 The Clarinet BBoard
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Author: George K
Date: 2002-04-29 22:21
I understand that the 9 and 9* were very different horns. Were they in production at the same time? If so, might anyone know the serial numbers at the time of the change?
I'm looking for a Series 9 for a jazz double and appreciate whatever help you may share.
Thanks.
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Author: diz
Date: 2002-04-29 22:42
It is my understanding (I owned a series 9*) that "improvements" were made to the generic model (series 9). This clarinet was "wide bored" and, hence, deemed highly suited to jazz. I loved my Series 9* and regret the day I had it adopted out.
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Author: Jack Kissinger
Date: 2002-04-30 02:35
What I've picked up from reading others' posts is that the Series 9 is a large bore instrument , the successor to the Centered Tone, and the 9* is a smaller bore instrument designed perhaps to compete with the R13 and the forerunner to the Series 10. From what I've read, the 9* was introduced toward the end of the Series 9 run and both were made concurrently. This is all secondhand, however, and perhaps someone who knows more can give a definitive answer. The only thing I can confirm firsthand is that the Series 9 is a large bore instrument -- I have one. I don't know the serial numbers for these models but the Series 9, in general dates from the 60's through perhaps 1972 (possibly not this late but I'm fairly sure not much later). You don't need to know serial numbers to distinguish the two models, however, even if it is possible. The two models are distinctly marked. Hope this is helpful.
Best regards,
jnk
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Author: Ken Shaw
Date: 2002-04-30 13:04
The Selmer Series 9 and Series 9* were introduced together around 1960, replacing the Centered Tone model.
The Series 9 had the same rather large bore as the Centered Tone and was intended to be its direct successor. I remember it as playing very much like the Centered Tone.
The Series 9* had a smaller bore and, I think, undercut toneholes and was intended to compete with the Buffet R-13. I remember it as playing somewhat like the R-13, but with a tone closer to the Selmer "house sound" than the Buffet -- that is, brighter and more homogeneous, but less centered and colorful.
Best regards.
Ken Shaw
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Author: William
Date: 2002-04-30 14:47
In 1962, my parents and I made a trip to Elkhart, Ind. to visit the Selmer factory where I picked out a series 9* with the help of Joe Artley (Benny Goodman had visited just a day earlier). Just yesterday, out of curiosity, I pulled that clarinet out of storage and played it beside my LeBlanc Concerto and was amazed at the similarity of "feel" and sound between the two instruments. The 9* is slightly "brighter" tonal presence than my LeBlanc, but not quite so much as my R-13s. Makes me wonder if Tom Ridenour had the Selmer clarinet "in mind" when he designed the Concerto/Opus line of instruments for LeBlanc (???). As stated by others, I remember that the series 9 & 9* were marketed concurrently and that the 9* was meant to compete with the Buffet R-13. Eventually, most of us 1960's college clarinetists who owned Selmers and LeBlancs, switched to R-13s, but I'm glad I didn't trade in my old 9*--it's still a great clarinet!! Hope this info helps a bit. Good Clarineting!!!
BTW--Henry Cuesta (Lawrence Welk jazz clarinetist from Toronto) asked me to help him find an old Selmer BT, which he prefers over all the "modern" instruments. They may have been the inspiration for the design of the series 9. They (old BT's) were, and remain, great jazz clarinets--if you can find one!!
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Author: Ralph
Date: 2002-05-01 02:12
The nominal bore dimensions of the two instruments were 0.577 " for the Series 9* and 0.585 " for the Series 9. Both models were available in the key of A. The tone holes in the throat are were undercut; the Series 9 had no undercut tone holes.
Ralph
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Author: L Skopitz
Date: 2002-05-02 06:28
Hi- I recently purchased a series 9 as a backup for my r-13. according to one list of serial numbers it was manufactured in 1974, which sounds a little late to me. My particular horn has some auxillary keys which, at this point, get in the way as I am not used to them. Also, I find my right hand is a little cramped. To my unrefined ear, the sound is a little fuller than my r-13, but not so much that it makes an appreciable difference. Perhaps I will notice a greater distinction as I get used to the instrument. The selmer feels physically more substantial than the buffet, and I don't think it's just because of the presence of the auxillary keys.
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Author: alph
Date: 2015-02-26 00:07
As a Selmer 9 "addict" I have some questions, perhaps some of you fellow clarinettists can help!
I recently bought a pair of Selmer 9* clarinets. Very good tone and tuning, series V. At nearer sight they both had smaller bore barrels as I noticed allready at the sellers place, but the bflat's bore was the same as my very good 9, series U. The A is a bit smaller bored, as are all 9 A's. There is also no undercutting...
So, I am thinking Selmer put a star on the pair, barrels and upper joint, allthough they have, apart from the barrels, all the dimensions of series 9!!
Has anyone noticed such a thing also on his clarinets?
All information welcome!!
Thanks in advance, Alph
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Author: Chris P
Date: 2015-02-26 02:38
I have a matching set of Series 9* clarinets once owned by Gino Cioffi - both instruments are consecutively numbered on all sections (barrels and bells included) and the barrels, top joints and bells are marked A and Bb on each instrument.
They're V series made in 1967 (I assume they were made specially for him), but not marked as being Series 9*s. Both are beautiful instruments with silver plated keywork and both are 19 key 7 rings (not full Boehms as they don't descend to low Eb). For some reason the A has an extra bell without the export info on it - the last owner sent it to me not long after I had bought the set from him off eBay for the exceptional price of $2500 (which was £1500 at the time).
Some regular Series 9s were never marked as such on the top joint - only carrying the Selmer logo and nothing else. I've seen several of these and they can be identified as they don't have undercut toneholes unlike the 9*s.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Jeroen
Date: 2015-02-26 13:46
Chris P wrote:
> Some regular Series 9s were never marked as such on the top
> joint - only carrying the Selmer logo and nothing else. I've
> seen several of these and they can be identified as they don't
> have undercut toneholes unlike the 9*s.
I also bought a beautiful pair recently. The A (full boehm without low Eb) has the 9* mark, the Bb (full boehm) has no mark on the upper joint. But all barrels are marked with a star * so I assume the Bb is also a 9*... it plays also more like a small bore clarinet.
Afaik, in contrary to the Bb clarinets, there are no differences between the 9 or 9* A clarinets. Both have the same 'smaller' bore. Makes sense as the A clarinet was only marketed for 'classical' music.
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Author: alph
Date: 2015-02-28 11:01
Hi Chris, then we both have a matching pair from the same year, 1967!
I imagine Selmer put the star on my clarinets by mistake, for they have no undercutting at all and all other dimensions are tbe same as my regular series 9. Apart from the barrels, which have also a reverse cone but in total a bit smaller. And that is a bit weard , because normally a 9 has some tuning issues like small 12ths that become increasingly bad with a smaller bored barrel. But not on these clarinets....!
So, I do not understand but I just enjoy them!!
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Author: Urlaub
Date: 2018-09-28 11:06
Hi Chris!
I'm from Hungary can not good englisch.
I have Selmer clarinet full bohem without low E# , but no marked on to top joint only the Selmer logo and depose.Serial number V9726. On the Barell have a 9 number.
My question: is it a Selmer 9 modell?
Thank your Help!
János
I'm from Hungary can not good english:)
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