 The Clarinet BBoard
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Author: CPW
Date: 2003-01-04 23:25
Hiya'll...
This forum indicates that you have to try a lot of instruments when picking out an R13.(kissing a lot of toads while looking for a prince??)
Then you need to have it adjusted by a
technician.
What about LeB. and Selmer (specifically Opus and OpusII and Signature and 10G/S instruments)? Can you expect them to be consistent so that you can order from online stores without having to get 3 of each and then ship back the 2 you dont like? Do they need adjustments after purchase?
What about the Prestige versions of the R13...do they need adjustment, or do they get more scrutiny at the factory?
Thanks muchly
CPW
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Author: Mark Charette
Date: 2003-01-04 23:33
CPW wrote:
>
> Can you expect them to be
> consistent so that you can order from online stores without
> having to get 3 of each and then ship back the 2 you dont like?
Nope. They're all individuals.
> Do they need adjustments after purchase?
Probably - unless you're incredibly lucky and all the springs, pad heights, intonation, etc. work perfectly for you.
> What about the Prestige versions of the R13...do they need
> adjustment, or do they get more scrutiny at the factory?
The wood on the Prestige is (generally) prettier. Other than that they're R13s with some added keywork options.
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Author: Gordon (NZ)
Date: 2003-01-05 02:48
Too true!
And I don't know how you can validly compare them BEFORE the post-purchase technician has worked on them. What a dilemna!
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Author: brenda siewert
Date: 2003-01-05 14:47
I agree with the two who have posted before me. My Prestige required several set-ups before it was playable--and it was hand-selected by my clarinet teacher from the factory in Paris. I play-test R-13s all the time and have found a few that did not require any set-up--these are the exception. My Opus required some adjustments on key height and spring tension. The Signatures I've tried all needed lots of adjustment. All the Leblanc Symphonie VIIs I've tried and the two I've owned had to have extensive time with the tech.
So, bottom line, almost all clarinets regardless of their price require some tinkering to make them really nice to play. Some of the tinkering might not be absolutely necessary--some might just be a matter of taste.
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Author: David Peacham
Date: 2003-01-05 21:45
As I see it, the $64000 question is: is it meaningful to play-test an instrument at all? Are the differences between one new R13 (for example) and the next just things that a repair tech can sort out? Or are some R13s (for example) intrinsically better than others?
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Author: Mark Charette
Date: 2003-01-06 00:09
David Peacham wrote:
>
> Are the differences between one
> new R13 (for example) and the next just things that a repair
> tech can sort out? Or are some R13s (for example) intrinsically
> better than others?
IMNSHO there are some things that just never get worked out; perhaps a Hans Moennig could have fixed them, but the question comes back to "why?"
If the intonation is all over the place (and on some of the major brands it will happen form time to time) the only solution will be to relocate the tone holes - basically starting all over again to manufacture the clarinet. Unless there's some really overwhelming other factor in place, it's best to leave that clarinet alone.
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Author: Clarence
Date: 2003-01-06 03:08
David,
I didn't understand Mark's answer to your question but would like to know the answer too. It may take a tech who works on new R-13s to answer this one.
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Author: Mark Charette
Date: 2003-01-06 03:18
The answer is there are some bad horns that aren't economical to fix. Everything should be in relatively good shape; if not, pass on the clarinet since you probably won't know if it's fixable or not.
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Author: Brenda Siewert
Date: 2003-01-06 15:35
I agree with Mark. There are some clarinets that are not in tune from the beginning and never will be--unless purchased by a tech person with the patience of Job.
That's the most important reason play-testing is important. I always ask my dealer to get several for me to play before I buy one. And, then it needs to be played alongside a tuner up and down the scale.
Believe it or not, there have been times when I've come away without an instrument after playing several.
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