 The Clarinet BBoard
|
Author: Kalashnikirby
Date: 2017-10-22 13:49
Give it a read: http://www.resonanzoptimierung.de/ResoIntro/Einfuehrung/Einfuehrung.html
Some parts are already translated, for example the QRP (Quartz-Resonance-Pad) this guy developed, but to conclude it for you, it's mainly about adjusting corks and these pads, with the latter having a tremendous effect on the instrument as this guy claims.
Now what bothers me is that I am not sure whether Resonance and Damping in the physical sense are fully understood, nor does it become any clearer after reading the entire site (so I don't know whether you guys would want to google-translating it...). He does, however show one or two fancy graphs and writes a "history" on his journey to founding this new discipline.
But how does it work? It is easy to understand that a leather pad, cork, the silver plating etc. have their own natural frequenzy and have heard that Buffet's Tradition/Legende have unplated/gold plated posts for resonance tuning purposes, though there are no official statements on account of Buffet.
But... What exactly IS the purpose of a Pad embedded using some hot glue or shellac in its cup? Is it supposed to resonate with the metal or not? Should it ideally be mounted in a "floating" way, so that it can osciallate without being dampened by any outward material (one could use as little glue as possible to maximize this effect). I understand that Corks and Pads are resonators, once they make contact with their respective tone hols or posts or just the wood.
My problem is: How do people concerned with resonance tuning align a Bb/Eb key so that when you play a minor second both upwards or downwards, where you obviously have fewer contact points of cork vs. clarinet? On the German clarinet, the Bb/Eb key even touches the wood of the lower joint!!
Same with pads: Are they supposed as soft or as stiff as possible? I cannot say wether and old, crumbly fishskin pad or a new, soft leather pad have such a great impact on my tone (but then again, I haven't played on crappy pads for years now). So it kind of drives me furious when people say that shellac just "resonates better" than hot glue and I can be 100% they do not understand any basic physics. Yes, the idea behind this might be that the more elastic nature of hot glue might dampen the resonance in a "bad" way, but I yet have to hear a detailed explanation and see a test series on this.
To get to the point: What are the goals of specific materials used in their respective areas of a clarinet? Can one truly measure it and say which is superior?
Some oboes have cork pads in certain areas, others don't. Can we actually distinguish them, as an audience, and say which is better?
And finally: Is there any DATA?
Post Edited (2017-10-22 13:52)
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
