Author: ClarinetRobt
Date: 2017-11-14 23:35
I always get a kick out of reading other's impressions on instruments. So here's my thoughts. Last night I started auditioning Uebel's Superior Bb in Wind Symphony. I swapped several times between it and my 90s Buffet Prestige (not RC).
*The instrument is heavy, literally. But it's a good thing. It feels beefy and beautifully constructed. Probably the best grenadilla I've ever seen on a clarinet - though I haven't been keeping score. The silver plating seems identical to a CSVR - certainly superior to my Prestige. The alt LH Eb seemed welled positioned for my paws.
*I know talking about sound is an esoteric thing. My random adjectives probably won't mean much to most reading this. The sound is warm, very warm - round - probably lacking some overtones compared to my Prestige. My first thought was I sounded like Dieter Klocker...kinda pingy in quality? I'll let you decide whether that's a good or bad thing. I liked it. (I was using my Behn Rod Rubber mouthpiece, Aria 4/Euro Signature Legere 3.75, Ishimori Rose Gold Ligature).
*At ff, it seems like the horn was holding me back. I couldn't push it to an almost grotesque quality. At first I was annoyed, now I'm not sure if it's not a good thing though...for quality sake. As I understand it, Uebel has other models for greater flexibility. No, I didn't try the Rhapsody in Blue gliss last night, so I'm not sure if the horn (player) can execute it. So I tried an experiment...
* I put on my Behn rod rubber barrel-hourglass. The change kept the German-ish quality, but definitely added more color to the sound. More importantly it increased my dynamic range. I really think I'm on to something.
*With a litany of other clarinets, oboes and flutes surrounding me, I didn't do any fine tuning on the horn. But within the ensemble, I seemed fine. Using resonant fingerings, seemed to flatten the throat notes too much. (I've read somewhere there's an adjustment period to the horns intonation...pretty sure that would be true with any instrument.) I needed no Eb RH pinky key for D6...that's a great thing in my book. Clarion seemed terrific and probably the horns best register. The chalumeau had the same resistance as my Ridenour Libertas...different than any Buffet I've played.
*I tried a couple of times to sneak in on a few clarion notes. (Think opening Bb in Concertino.) Yep, the horns wins hands down for beautiful ppppp entrances. You don't have to kill yourself and there's a security/confidence Buffet cannot deliver on.
*Maybe the best test of the night. The last 30 minutes I handed the Superior to my 17 year old all-stater playing 2nd. I also gave him my Fobes Europa #3 mouthpiece on the fly. -- I've asked on the Bboard about mouthpiece options (Thanks Bob can't wait for the Selmer!) to kill his overly bright sound. -- This set-up Uebel/Fobes changed his entire sound immediately. I quote my kid, "I sound like Sabine." Not sure about that, but he sounded terrific compared to his CL4/R13. Pretty sure he'd bought the horn on site if he had $4K in his pocket.
Bottom line...it's a beautiful instrument. For me, it delivered on the hype. Was it better than my hand picked, custom tailored Prestige? Ehh, probably not because I'm use to my Buffet...it has me trained to it's idiosyncrasies from playing it 20 years. But I can see why anyone would love this horn. It was ready to go out of the box with no mechanical issues that I saw or heard. Now I wait patiently for NAMM and see what Yamaha rolls out. I'll make my final decision after testing Yamaha's offerings. (I know I already love the CSVR!) I'll wait to compare/contrast the two when I have them both in my hands. Right now I'd say the CSVR and Uebel are a tie when I compare them using my mental computer.
~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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