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Author: ruben
Date: 2020-05-24 11:49
The French clarinetist and teacher, Guy Deplus, who passed away recently, always advised finding the "sweet spot" on the bell of a clarinet. In other words, turning it ever so slightly until you come to a full revolution. According to him, there was a precise spot that was best for the response of the instrument; find it and put a marker on it. Have any of you tried this? Does this really work or is it the placebo effect? Personally, I find this works on the barrel. On the bell; not so sure.
rubengreenbergparisfrance@gmail.com
Post Edited (2020-05-24 11:57)
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Author: PaulIsaac
Date: 2020-05-24 12:35
Ruben, I was told that Buffet had already done this on my old R13 and that if I assembled the instrument with the Buffet logo facing directly forward on the barrel and the bell I would have activated that "sweet spot" on both pieces.
I'm not a good enough player for it to matter anyway, but for what it's worth I regard it as a myth as I have never noticed any difference no matter which way the logo faces on either segment of the instrument.
It does look nice with the logos on each segment lined up though.
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Author: ruben
Date: 2020-05-24 14:18
Paul: true in the past! For Buffets top-of-the-line instruments, the tester was sopposed to find the "sweet spot" and have the logo placed there. Did they actually take the trouble to do this? I doubt it. This takes time and in these days of cost-cutting, I wouldn't count on a company doing this.
rubengreenbergparisfrance@gmail.com
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Author: donald
Date: 2020-05-24 16:32
Like many things on the clarinet, this MAY make a difference but results will vary. I've always suspected that this rotation of the barrel and bell might be a product of joints or cork that were not concentric.
Impossible to test, but on at least one occasion I've discovered, from looking down the bore, that the "step" from the barrel to top joint is not concentric, and rotating the barrel MAY fix this. Whether this actually causes an improvement in response is debatable- there might be the psychology of me WANTING it to improve response in action, as much as any actual improvement in response.
For the bell...
I'd wager that for the R13 style bell- where there is a "step" or "choke" at the bell tenon - the rotation of the bell CAN make a difference. But for designs where there is no choke (Buffet Tosca for example, and/or many Yamaha models) it is less likely to make a significant improvement. Again, almost impossible to measure or test for any improvement.
All this said, I still LOOK for an improvement from rotating the bell. My "go to" test for this is play top space E on the treble cleff, then slur down D-C-B slowly. Then do the same 4 notes lightly articulating quavers/8th notes.
I listen and feel for the same clarity and response, as I test the bell rotation in 8 diferent spots.
I also try pulling the bell out a centimetre or so, this often clears up the tone on the G-D if that note is a bit stuffy.
I had a student come to me with a new R13 last year, and I was certain that bell rotation made a noticeable difference, but the student couldn't detect an improvement.
Another student came to me with a new RC Prestige, and I was certain that bell rotation made no noticeable difference at all.
My B flat clarinet is a Buffet Festival, and bell rotation doesn't seem to help at all BUT pulling the bell out certainly clears up the G-D and makes the E-D-C-B tones more homogeneous. The E/B 12th is much nicer, BUT low F is slightly flatter which is unhelpful in some repertoire.... results may vary.
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Author: kdk
Date: 2020-05-24 17:14
I've found that some barrels sound better in one specific position. I've never tried testing my bells in this way, but it wouldn't take much time to try it and see if there's a "sweet spot" or not. If it makes a difference, mark the spot. If it doesn't, you've lost 5 or 6 minutes of practice time - probably not the most time we've ever wasted in our lives. :-)
Karl
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Author: Ed Palanker
Date: 2020-05-24 17:18
Yes, I've done this with my Selmer Bb and Buffet A, both bells and barrels. It could be a very subtle difference or a bit more obvious, especially with the barrel, and I believe it can varie with the mouthpiece one uses. As far as the bell goes, I use Backun bells on both my clarinets and on my Selmer the B tuning note on the break was a bit flat compared to the rest of the scale so he drilled a hole in it and I line the hole up with the keys pads and it solved that problem.
ESP eddiesclarinet.com
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Author: Tobin
Date: 2020-05-24 18:03
Yes, and I do this with my students. There are usually 2-4 places, or rotations, in which the response of the clarion B and C is improved in sound and resistance (generally less resistance).
I can’t do the same with my own because there’s a low E/F mechanism on the bell.
James
Gnothi Seauton
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Author: Tom H
Date: 2020-05-24 21:33
Probably a placebo. I line up my barrel insignia before a concert. But remove the barrel & mouthpiece often during the concert/rehearsal to blow out moisture. I guess it goes back on pretty much the same way. Never thought of lining up anything with the bell.
I think the "sweet spot" has about as much effect as changing ligatures. Pretty much zero.
The Most Advanced Clarinet Book--
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Boreal Ballad for unaccompanied clarinet-Sheet Music Plus item A0.1001314.
Musicnotes product no. MNO287475
Post Edited (2020-05-24 21:34)
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Author: Steven Ocone
Date: 2020-05-24 22:03
I was working on a customers clarinet while he was waiting. It was an old clarinet that had been worked on by Hans Moennig. I played it, then took the bell off to make an adjustment on the lower joint, then reassembled. After that, the notes I worked on sounded awful. I just happened to notice a dot on the bell and one on the bottom of the lower joint. I matched them up and it played great.
Most times I just line up the logo and don't bother to try different positions.
Steve Ocone
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Author: Steve Becraft
Date: 2020-05-24 23:50
I've found that it makes a difference with my Buffet Prestige and with my student's Buffet R13s.
I always start with the barrel to find the rotation spot where the tuner has less "bounce" between notes in the upper register C major scale, also listening for the consistency of focus and tone. (I still use an old Korg tuner that shows a needle, so you can see how a note might start high, then come down.)
After that, I check below-the-staff G, F, E to find the spot where there isn't a change in focus from one note to the next. This will also make a difference with the register change (throat A up to B) since the longest note on the clarinet has its best focus, response, and "ring".
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Author: Jeroen
Date: 2020-05-25 11:50
I've found that it has a small effect on resistance and sound. Also pulling the bell half a mm so that the outer bodies do not touch each other mostly reduces resistance.
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Author: ACCA
Date: 2020-05-25 19:18
Keep in mind that the noticeable effect of this- and changes in ligatures etc- can vary a lot depending on where you are. e.g. small practice room, large hall, or outdoors have different acoustic characteristics and you may hear a difference in one setting you don't in others.
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Author: ruben
Date: 2020-05-25 20:15
Jeroen: thank you! I'll try this. I saw it mentioned in a book on the clarinet.
rubengreenbergparisfrance@gmail.com
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Author: ruben
Date: 2020-05-27 00:47
Jeroen: I've just tried what you have suggested. It definitely works! I don't know why, but the proof is in the pudding.
rubengreenbergparisfrance@gmail.com
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Author: Jarmo Hyvakko
Date: 2020-05-28 02:37
I visited the Buffet factory in the late 90's. In those days Mr Deplus used to be the test player at Buffet. One thing he made to each clarinet was to find the ideal position of the bell. When found, the instrument was returned to the factory department and the Buffet label was stamped to the top of the bell. And this story is true, Mr Deplus happened to be testing there the day I was there. I got a marvellous oportunity to travel by train back to Paris with him and this was one thing among other important things I learned from him during that afternoon.
So, if you have a Buffet instrument from about that time, place the bell so that the stamp is on top. Mr Deplus has propably chosen that position!
Jarmo Hyvakko, Principal Clarinet, Tampere Philharmonic, Finland
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Author: Pereira3D
Date: 2020-05-28 03:16
I find that there is a sweet spot on both barrels and bells. Even with the ones I manufacture from 3D printing, which are modeled around an axis to print a perfectly round bore, I still find this to be true. Of course, the hand-finishing affects this even further. You can really fine-tune the response by rotating the barrel and bell.
Ryan Pereira
Pereira 3D Clarinet Services
www.Pereira3D.com
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