Author: Pereira3D
Date: 2022-06-24 00:29
Thank you for sharing my info as well as the nice words from many of you. I appreciate it as I’ve devoted years to the development of this project (and improving my line of barrels, bells, etc, in general). I’ll try to touch base on all of the questions that were asked.
The material is extruded in-house with a mix of African Blackwood (or Mahogany for my 3D Mahogany material) particles and a plant-based binding agent that keeps said particles together and allows the filament to melt properly through the printer’s extruder. As far as SunnyDaze’s point goes, it’s just as safe to handle as a standard wooden clarinet. Since 3D woods are hybrid materials, this is why they’re not affected by weather/humidity conditions compared to traditionally-used woods.
Between my 3D woods and 3D filaments that do not have wood particles, weather conditions do not seem to affect one over the other from my tests. The sound is certainly influenced by having wood in the mix, though. It took me quite some time to find the right mix of material, settings, and, most importantly, post-processing techniques to have my products produce results in line with traditional aftermarket accessories. Many have used 3D printing for prototyping and have written off the technology for end-use products, but my time working with the materials and my finishing techniques really made all the difference where I feel that 3D printing can rival other methods of manufacturing if you take the time and learn how to work with these materials. During my prototyping process, I’ve tested carbon fiber, nylons, metal-infused material, various different types of polymers, etc. before arriving at the materials I use currently.
The tone holes and undercutting and initially “printed in” and then reamed afterward. Each and every tone hole on the 3D clarinet is faced very carefully to ensure a perfectly smooth surface that will seal properly as if it weren’t 3D printed. This is obviously one aspect of the design where it’s imperative that you don’t leave layer lines exposed at all. I print in quite dense infills for my products, and I try and take potential breaks at the layer lines into account with the design. The prototypes have held up very well to torture tests, but in the event that a break at a tenon, etc. were to happen to a customer, I offer a warranty for replacement.
Regarding the keywork, I’ve had custom sets made in China. I’ve worked back and forth with a fine source to come to a set of keys that keep the clarinet priced where it is, but also will hold up nicely and remain structurally sound over time. I’m pleased with how they turned out, and I do fit each key by hand when I’m assembling each clarinet. Having an extensive repair background is a must for a project such as this.
Finally, the slightly textured surface finish is indeed done by design. Not only having this texture, but the way it’s textured matters quite a bit. Using these 3D materials, too rough or too smooth can both have a negative impact on sound and/or response. Many will notice the instrument or my products in general are notably lighter in weight, which also has great benefits, but the quality of the surface texture allows me to fine-tune the way it responds and feels. I’ve found that there is added “good” working resistance and depth to the sound.
Ryan Pereira
Pereira 3D Clarinet Services
www.Pereira3D.com
Post Edited (2022-06-24 00:32)
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The Clarinet BBoard
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