forum! Thank You!
Always interesting that since the dawn of the 20th Century, Buffet has been the target of those who choose the other brands. I, personally still am in total love and awe of my 1969 R13 Bb. I also find hours of joy each week performing on my new R13 Eb clarinet. My Bb always received highest praise from all who played it, including many professors and teachers. Yes, I had it "Brannenized" about 20 years back, as a then - 27 year old instrument! It will soon be returning to the Brannens for a tune-up. So far, the new Eb is stock, rather flawless, but anything can use some improvements, so I will take it to the Brannens soon, as well, if for nothing more than their "magic" and setting it up for heavy-duty use for the next 20 years, or so!
Yes, I also play Ridenour clarinets, I like them very much! I really liked my Selmer 10G "A" clarinet, but think about it - a Selmer clone of the Buffet.
Everyone wants to believe that their choice of instrument is best, and I understand that. The recent migration of many top players to "Boutique" clarinets does make me wonder! Yes, I want to test-blow the Backun! But it will take an awful fabulous horn to make me take that jump!
My first initial "serious" clarinet instructor, Mr. John Blount, Principal Clarinet of the WGN/NBC Radio Orchestra in Chicago played an older Buffet, well before the R13 era, so his experience was most probably along the new "Tradition" type of clarinet, acoustically. And to my ears and memory, I've never heard a more beautiful clarinet sound in my life.
Ken Jarczyk
Woodwinds Specialist
Eb, C, Bb, A & Bass Clarinets
Soprano, Alto, Tenor & Baritone Saxophones
Flute, Alto Flute, Piccolo
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Author: locke9342
Date: 2016-07-19 07:59
Mr. Kloc, I understand that you are the president, but you must understand that we are the customer and that our opinions matter (I'm sure you do to an extent and are seeking to provide the best experience, but hear me out).
I am not a pro or even good by any means, but my argument is not about playing the clarinet. But more so about the opinion of your products on the internet. I have , in my search for a new clarinet, scoured the internet and this is what I found. Almost every post I have read about buying a Buffet recommends trying multiple clarinets or using a service to pick a clarinet, like Garcia stated before. And while that dealer you speak about may have had an easy time, that incident has done nothing to repair your reputation. There are still countless already distributed sub par clarinets and reviews of those sub par clarinets.
Simply making a singular post about a dealer does nothing, at least in my eyes, to make me rethink not purchasing a buffet. Both because of the overwhelming consensus on the internet and the inherent bias of the literal president of the company.
I apologize, if my argument has been poorly organized, but I believe I stated my message clearly enough. Feel free to ask for clarification. While I may seem confrontational in this post, I assure you I am trying to be civil and any rudeness is accidental.
The one thing I ask is for you to announce when you will stop replying. A major annoyance for me is when people of influence respond to one comment then never come back. I just need some closure.
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Author: Clarineteer
Date: 2016-07-19 09:36
I just purchased a new old stock R13 from 1986 and the problems stated above were even true in the past. This R13 was not even close to being set up properly from the factory. For example the pad height on the throat A key was less than half as open as it should be. What I got from the above comments is that there are no problems with the Jacksonville warehouse but the problem is with the Paris factory which Mr. Kloc never mentioned once. That is where the quality control is not proper resulting in the above stated problems with new Buffet clarinets.
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Author: Francois Kloc
Date: 2016-07-19 09:54
Hello,
I just landed in Japan, sorry for the delay responding.
First of all, whatever level you have does not matter, your opinion is as valuable as anyone else. This is what I have been trying to explain before and may have not succeeded to send this message across. I have to admit that I am still struggling with english sometimes.
We are privileged in my opinion to be able to enjoy the beauty and pleasure to be in the music industry.
I listen to people everyday believe it or not, because the day one stop listening then it is over. the example I took about the dealer was more to explain that if the instruments where not acceptable then this particular musician would not put his name on it. Does it means that we rest on our laurels? Absolutely not, some people on this list may know me personally and could attest that I am not one that take things for granted.
I see that you are from Florida, if you ever feel like having the experience many are having when they come to Jacksonville to play test instruments please feel free to contact me personally. I will do my best to be here when you come.
My e mail address is francois.kloc@buffetcrampon.com
It will be my pleasure to sit down with you and listen to your concerns,
Best Regards,
Francois Kloc
President & CEO
Buffet Crampon USA, Inc.
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Author: Francois Kloc
Date: 2016-07-19 09:59
Sir,
I did mention the factory. I may have not been clear sorry about that. The work we do in Jacksonville as well as from the other offices we have is always in link with the factory. Our Woodwind Product Specialist Mr. Matt Vance is in contact regularly about issues etc with his colleagues at the factory.
May you have questions please feel free to send him an e mail at matt.vance@buffetcrampon.com
Will you be at the clarinetFest? If you are please stop by the booth and ask for me or Matt if I am not there.
Best Regards,
Francois Kloc
President & CEO
Buffet Crampon USA, Inc.
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Author: sfalexi
Date: 2016-07-19 15:14
Francois,
One thing I've been curious about....
I see many models (tradition included) being designed on the advice and play testing of many professionals. Above (and I've seen them elsewhere as well), there are complaints from some customers, and even repairman.
I'm curious to find out (private email would be fine, and I'd keep private if requested), how much market research you do wth repairman or NON-professionals when designing a new clarinet. Certainly some of it would require retooling at the factory (metal pins instead of nylon, raising the thumb rest, etc), but it seems to me that throughout a design process, it can expose the long term reliability issues that repairman can help to expose as they service clarinets with 20+ years of use, whose designs and weak points haven't been addressed yet (seemingly....of course only time will tell, but I'm curious how much of that has come into play when designing your latest models over the past maybe ten years)
Alexi
US Army Japan Band
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Author: donald
Date: 2016-07-19 16:22
People complain about the tuning issues on Buffet clarinets, but I've played instruments from Selmer, Leblanc, Herbert Wurlitzer, Yamaha (Custom range from the 1980s/90s, Yamaha Reform Boehm, and CSG), B+H 1010 and numerous other brands and they ALL had tuning issues. In fact, they all had very similar tuning issues because those issues are inherent in the acoustics of the instrument. Any maker must make some compromise to accomodate these problems. I've played a couple of instruments over the years that had very fine intonation, but they all had a problem SOMEWHERE in the range.
I can even recall a conversation with Luis Rossi where he told me he had solved the spread of the right hand 12ths without needing a resonance key, but the solution amplified a shortcoming elsewhere (that had been previously been a problem that wasn't too bad, but with the improved acoustical design was unnaceptable).
The classic unsolveable problem is when you find an A clarinet with a flat clarion A, but a very sharp D (above middle C). Barrels, register key tubes etc can moderate this problem but not really solve it without creating a bigger problem elsewhere. Undercutting the tone hole sharpens the fundamental. I have encountered this problem a few times... clarinets by Buffet, Selmer, Leblanc. Sharp in the clarion left hand? Buffet, Selmer, Wurlitzer (the worst offender, and please DON'T tell me I wasn't voicing properly). I have also heard Oehler players from German orchestras tell me how perfect their clarinet is, then proceed to demonstrate to me that their horns have wide 12ths in the left hand.
I don't want to come across as a Buffet appologist, just saying what I see. AND out of all the colleagues and students I encounter on a weekly basis year in, year out... never ONCE has anyone complained to me in the last 30 years that their F/C key bent. Just saying.
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Author: Chris P
Date: 2016-07-19 17:09
Attachment: reinforcednylonpins 001.JPG (208k)
This is how I deal with nylon pins - I give them some backbone with a piece of 0.8-0.9mm steel, so no need to replace them. See attachment.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Tobin
Date: 2016-07-19 21:47
Whether you are an advocate of Buffet's clarinets or another brand, I hope we are all appreciative of Francois Kloc's time, here on the board.
Thank you, Mr Kloc!
James
Gnothi Seauton
Post Edited (2016-07-20 01:58)
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Author: Tom Puwalski
Date: 2016-07-24 01:03
I have one of the new Buffet Traditions, It is one of the best clarinets I've ever played. And I have played them all, Ok I haven't tried the high end uebels. I found the Build on the Tradition at the same level as my Divine and the Toscas. I've had some work done on them more to get them to "feel" like instruments that I already play.
I have not had thumb rests break, nylon pivots crack. I was very pleaseantly surprized that the Tradition was the price it was not as expensive as either my Divine or Tosca.
I have to give Buffet credit on this clarinet "tradition", I think it plays and sounds differntly than the RC and R13 Bores. Does that make it "Better" than the Divine or Tosca, is it the Best clarinet Buffet makes. I have people message me all the time saying that things I've recorded on this clarinet sounds better than on the other clarinet. I think as a player after the first 15 miuntes you are going to sound like you. The choice of what clarinet I'm playing has to do more with the "ease" of playing and what kind of sounds I'm I trying to play with.
For me when I'm playing with Piano and or Strings, I love the sound of the Divine, when I'm in middle of a concert band the Tosca has a density of sound that make it a lot easier to feel like you're present. I'm finding for the type of comercial gigs I do, Klezmer, Choro, jazz. I'm really liking the sound and especially the "ease of playing" that the Tradition offers.
Here is a little choro that I've recorded on it the other day.
https://soundcloud.com/klezmertom/um-chorinho-em-montevdeu
I'm always amazed at how many people will review an instrument that they don't own, and have never played. I've been playing different clarinets for a few years now and really untill if played it for 6 months I can't really begin to make any of the claims and assertions that some people make on a "five minute" test playing. I haven't found that I need to play through 15 clarinets to find one that works either. I've played through all the stock of R13s at my local Music and Arts center and I would have played on any of the instruemtns that I had tried. And yes, I probably would have had some adjustments to any of them to make them feel the way I like.
I switche back to playing Buffet clarinet about a year and half ago becuase, like it or not, there is, to my ear at least, a very distictive "Buffet" sound, it's a certain kind of "ring" in the sound that all of my teachers had, all the people that I listened to had, and that I have when I play on one. I am elated that the "Buffet" sound seems "broader" to me than it did when the only clarinet was the r-13. Some people complain about the low F correction key, "why wasn't it done like this other company did it", until you start finding out that on some super freaky high notes that key does some magic. Almost like the "gizmo" key on the flute. Was that it's intention, no but there are some "off label" use for it.
I do think that a whole bunch of this "clarinet discussion" sometimes is used to try to prove that a certain player, is "more sensitive" more "deserning" or they make more "demands" on their instruments than others. To that I have to add something that Leon Russianoff once turned to me in a lesson and said, "Tom, sometimes you just have to put it in your mouth and just blow the damn thing" 35 years later I get it.
Tom Puwalski
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Author: Paul Aviles
Date: 2016-07-24 05:23
Thanks Tom for the review and the classy playing!
.................Paul Aviles
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Author: RodRubber
Date: 2016-12-20 07:44
Hello friends,
I have switched to playing tradition Bb and A clarinets beginning in October of 2016. I used the Bb clarinet in my west coast tour last month including several performances of Messiaen's quartet for the end of time. This instrument is extremely solid.
I will be using the A clarinet (I just got it about two weeks ago) next week in Santiago chile for a recital and a Mozart.
I am very happy with the tone quality and intonation of these instruments. To those people who are making a living playing the instrument, these are the most important things.
Anyone in the D.C. Area who would like to try them can contact me.
Evan
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Author: donald
Date: 2016-12-20 15:25
Reading through this again, I came across the comment from James Orlando Garcia.... "Many of us even purchased our Buffets and only considered them half way made until a good tech could service (repad, major adjusments, revoicing, changing out register tubes and more) to them to bring them up to a consistent hand crafted level."
This jolted my memory- in 1997 or 98 Richie Hawley was selling his R13 B flat instrument, and I play tested it though it eventually sold it to a friend of mine (it was a super NICE clarinet btw). I can recall Mr Hawley telling me that the R13 was essentially a carcass waiting to be souped up and customised (this in the context of explaining that by buying a 2nd hand instrument, someone else had gone to the bother of getting the best people to do the job).
Since the threads on the Buffet Tradition a few months ago I have had the chance to play a B flat Tradition, and (like Evan above) LOVED it. The bore, while certainly still having a flare in the lower joint, is more cylindrical than the various other Buffets I have owned (currently playing Festival/R13) and I suspect this contributes to a more "concentrated" tonal characteristic than I have encountered on other late model Buffets. If I were to buy new Buffets this would be the model I'd be looking at.
dn
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Author: Clarineteer
Date: 2016-12-20 16:01
The Pre R13 has better wood and has no plating that can wear off which is essentially the same as the tradition at a fraction of the price.
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Author: ClarinetRobt
Date: 2016-12-20 22:33
Mr. Kloc:
On a positive note, my 20 year old Prestige (Silver) Buffet has been what I call "Lexus" perfect. Yes, the instrument was hand picked out by Phil Muncy (frankly, I didn't want to devote the time to find a great horn), but to date it's the best horn I've ever played. My old clarinet teacher loved it so much he wants to buy it if I ever want to sell...which will never happen.
I enjoy reading about this groups passion about instruments. It's not much different than people talking about cars. For example, you'd never get me to buy a BMW. Their problems are legendary, though fantastic driving vehicles.
I'm sure my peers suggestions for a 'better' Buffet are warranted. You strike me as a guy that wants to a 'build better mouse trap'. Being a market leader comes a lot of stress. But you're surely heading in the right direction! Keep improving my friend and I wish you and your team the best!
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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Author: Bob Bernardo
Date: 2016-12-21 10:30
To Francois Kloc
I played on Buffet's since before attending Interlochen Arts Academy, in the very early 1970's. So if you think I wanted to leave buffet you are nuts.
But Buffet kind of wrecked it with me. I was playing your horns until this past year and sadly I was FORCED to leave. For a lack of support from your company.
So I am now playing on Yamaha clarinets. They approached me at the ClarinetFest and you didn't show up as you said you would! Yamaha's are GREAT. Partly due to John Yeh pushing me to try them out. Boy was I in for a shock. They are GREAT!
I just played the Copland about 2 weeks ago and during one of the rehearsals I played on a 2013 Buffet then played on the Yamaha CSVR and the orchestra members liked how the Yamaha sound carried in the hall. It rang! Players could hear me all over the hall. The clarinet is much less resistant compared to the Buffets. Because of the resistance factor. playing the Copland was a lot more fun and easier to play.
No leaks with the new horns. They seal tight right out of the box. So I'm now a Yamaha Artist. I wish I was a Buffet Artist, but Buffet screwed up. I studied with Hans Moennig and if he were alive today he'd be swearing in German at Buffet.
If you recall I offered free assistance to help your company. I can't now...
I had 8 sets of Buffets. Only 1 clarinet is left and it's on sale right now on ebay.
I played the Backuns and found them to be too dark. Up close they work, in a large hall I'm not sure and for $29,000 I'll pass. I liked the Selmer Signature horns a lot. However you can't beat the Yamaha's. They are that good. You can't find a better sounding A clarinet. Later this winter I will be playing the Mozart Quintet and I can't wait. I've been asked to do the Brahms as well. I'm holding off until the Mozart is over with. It's 30 minutes of demanding work and in my opinion the second movement is the key to success, because you have to have a great sound. This I think I have with the Yamaha's and 7 years of study with Iggie Gennusa, developing a great foundation for an excellent sound.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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