 The Clarinet BBoard
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Author: wjk
Date: 2003-01-01 17:25
The left hand C key on one of my clarinets has some "play"; it needs to be partially depressed before it will cause the pad to close. Is this a problem, and how can it be remedied?
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Author: GBK
Date: 2003-01-01 18:12
Most likely, either the "foot" under the LH C key, or the fulcrum linkage between the LH C key needs to be recorked.
Not a difficult procedure, but a few keys must be removed to access these areas.
<b>ANY</b> sloppyness, and excess play in keywork just drives me crazy, and I repair the problem (or have it repaired) immediately.
Corks periodically need to be replaced. It sounds like it might be time...GBK
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Author: Don Berger
Date: 2003-01-01 21:40
I go with GBK's analysis. On the lower end of that long {alt.F/C] rod there are [usually] two [play-adjustment {slop-takeup}] corks which may need tech-type renewal for not-too-tight set-up for the player's desire and technique. For me, a slight "slop" is desireable.
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Author: Mark Pinner
Date: 2003-01-01 21:54
Play in the right hand C is more serious and can lead to poor pad seating. Play in the left hand is more an annoyance than anything. It probably just needs re-corking to stop any delay. Vertical play is a little harder to remove as there is generally not enough rod for swedging.
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Author: Wes
Date: 2003-01-02 16:34
The left hand C key is generally not made long enough to make swedging it easy as on most other keys. The manufacturer, including Buffet, could consider making the tube longer and moving the post a little farther down the instrument.
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Author: Gordon (NZ)
Date: 2003-01-05 04:37
Sometimes the play in the link between the "lever" (left hand C) and "key" (right hand key) can be adjusted away with cork or other, better silencing materials.
However sometimes, because of poor design this would mean having a rather thick 'cork' in the linkage, say 0.8 mm. If this is the case, especially in conjunction with a rather sharp operating edge on the lever, then the thick cork is quickly cut or chewed by the lever when it is operated.
This is the only significant design fault I am aware of in the student Yamahas. To solve this I solder (using low-tarnish solder) a 0.4 mm thick layer of sterling silver to the face of the operated surface of the key, and then 'cork' it with the exceedingly tough, 'microfibre', synthetic leather substitute, which is 0.4 mm thick. I also often round off the operating edge of the lever.
This is a poorly designed area of most clarinets. To bring friction to a minimum, the operating surfaces should be shaped according to the exact dimensions of the teeth of meshing gear cogs. After all, this linkage is effectively between two teeth of a gear linkage, where all the other teeth of the cogs are non-existent. Good gear design has long been well established in mechanical engineering but instrument manufacturers seem not to have bothered to use this knowledge.
The mechanism of instruments is very much a product of mechanical design engineering, yet at times I wonder if a mechanical engineer has ever been involved.
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