 The Clarinet BBoard
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Author: Bob Arney
Date: 2001-06-02 16:52
Author: Bob Arney (---.plover.ncn.net)
Date: 06-02-01 10:31
What's that old song? "There I've Done It Again." You have to be old to rember that one. Well, I finally did it. Bought an "older" Conn off of eBay (which might be a Linton or Malerne stencil) and am having it shipped to Dave Spiegelthal for reconditioning (among other things it has a busted key, etc.) Why Dave? Because he has done other work for me (A Robert Malerne Bb and several mouthpieces) and I am well pleased with his work. This way I get a quality horn from a professional bass clarinet player. Now, if only some of his talent and technique came with it. I'll post later when I get it in case I have to retract [Only kidding Dave]
Bob A
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Author: Stephen Froehlich
Date: 2001-06-03 19:51
Dave does fine work. He does like his keywork rather taut, though (by his own admission and my observation). (Its very precise, but it is sprung somewhat heavily.) If you want a lighter feel, which I get the feeling you will if you're doubling from Bb, make sure to let him know.
Good luck, and have fun.
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Author: Bob Arney
Date: 2001-06-04 02:11
Steve do you mean ALL his keywork? He did my Robert Malerne Bb Soprano and it feels light as a feather. I am constantly amazed how easily I can get around on it. I have big hands, strong fingers and wonder if I can just trust him to do it like my Bb if that is his "trademark". I will bring this post to his notice and he knows I am pleased with the Bb, so he can use that as a guide. Thanks for pointing this out, I would have never thought of it nor known it.
Bob At
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Author: Dave Spiegelthal
Date: 2001-06-04 14:45
Bob and Steve,
Thanks to both of you for the good words. About the keywork: I do have a tendency (which I'll try to correct) to set up bass clarinet mechanisms rather on the stiff side, mainly because it's what I'm used to playing. Compared to most players, I probably use more finger pressure and more jaw pressure on the mouthpiece, so, for better or worse, that's how I tend to set up my bass clarinets. I realize now that this is not everyone's cup of tea, so I'll attempt to be more perceptive of the desires of my customers and set up their instruments accordingly (although in Steve's case, I actually set up the bass clarinet for my own use, and only months later decided to sell it).
Part of the problem with bass clarinets is that, if the lower stack is not sprung fairly stiff, it is possible to actually blow open the r.h. pinky low Ab/clarion Eb key, causing a nasty vibration (that sounds rather like a Bronx cheer). And if this key is set up stiff to prevent that undesirable opening, the other three r.h. pinky keys should probably be set fairly stiff also, to make their feel more consistent with the Ab/Eb key. An imbalance of tensions feels bad and makes it hard to play smoothly.
Another problem (which I've found at least with the Kohlert basses with their doubled toneholes for the low E/clarion C) is that the common key operating these two pads is quite heavy (in weight) and therefore needs to be stiffly spring to ensure that it opens when released.
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Author: Robert Small
Date: 2001-06-05 05:16
When I was trying out a couple of Selmer low C basses a while back I was having a problem with the extended range notes. When I tried to play them loud I would get the Bronx cheer sound Dave mentioned. I took one of the horns to my repairman and he found that the C#/F# pad was blowing open when the lower notes were played. He increased the spring tension and that cleared up the problem.
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