 The Clarinet BBoard
|
Author: ruben
Date: 2023-02-06 22:42
I've been experimenting with a clarinet made from olive wood for the last few days (olive wood from Argentina used to build a JL clarinet: Absolu model). I'm very enthusiastic about it as it comes very close to boxwood in terms of tone without the drawbacks of boxwood, namely warping. The timbre is very warm and projects well. The down side is that you can't seem to get a real double or triple forte out of it. The dynamic range seems to saturate at a lower level than clarinets built with tropical wood. Has anybody out there tried a clarinet made of olive wood?
rubengreenbergparisfrance@gmail.com
|
|
Reply To Message
|
|
Author: ISM
Date: 2023-02-07 08:43
Sorry, Ruben, that I can’t help with this except to say that I imagine the instrument would be very attractive. Could you line it with a synthetic material to get the acoustic qualities you want?
|
|
Reply To Message
|
|
Author: ruben
Date: 2023-02-08 00:28
Chris, if ever you come to France, you will be welcomed with open arms at JL Clarinettes! M. Joye, the owner and instrument builder, is about to retire, but has quite a few clarinets still in stock and will probably continue making them if there is the occasional order.
rubengreenbergparisfrance@gmail.com
Post Edited (2023-02-08 00:33)
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2023-02-08 11:38
Dear Chris P.
I hope no one minds too much about going off topic here. I have been fascinated by the innovations of the Gerold Klarinetten for years.
So let me list some of the main innovations currently on their website and see if you (Chris) have any experience or comment on these:
o "Free" flat springs (a spacer placed between key and spring to allow spring freedom to move more smoothly)
o Asymmetrical tone holes (aid air flow and performance)
o Tone holes drilled parabolically (same as above....just another approach)
o one sided distance control for rodded keys (easy adjustment....must see images)
o Equal distance between tone holes between Bb and A clarinet (I like this one!)
o "Increased pad places" (raised, flat tone hole toppers for the large pads at the bottom of horn).
I'd really enjoy some input on these from someone who may have worked on/played these horns!!!!
................Paul Aviles
|
|
Reply To Message
|
|
Author: Chris P
Date: 2023-02-08 13:47
Some of the index rolls for setting out the toneholes, inset tonehole recesses, pillar holes and slots for Gerold's original Amadeus model clarinets are still at the Howarth factory as he used to come over back in the '90s and set out the blank joints that were made there for him. He'd bush the inset toneholes, finish the bore and do all the other finer details to end up with fully finished clarinets back in Austria.
Also his keywork castings were prepped and sent off for plating along with oboe keywork so they all got a decent thickness of silver plating (usually minimum of 25 microns for Howarth oboes and clarinets, unless he specified a much thicker layer).
Having that freedom to innovate and take risks is something that's special about independent makers as large volume makers tend to stick to convention as that's easier, plus there's far too may variables that could go wrong - the ill-fated E11F being a prime example of how innovations can go horribly wrong.
As for the free flat springs - if there's sufficient room between the undersides of the flat spring screws when the keys are fitted, small washers/spacers can always be fitted which would effectively give flat springs a bit more length and allow more movement compared to ones that are screwed directly to the flat undersides of the keys where the springs can make contact at other points with the underside of the keys along their length which can make the action feel sluggish or too heavy. A similar thing could be achieved by filing out a recess on the underside of the key a little distance beyond the screw hole on the free side of the spring.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2023-02-08 17:38
Thanks for that information Chris.
Would you know if his proprietary acoustic treatments......work....for lack of a better term?
...............Paul Aviles
|
|
Reply To Message
|
|
Author: kilo
Date: 2023-02-08 22:49
Quote:
Gerold makes clarinets in olivewood, plumbwood, boxwood and also yew.
Chris, have you noticed differences in timbre and response between these species?
|
|
Reply To Message
|
|
Author: Chris P
Date: 2023-02-09 00:45
You'd have to try them out for yourself to discover what properties each species exhibits. The only Gerold clarinets I've seen were a variety of unfinished parts and never completed clarinets as I don't live anywhere near Austria.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2023-02-09 13:17
I just realised I called it plumbwood as in lead, rather than the peach, nectarine, apricot, cherry, greengage, almond, etc. related fruits.
And with it being in that family, I'd suspect almond oil would be ideally suited to it.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: graham
Date: 2023-02-10 17:32
Has anyone tried this maker’s “bell d’amore”? Rather tempting, but is it a crazy idea, and why do they say it works well with multi phonics (does that suggest instability of register)?
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
