 The Clarinet BBoard
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Author: ruben
Date: 2017-03-05 15:25
Howarth clarinets didn't seem to catch on or to be a commercial success. I never tried one. The late Lee Gibson-an expert on clarinet acoustics-told me that he thought it was the best clarinet that had ever been made in Britain. What are/were they like and what were their pluses and minuses?
Thank you!
rubengreenbergparisfrance@gmail.com
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Author: Chris P
Date: 2017-03-05 17:20
Buffet.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Chris P
Date: 2017-03-05 17:20
Likewise with Marigaux.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Caroline Smale
Date: 2017-03-06 00:55
They seemed to be very well designed and made instruments, IMO mechanically superior to Buffet.
However a couple of leading profesional players I know who had tried them or had students using them were not overly impressed with them musically.
Musicians are generally very conservative people when it come to choosing new instruments, so the newcomer has to be outstanding to get a look in.
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Author: John Peacock
Date: 2017-03-06 01:47
First, bear in mind that there were 3 distinct Howarth models: S1, S2, S3. The last of these wasn't produced for long; it has a bore similar to Buffet in size, whereas S1 and S2 are larger bore (albeit smaller than B+H 1010). I think the S2 is basically an improved S1 (which only carried the Howarth oval logo, not a model name).
For my money, the S2 was the best Howarth model. I was introduced to it by a leading professional who played on S2s: Richard West, who played for many years in the Academy of St Martin in the Fields. He was one of the generation that started on B+H 1010s and switched to Buffets. The view he expressed to me was that the S2 gave him back some of the power and projection in the sound that he missed with his Buffets; he found the tuning not quite as good as Buffet, but easily worth working with for the sake of the sound.
I admired the way Richard sounded, so I sought out a pair of used S2's and was very pleased with them. The tuning is actually generally good albeit with a few ideosyncrasies (e.g. you need to pull the bells out 1mm to stop long B being sharp). And I agree about the sound: a bit less sweet than buffets, but a pure sound that projects well. I now alternate between playing on the S2s and Buffet depending on the repertoire.
The reason they aren't made any more is that they were hand crafted instruments, but people weren't willing to pay the price that this demanded, so Howarths couldn't charge enough to make it pay (although maybe if highly-priced offerings such as the Divine had existed in the past, it might have been easier to find a niche). Chris P used to work for Howarths, and has commented on this issue in other threads.
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Author: Ed
Date: 2017-03-06 02:36
I had a student who had a set. They were very nice instruments. I recall that hers had a nice rich sound and were quite even. I would not say that the tuning was worse than Buffet, just a little different. That said, they were certainly very workable. When I tried them I felt that there were many good qualities and that I could easily play them. My repairman went over the instruments for her and said that he was very impressed by the quality and design. He felt that they were very well made.
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Author: Tony Pay ★2017
Date: 2017-03-06 03:11
I still routinely play on Howarth instruments. The Soundcloud recording of the Goehr Paraphrase is performed on an S1 Howarth Bb, though I'd toyed with the idea of playing it on an 1889 Buffet which was preferable in some ways.
Tony
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Author: Chris P
Date: 2017-03-06 12:04
The S1 and S2 both had the same bore size (14.75mm) but the S1 was the new model pro level clarinet they offered in the early '90s (they also made some clarinets back in the late '40s) and had a longer top joint tenon and a resulting deep barrel socket that gave better stability when pulling the barrel out when tuning. The LH Ab/Eb key was optional and mounted between the same set of pillars as the LH F/C key.
The S2 is the same instrument acoustically speaking, but with a standard length top joint tenon and the half crows foot that was on the S1 was completely done away with in favour of two linkage arms with adjusting screws. Some minor changes in how the LH levers were mounted using a B&H style plate set into the lower joint instead of sunken pillars - the LH Ab/Eb lever became standard and the touchpiece was in the usual position above the other LH levers.
The S3 has the same mechanism as the S2 but a smaller bore of 14.65mm. Metal tipped tenons also became standard bearing in mind these clarinets were all handmade and individually finished (as opposed to made in bulk and with all components coming together at the finishing stage like Buffets) and up there with the prestige level instruments. The silver plated bell ring of the S1 and earlier S2 was ditched for a lighter ringless bell. There were several barrels offered - mainly a heavy, thick walled barrel as well as the standard one and all different lengths (and maybe different bore shapes).
The bores on Howarth clarinets didn't have steps between the joints as some do - especially where the flare in the lower joint bore meets the bell bore. On Howarths the bore continued through smoothly instead of having either a step or a choke where it met the bell.
Other options were ebonite barrels and entire instruments made in PVC, kingwood and cocobolo with various plating options.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: sax panther
Date: 2017-03-06 15:41
I used to play in a clarinet quartet with a lady who played an S2s - she sounded great on it. I had a go on it once, thought it was a really nice instrument.
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Author: ruben
Date: 2017-03-06 16:18
I see that Howarth's in London has a pair of 2nd-hand Howarths owned by the late Alan Hacker for sale. I didn't know Mr. Hacker played a Howarth. I know he was playing Segelke (spelling?) Boehm-reform at the end of his life.
rubengreenbergparisfrance@gmail.com
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Author: Chris P
Date: 2017-03-06 17:18
Alan Hacker owned and played loads of different clarinets. There was a set of his Wurlitzer Boehm systems for sale there a fair while back - significantly modified as well.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: dorjepismo ★2017
Date: 2017-03-06 18:06
Was at Ed Pillinger's for mouthpieces in September. He studied with Hacker, and mentioned that he'd tried the latter's Seggelkes. Said they were some of the nicest clarinets he'd ever played. He's played a lot of clarinets.
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Author: Tony Pay ★2017
Date: 2017-03-06 22:03
Actually, Alan's Howarths were on loan from the company because at one time there was a plan between them for him to be their representative. But that didn't work out, and in fact 'his' instruments were in my possession for a few years because when I visited he said that they were too heavy for him to use on a regular basis, and I might as well keep them. (I got on better with 'his' A clarinet rather than my A clarinet as a match for my Howarth Bb, and he was anyway by then using his Seggelkes.) I told Howarth that I was doing this.
Then he died, and Howarth wanted the instruments back; but they agreed I could keep the A clarinet from 'Alan's' pair and give them my A clarinet as a replacement – it wasn't a question of my A clarinet being defective, as I'd played on it happily for 2 or 3 years.
The pair of clarinets on sale thus includes 'Alan's' Bb clarinet and my A clarinet, both refurbished to be 'as good as new'.
The A clarinet would therefore be 'the more played' – though of course, only by me:-)
Tony
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Author: ruben
Date: 2017-03-09 00:32
Dear John,
Itis true that a handcrafted instrument is far more expensive to produce. The only thing that the firm I work for outsources is silver-plating the keys. Its cost: roughly 350 euros. Selmer and Buffet, which of course mass-produce, play abot 8O euros for the same process. If you can't sell your clarinets for at least 6000 euros, it is a labour of love. Question: Are Howarths your main instruments? Do you prefer them to Peter Eaton?
rubengreenbergparisfrance@gmail.com
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Author: clarii2
Date: 2017-03-10 00:04
i tried one model of a howarth clarinet and it had a stubbins/kasper mechanism for third line b-flat. like todays bass clarinet mechanism. to my surprise the mechanism didn't seem to improve the b-flat at all.
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Author: Chris P
Date: 2017-03-10 00:26
That must've been an experiment or a special order - it wasn't a standard feature.
Howarth clarinets had the Bb trill key tonehole set around to the front of the top joint as standard for better venting on all the S1, S2 and S3 clarinets. I don't think any other makers of clarinets had done that since Clinton systems were made. The trill keys were reversed but their touchpieces remained in the same positions.
One of them was converted to plateaux keys for Mark Hollis from Talk Talk.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Tony Pay ★2017
Date: 2017-03-10 22:45
It's worth experimenting with putting a small 'choke' in the bell of a Howarth clarinet. I used Milliput to slightly narrow the bore of the bell as it meets the tenon of the bottom joint - stretching around a centimetre into the bell – and I find that that improves the response of the whole instrument. You can try first of all with Blutak, which is easily removed if you don't like it.
John Peacock – does that work for you?
Of course the intonation of B4 is slightly altered, but I find that I can learn to compensate.
Tony
Post Edited (2017-03-10 22:48)
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Author: ruben
Date: 2017-03-11 01:36
What a difference a bell makes, especially in terms of resistance! This has perhaps not been sufficiently researched. The crucial point is the neck: the narrowest part of the bell.
rubengreenbergparisfrance@gmail.com
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Author: Tony Pay ★2017
Date: 2017-03-11 02:18
Not much research required to TRY this.
Any instrument design choice involves compromise, and some of those design compromises can't be modified.
Not this one; but of course, you need to be able to assess the results. If you're not at the level to assess the results, then of course don't bother.
Tony
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Author: donald
Date: 2017-03-11 04:42
Some years ago I had a Buffet Festival A clarinet that had been significantly "reworked" by a "master craftsman" from the USA. It had a very colourless tone throughout the range, but played very well in tune except for 2 notes (alt D# and middle B). In an attempt to flatten the B I put a band of blue tack in the bell, much as Mr Pay describes (before trying a more permanent solution) and found this greatly improved the tone and response throughout the instrument.
Blue tack is very useful for such experimentation- just be very careful when removing it as if it gets stuck on the bore it can be quite tricky to clean off (esp if a pull through has then smeared it).
dn
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Author: seabreeze
Date: 2017-03-11 05:01
Clarii2,
Many players have had the same response to the Stubbins Bb mechanism and similar attempts to improve the throat Bb on the French Boehm clarinet. In the 60s I tried tried a lower price Leblanc (Noblet?) with this mechanism and found the Bb even worse than usual. The Selmer Mazzeo clarinets seemed to me to have a slightly better response in the clarion because of the speaker key separation, but the Bb was weak, and you couldn't use the usual "resonance" fingers.
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Author: D Dow
Date: 2017-03-12 00:26
it is a sad day for the clarinet making world in the uk.....is anyone in the U K making clarinets these days ? I have several top level marigaux clarinets from the 70s and 80s and some of them are fantastic clarinets. I have a close friend who used the howarth oboe....it is sad becuase the U K produces great clarinet players. Has another regional maker appeared ..?
David Dow
Post Edited (2017-03-12 00:29)
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Author: Caroline Smale
Date: 2017-03-12 01:57
Peter Eaton is still making clarinets and mouthpieces but it will only be a matter of time before the clarinet side closes down as he is certainly past normal retirement age now.
I'm not aware of anyone lined up to take over the business.
Hanson also make clarinets in the UK but doesn't seem to have gained a significant foothold with the professional levels.
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Author: donald
Date: 2017-03-12 04:06
Attachment: SK type mech.jpg (313k)
I have to say that I've several times tried "Stubbins like" B flat mechanisms (where instead of opening an alternate hole, when the thumb ring is down an extra vent opens) and several times been disappointed.
And then... a few years back I played an A clarinet that had been customised in Europe (don't know the details) for a very fine professional player and the B flat mechanism ("stubbins like") worked really really well.
So, it CAN work!
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Author: efsf081
Date: 2017-03-12 05:20
>donald
It seen like a s&s clarinet. A good B flat mechanism not just improve the Bb, but also the intonation of whole register, check this website from Dietz clarinet.
http://www.dietz-klarinetten.de/ab_b1-mechanism.html
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Author: donald
Date: 2017-03-12 10:37
The problem can often be that it improves the Bb, AND the clarion register, but then the altissimo becomes flat (as the register tube is now smaller and higher). You can't see from the photo I posted, but that clarinet has extra mechanism on the lower joint to help this (it is many years since I saw/photographed that instrument but I recall extra venting opperated by the Eflat/Aflat key and closed by the right hand 3rd finger that served to sharpen altissimo notes when the right hand Eflat/Aflat key was open). That instrument is now owned/played by David McGregor who is an intern with the Sydney Symphony Orchestra for 2017
dn
btw, sorry it's such a crappy photo. The instrument is a Buffet Tosca that has been customised in Switzerland... not by S+Seggelke... Phil Green (Australia Opera and Ballet Orchestra) will know the details. The mechanism works very well and sounds/feels great.
Post Edited (2017-03-12 10:40)
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Author: Chris P
Date: 2017-03-12 18:52
Could it have been done by Rene Hagmann?
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: donald
Date: 2017-03-13 00:34
Hi Chris- you know it's many years since I talked with Phil (who has since sold his Toscas to David Mac) but that name DOES sound familiar. It was a very well well done job- not just the mechanism but anticipating (and showing knowledge of) the other acoustical considerations. Whoever it was KNEW what they were doing.
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Author: Chris P
Date: 2017-03-13 02:01
Rene Hagmann is a genius - he played a big part in designing the Buffet Prestige basset horn and has designed all manner of special mechanisms, does extensive keywork modifications for players as well as designed the Hagmann rotary valve used on trombones which you have to see working.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: John Peacock
Date: 2017-03-14 03:08
To Tony Pay:
I belatedly tried your interesting suggestion of choking the bell of my S2 Bb with blutak. I have to say I didn't notice a colossal difference: it might possibly have made the sound a little less bright, but I felt no big difference in resonance or ease of articulation - what exactly did it do for you? I tried the same trick on a Buffet, with similarly inconclusive results.
But some funny things go on with bells. I recently got myself a older Buffet RC, which played very nicely - except I found the long B disappointingly flat. But then I noticed this was only true sitting down. I tend to rest the bell on my knees, and this was having a big effect on the intonation of that note. But there was no noticeable effect of the sort with the R13 I used to play on. So there's some significant acoustical difference between the two at the bell end (or even what happens beyond the bell). I've read that R13s have a choke, whereas RCs don't, but by feel there's not much if any step where the R13 joins the bore. Maybe this just says once again that all instruments are individuals.
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Author: Tony Pay ★2017
Date: 2017-03-15 21:36
John,
What I found, and in a way expected to find, was that the instruments became a little more 'German' in sound. To me that means: more contained, more centred, less bright but without losing ring and resonance. I play quite a lot on German-style instruments (Ottensteiner copies, for example) and I notice a lack of their qualities in the unmodified Howarths that is partly addressed (for me) by the small modification I suggested.
On a German clarinet, you can play ONE ISOLATED NOTE and have it be meaningful without trying very hard – in the Wesendonck Lieder, for example. On a French instrument, I find to do that requires much more work.
Jon Steward at one time told me that he had a plan for Howarth to make some sort of German style instrument; but that never came to fruition.
I know that we have differed in the past about our clarinet ideals – you being a great fan of Bernard Walton's playing, for example. So perhaps it's just that you're not looking for what I'm looking for:-)
(Did you investigate the Edinburgh situation we talked about, by the way? That obviously to be addressed in private email.)
Tony
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Author: John Peacock
Date: 2017-03-16 00:54
Tony,
OK, that does sound consistent with my experience, then, as I did find a slight lessening of brightness. And I agree a small amount of that might be to the Howarth's benefit. Perhaps I should have used more blutak.
As for difference in ideals, I hope I haven't sounded rigid about this, as it varies so much with the piece and what the player is doing on the day. Regarding Walton, perhaps the best thing I've heard him do is his contribution to Karajan's Rosenkavalier - I wonder what you think of that? Some of his other recordings seem less attractive to me, but perhaps one should judge people by their best work.
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Author: Liquorice
Date: 2017-03-16 02:05
Tony wrote: "On a German clarinet, you can play ONE ISOLATED NOTE and have it be meaningful without trying very hard – in the Wesendonck Lieder, for example. On a French instrument, I find to do that requires much more work."
I'm fascinated by that statement. Is it possible for you to describe what it is which makes one isolated note meaningful? Is it the tone quality, or does it have to do with the development of the note from start to finish? And why is this easier on a German bore?
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Author: Caroline Smale
Date: 2017-03-16 03:49
Liquorice, IMO if you can't hear and feel what makes one isolated note sound meaningful then I doubt any wordy explanation is going to do it for you.
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Author: fskelley
Date: 2017-03-16 05:12
Perhaps Tony's statement is somehow related to my own observation about pianos long ago- that a piano should sound wonderful with isolated slow notes, even a single note, anywhere on the keyboard. And that if it doesn't, no assembly of notes by a pianist, no matter how rapidly or skillfully played, can make something beautiful out of them, though many will try.
This applies in many settings, for example- simple food ingredients (cheese, beef, apples, you name it) should taste wonderful on their own with no additives. And if they don't, no dish made from them can be very good, no matter how ingenious the recipe or skillful the chef.
Stan in Orlando
EWI 4000S with modifications
Post Edited (2017-03-16 05:40)
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Author: dorjepismo ★2017
Date: 2017-03-16 07:47
Liquorice, look at Shepherd on the Rock. You've got one single isolated note to establish whether the performance is going to be special or ordinary. You can put the whole emotional compass of the piece into it as a preview and promise, or you can hold it for a couple beats and move on. The note can grab the audience or lose it. It tells them right away whether you've got anything to say as an artist. I wouldn't want to say you can only make it that meaningful on a German instrument, but I also wouldn't want to be playing an instrument that didn't give you a decent shot at nailing something like that.
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Author: Tony Pay ★2017
Date: 2017-03-18 02:03
Caroline Smale wrote:
>> Liquorice, IMO if you can't hear and feel what makes one isolated note sound meaningful then I doubt any wordy explanation is going to do it for you.>>
I personally have no doubt of Liquorice's musical sensibility. The fault is mine for not making sufficiently clear what I meant.
Actually, I'd say that, taken literally, it's impossible to understand – or 'hear and feel' – what makes one ISOLATED note sound meaningful.
What I was rather thinking of was the placing of one isolated note IN A CONTEXT, and how the German clarinet helps that placement.
My Wesendonck Lieder example (from Traume, the final song, orchestrated by Wagner himself) was drawn from the personal experience of having several people congratulate my playing of just TWO notes in the opening, when all I did was just PLAY THEM on a German style instrument at the appropriate dynamic. (Of course, I did understand their potency, and I suppose began and ended them with that understanding.)
But really, what made them potent was the relationship between them and the chord over which they sit – I think it's just horns, against the pulsing string background – but I don't have a score to hand.
Then, the German clarinet is 'of the world' of the horns, with the addition of a 'personal' glow that makes Wagner's choice especially meaningful and loving.
Not so easy with a French instrument, though of course you CAN do it.
With regard to the Shepherd on the Rock: 'our' first note RELATES TO the previous D minor piano chord, and is meaningful therefore in that context. So how the pianist plays that chord is important.
A clarinettist needs to join it tonally and then DIFFER from it, to make the switch to Bb major work its magic. The natural focus of the German clarinet helps that.
Tony
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Author: dorjepismo ★2017
Date: 2017-03-18 06:43
Always like what Tony says about the music better than what I do. As for the German clarinet, I'll know more after visiting Bamberg in May.
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Author: Tony Pay ★2017
Date: 2017-03-18 16:03
>> I'll know more after visiting Bamberg in May.>>
Yes, probably; but it's a learning curve to get the best out of the setup.
It was something of a struggle to come to terms with in my case, but then I was experimenting on my own, with not much of a point of reference.
But when I worked with the Trio di Clarone once, Reiner Wehle gave me his clarinet to try, and I realised it was the first time that I'd played a properly set-up instrument, owned by a professional on the instrument, with a reed and mouthpiece that really worked.
We don't get that experience 'outside the framework'.
Tony
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Author: dorjepismo ★2017
Date: 2017-03-18 21:09
Understood, but most of them play in the shop there, and it's in their interests to help me sound better on their horns than mine, so I'm expecting some help.
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Author: Geten
Date: 2019-08-26 01:12
Hi there,
I’m trying a pair of Howarth S2. Wonderfull sound. Warmer darker than my Buffets RC. Tuning is fine to. The A clarinet is a masterpiece.
But the B clarinet is a bit problematic - sound is great but there is a small problem with the left H Bb. It’s a bit low. Allso the legato between Bb ( B) C C# D# doesn’t realy go smoothely enough. Bad tecnique haha ! No on the RC this is no problem at all , just not the same wonderfull sound as on the Howarth.
Is this all about pads and adjustments of the keys you think?
Pherhaps it doesn’t seal 100%....
Why is the Bb to low?
Joachim
Joachim in Sweden
Post Edited (2019-08-26 12:28)
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Author: ruben
Date: 2019-08-26 14:23
Dear Joachim, Maybe the vent (B flat tube) is a bit dirty. That would make the B flat too low. Otherwise, the hole would have to be moved slightly higher up. Bring your Howarth to Paris the next time you're around.
rubengreenbergparisfrance@gmail.com
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Author: Geten
Date: 2019-08-26 14:43
Dear Ruben,
Thanks for your answer. Yes I did check the vent-tube and it’s clean.
I noticed that the Bb gets better with different mouthpieces. No surprice of course. So f ex with BD5 / wich by the way realy makes a good match to the Howarth Bore , tuning gets better.
But the clarinet needs an overhale - it still has this legato problem
between Bb C C# D#. Frustrating. The A clarinet doesn’t have this problem.
What made me inspired to practise on the Howarth a lot was all the wonderfull feedback I got from audiences around . The sound projects realy well out without getting aggressive on these clarinets.
Best
Joachim
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Author: ruben
Date: 2019-08-26 18:11
Dear Joachim, you might also try different bells. This could smooth out the passage from one note to the other among the notes you mentioned. Lee Gibson, who wrote a book on clarinet acoustics, told me he regarded the Howarth as the best clarinet ever made in Britain. It's a pity they stopped making them.
rubengreenbergparisfrance@gmail.com
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Author: John Peacock
Date: 2019-08-26 18:35
Joachim: I have a pair of S2s, and I do like them very much. I don't find that the tuning on the Bb is any poorer than on the A; both are pretty good, accepting that no clarinet is perfect. Perhaps the main thing is that long B ![[B4]](http://test.woodwind.org/clarinet/BBoard/smileys/b4.gif) going over the break is on the high side, but that's easy to deal with (much more so that when it's flat). The throat Bb is not a very strong note on these instruments, but I don't find it's out of tune. Not sure, though, if that's what you meant - you said the LH Bb, so do you mean Bb just above the staff ![[Bb5]](http://test.woodwind.org/clarinet/BBoard/smileys/bb5.gif) , using the LH sliver key? I never play Bb that way...
The sound on these instruments is certainly distinctive. Interesting you said "Warmer darker than my Buffets RC". I played S2s as my main instruments between 2013 and 2016, but then I got a 1979 RC Bb, which I preferred, as it was .... warmer and darker. What do these words mean? My RC has a little more resistance than the S2, and the sound is smoother, with less emphasis on high harmonics. So I find it easier to get a Viennese-style purity in the clarion register. The S2 sound is more punchy, but sometimes I find it a bit hard to tame. But maybe our different experiences reflect different instruments - I've tried quite a few more recent RCs and find they give me a noticably thinner sound than the 1979 model.
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Author: Geten
Date: 2019-08-26 19:32
John-
Yes to describe sound in words is Impossible.
RC can absolutely sound dark - with a good set-up.
Wich mouthpiece did you use with your Howarths?
I played 4-5 Mozart Quintets this summer. Different locations different strings.
But the Howarth A was amazing. In a bigger hall it just carries ut.
I tryed the A Bell on the B and yes the sound changes a bit but this problem is still there. I allso try all the barrels and the feeling is different.
I meant the brake yes- Throat A Bb to B C etc - like a hole just there between Bb to C. Not on the RC though. So it’s not my fingers!!!!!
Joachim
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Author: Tony F
Date: 2019-08-26 19:50
I remember reading somewhere that the Howarth clarinets were developed from the Louis clarinets, which were themselves developed from the earlier Martel instruments. Could anybody more knowledgeable than me comment on whether or not this is so? I own a Louis clarinet which plays very well and a Martel clarinet in unrestored condition.
Tony F.
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Author: John Peacock
Date: 2019-08-26 20:03
Joachim: I use a Selmer C85 120 with V12 3.5 reeds.
No issues going over the break on either of my S2s. The long B is not at all stuffy, as it can be on some Buffets. I guess you've checked all the low pads seal well?
But maybe the age of the instrument matters. Mine are relatively early S2s (without the extra Eb key in those days, thankfully) - early 2100 serial. I tried a later one where I could see some design changes and didn't like it so much.
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Author: AB
Date: 2020-08-14 03:50
I know this is an old comment thread but I was hoping for some advice. I have a pair of S1s - which I quite like. BUT I don't like how my regular MP plays on them. I have the Howarth branded mouthpiece which is fine - but at the very least I need something to serve as a spare. For some reason I'm under the impression that they may have come from Hite but I'm not positive. I'm in the US so a trip to Howarth isn't in the cards. If you (Tony) or anyone else have suggestions of mouthpieces that have worked well for you on an S1 it would be greatly appreciated.
Hope you're staying safe & healthy,
Anne
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Author: ruben
Date: 2020-08-14 09:52
Anne: Try a Clark Fobes mouthpiece. I find they work on anything. The Brasswind and the Woodwind sell them. And they're ALL good.
rubengreenbergparisfrance@gmail.com
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Author: Ed
Date: 2020-08-14 15:15
Maybe contact Howarth and ask their suggestions.
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Author: AB
Date: 2020-08-16 00:58
Thanks - I'll certainly be following up with Howarth if I don't get a lead this way. My MP for my Buffet is a Fobes (which I love) BUT - I don't love it on the Howarths. I don't know if that's a bore match issue or something else.
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Author: ruben
Date: 2020-08-17 13:08
AB: If you get a chance, try a Clark Fobes barrel on your Howarth with your Fobes mouthpiece. This should work.
rubengreenbergparisfrance@gmail.com
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Author: AB
Date: 2020-08-18 04:24
Ruben,
Thanks for the brainstorming. Yes.... on my Buffet I also use a Fobes barrel. The way that I know I have an S1 Howarth rather than the other versions is that the top tenon is longer. The Fobes won't work without alteration.
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Author: Jarmo Hyvakko
Date: 2020-08-18 10:02
Should a meaningful sound come easily? I feel that one essential part of a meaningful sound is the musician's huge desire of getting a meaningful sound out of the instrument. The overwhelming desire to that radiates from you. Those endless attempts year after year seeking that magic to your sound, that something that carries you through Messiaen's solo where you can't do anything, your sound just is the emptiness of the abyss...
Jarmo Hyvakko, Principal Clarinet, Tampere Philharmonic, Finland
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Author: Chris Sereque
Date: 2020-08-27 22:13
I tried one many years back, and it had a beautiful, dark, and focused sound-like what I could imagine a classic wider bore Selmer would have. Also, the sound seemed airy and wide! I wanted one, and tried out some more, but Howarth had problems with quality control, and some of them tuned extremely poorly. It was a tradedy that they couldn’t keep the quality of the instruments up, since they were a real alternative to Buffet, very English, but lovable to others as well.
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