 The Clarinet BBoard
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Author: sfalexi
Date: 2002-11-20 03:27
Question below, info as to my current setup here:
I'm currently saving up for a new clarinet. My clarinet's serial # is K25277. There was a long discussion earlier about what the heck type of buffet it is (it says "Evette $ Schaeffer", then "Paris" underneath that, and then "Modele Buffet Crampon" underneath that). Anyways, here's a post to that previous discussion . . .
http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=91104&t=91070
Hopefully that will work. If not, if you're interested in whatever it was do a search on FYI Buffet K*****. That should bring you to that wonderful post where I was so quickly humbled.
At the bottom, it was determined that my clarinet is an E-13.
<b>Question:</b> I was wondering where I would go to step up from here? Is an E-11 better? It certainly seems to be a much more popular choice, but I would have thought through logic that as the number increased, the quality would have. And I haven't heard much at all about the E-12. Also, I am on a budget so I was looking at an Amati 604 or 605. The quality for the money is supposed to be excellent. Would that be better than my current clarinet? Thanks.
As for where I'm getting the money, I'm actually selling one of my two cars. I only need one.
Alexi
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Author: msroboto
Date: 2002-11-20 03:34
In theory the E-13 is a higher model than an E-11. Meaning that is is closer to a professional model than the E-11.
E-11 is typically the next step up from a plastic clarinet but it won't break the bank. I think they go for around $500-$600 new.
Is there something about the E-13 you don't like? Perhaps a trip to the shop is in order to put this into top shape. That might save you quite a few $$$.
It really is whatever plays well for you that matters of course.
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Author: sfalexi
Date: 2002-11-20 04:19
I don't mean to be picky, but the spring tension is too high for me(which could be fixed with a tech), and the throat Bb seems to have WAY too little volume when in comparison to the other ones. Even the throat A seems to be twice as loud. Even with the alternate fingers to give more resonance it still seems so weak. If I were to keep this clarinet, which is a possibility (I'm writing this more to play-test those other ones to SEE if it's such a noticeable difference that it'd be worth it), there'd be a lot of changes needing to be done. I'd need one key extended and a few keys cut off and replaced with a different style that will help my own playing style. But I am definitely gonna minor and perhaps major in clarinet, and want to be a "freelance clarinettist" i think it's called. Just play here and there or fill in here or there if a person gets sick for a performance. And for that I think I'd want to have a "pro" instrument.
Not to mention my clarinet plays flat. Not horrible, but just a tad, not matter how warm it gets. I'm experimenting with mouthpieces to perhaps fix that.
Alexi
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Author: Mark Charette
Date: 2002-11-20 11:54
sfalexi wrote:
> I'd
> need one key extended and a few keys cut off and replaced with
> a different style that will help my own playing style.
That's mighty major clarinet surgery for someone at your age; I see very few pros making such extensive mods on a clarinet. Perhaps you should think about modifying your playing style vs. modifying the clarinet - unless you can afford to have a couple of identically modified clarinets laying around. Murphy's law wins: if you have an important audition coming up and more than one good reed, your clarinet will break down, and if all you can play is your own special "modified" clarinet you're going to be SOL.
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Author: William
Date: 2002-11-20 14:44
Problems such as the ones you are describing--key tension, note uneveness, key configuration, tuning--are concerns that all clarinetists confront, and deal with, in their everyday playing routine. But therein is the key, "deal with." I suspect that you are relying too much on the clarinet to "do the work" rather than your own efforts as a musician. Certainly, we all have our clarinets "tweeked" for optimum performance, but that is long after we have learned to play the instrument--as opposed to letting the instrument "play us." If the keys on the clarinet your are trying need that kind of alteration, then perhaps you were destined to become a great trombonist or pianist, not a clarinetist. Realize, also, that some day--to be a "freelance clarinetist"--you may be required to double on the tiny Eb clarinet as well--how do your fingers match up with its tiny "keyboard??"
Clarinetists are almost "a dime a dozen"--there are already so many really good ones (sax players, also). What the music world really needs are more great "harmony" artists--bass, trombone, horn, etc.
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Author: Vytas
Date: 2002-11-20 15:48
Alexi,
The Evette & Schaeffer was a high-end intermediate model. The recent corresponding Buffet Crampon model is the E13 clarinet. Your clarinet is an excellent instrument, just below Buffet's professional model. I think it needs some attention from your technician.
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Author: Dee
Date: 2002-11-20 16:36
Have you ever worked with a high level clarinet instructor? I suspect that perhaps your hand and finger positions are off if you currently think that your keys need major modifications.
Mid-line Bb is always a compromise. You can design the hole to be a great register key or you can design it for a great Bb. You can't do both. So on all clarinets, that hole is a compromise. Depending on what the particular manufacturer believes his customers want, he will either favor the Bb sound or the register key function. Bb on most clarinets tends to run a little weak and airy. In fast passages, it doesn't matter. In slow ones you can use the appropriate side key. Good breath support and control help.
Some of the things that make a big difference are clean toneholes. This is critical on the Bb. Even a slight build up that you don't see can really degrade the sound. Other notes can also be affected by build up in the tone holes.
Key height adjustment can affect whether the horn is sharp or flat. The angle you hold the horn can affect whether it is sharp or flat. Of course embouchure and breath support are critical. Insufficient breath support will leave you flat. The mouthpiece can also affect it.
All of the things mentioned here apply equally to professional horns as well as intermediate and student grade horns.
Before seeking out a new horn, invest in lessons with a really top notch teacher and get your horn thoroughly checked out.
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Author: GBK
Date: 2002-11-20 16:38
Alexi...The layout and design of the keys on the E-13 and R-13 are virtually identical, so any thought of finding a completely different "feel" by upgrading to an R-13 should be dismissed.
Even from manufacturer to manufacturer, the variation among key designs (length, style, etc...) is not significant enough to be concerned about. Any small difference in feel among the different brands is easily adapted to after a few minutes by your own "muscle memory".
Make a list of the notes and acoustic problems that you perceive your current clarinet has. See a tech, and pay him for his time and expertise to see what is reasonably fixable.
The problems you describe all seem to be solvable...GBK
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Author: sfalexi
Date: 2002-11-20 21:12
Just so everyone knows. The main key change I would do (with the cutting and soldering of other keys) would probably be to put on german style keys on the LH C#/F# and B/E and the RH C/F and D#/G#. I wanted the rollers there cause I tend to always slide my fingers when going from C to Eb in the upper register as well as from B to C# when using the LH. i figured that the rollers would make sure that my unorthodox technique would be sure to hit every time. I slide all the time right now with little problems, but always worry about the time I don't quite make it. Does that sound like a very strange modification?
Alexi
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Author: Henry
Date: 2002-11-20 21:47
Yes, I always wonder myself why manufacturers of Boehm clarinets do not put on these rollers for extra convenience in sliding. But to rebuild an existing Boehm horn that way seems extreme to me. Alexi, why don't you just buy a good Albert clarinet?
Just a thought. Henry.
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Author: Mark Pinner
Date: 2002-11-21 08:50
Just buy an Oehler. They have the rollers you are after and more sophisticated accoustic improvements than a Boehm. Try a Yamaha 457 German or 458 Austrian or an Uebel 621/ 631 or an Oskar Adler. Boehm is not the be all and end all of clarinets and it is not the "modern" system as is often mentioned. Oehler system clarinets can do whatever Boehm system do and it would be cheaper to buy one than to start re-configuring a Boehm.
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Author: William
Date: 2002-11-21 15:41
Larry Combs said that during a Chicago Symphony Orchestra trip to Europe, they (the CSO clarinet section) were guests of the Oehler factory and that they all selected sets of Oehler instruments for use in playing the "German repretoir" which calls for that particular sound. He said that the fingering differences in the Oehler clarinets from the Boehms were not that hard to learn, but that he would "never use them in really technically challenging works." If it's the rollers that you need to "slip-slide away" with your pinkie, then GO FOR IT with Oehlers. Me, I have no problem with my old Boehmers.
(perhaps Larry Combs (himself) could plug in here and offer some more relevant perspective--could someone please "rattle his chain??") :>}
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