Author: modernicus
Date: 2019-12-03 04:30
Thread dredge redux...Have played the E.P. quite a bit since- I still have no idea how much mine has been messed with, but it occurs to me mine probably wasn't one of the ones with roller keys/raised tone hole because it lacks the metal band around the top of the lower joint. I think I just let my imagination run away from me. Let me just say the tone and response are something special, but yeah, the tuning is not like anything else I've played. If I play my lowest pitch mouthpiece (vintage Langenus) with a softer reed, I can come within reason if I pull out the barrel considerably and use tuning rings. I lowered C#/G# key opening height drastically- now it's in tune with the rest of the instrument, but vents against the pad heavily- maybe a bevelled cork pad could help? There is one other note that sounds weird and crazy out of tune that I'm trying to figure out, as well. This one may be more of a mechanical or pad sealing problem.
Anyway, I can't fathom how this would be a "Klose-Buffet" copy. I have been doing some measuring, and the bore on the top joint is a huge 15.3mm! I measured my 1886 Buffet Crampon and my 1860s or so genuine Auguste Buffet jeune (yes, a clarinet by the Boehm clarinet co-inventor!) and the bores were well under 15mm. Even the late 1940s Buffet I have has a <15mm bore. The EP also flares a lot less, the bore at the bottom of the bottom joint is much smaller than other Boehm clarinets with smaller upper bores. So, the upper bore seems huge, like a large bore Boosey and Hawkes, but has a less drastic flare, something like halfway to a German system or perhaps reform Boehm clarinet? That sort of fits with the description of his mouthpiece concept. I've been reading about German system and Reform Boehm clarinets on here and it sounds like it has similar tuning tendencies (left hand Clarion notes go really sharp as you go up if you don't make conscious effort to compensate). Being a fool and glutton for punishment, I've purchased another Eric Petterson in plain 17/6 form that looks to be in drastically better condition, with original barrel and bell, and hopefully an original mouthpiece, too (fingers crossed). If not, I was thinking of trying a mouthpiece oriented towards a reform Boehm or German clarinet on these to see what kind of results I could get. Any suggestions? I have a hard time believing that he just made something carelessly unworkable for decades and I would love to be able to have this great tone and unique response with a bit better tuning, yet, than I have been able to achieve so far.
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The Clarinet BBoard
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