 The Clarinet BBoard
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Author: billryan
Date: 2004-03-02 18:21
Hey, Who do you folks consider the best in the repair field? I'm looking for someone with a great track record and years in the biz. Help!
Bill
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Author: John J. Moses
Date: 2004-03-02 18:47
IMHO:
NYC may not be the center of the World, but we have some superb repair people. Try any of these:
Jimmy Yan - JY Woodwinds
250 W 54th St. (between Broadway and 8th Ave.)
Room 801
New York, NY
212-581-9765
Ritter Woodwind Repair
853 7th Ave (but really on 55th around the corner from 7th, you'll see the sign)
New York, NY
212-956-6174
Wojiech Komsta at Roberto's on 46th.Street
Roberto's Woodwind Repair Shop (between 6th and 7th Aves.)
New York, NY
146 West 46th St.
New York, NY
212-391-1315
Tomoji Hirakata (soon to be with Yamaha on 5th Ave.)
150 West 28th St. (between 6th and 7th Aves.)
Suite 800
New York, NY
212-675-4126
JJM
Légère Artist
Clark W. Fobes Artist
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Author: donald
Date: 2004-03-02 18:50
you will get many recomendations- Brannens, Tim Clark etc one name that came to me (via a very reputable source who plays to an international standard) was a guy called Mark Jacobi. Although addmitedly i didn't try very hard, i found it quite difficult to contact him- i'm sure that someone on this board will know how to do this, but they will also have other suggestions.
one bit of advice- there are many people who will do a good job, for some of these your own input (playing, testing etc) will make the difference between a "good" job and an "amazing" job. One of the best set up clarinets i have ever played was worked on by a a relatively unknown craftsman who worked closely with the player to get the optimum result.
donald
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Author: larryb
Date: 2004-03-02 18:57
John Moses:
one slight correction to your listing of repairmen: NYC is the center of the world.
plus: I would add Guy Chadash - expensive but good - he's on West 41st Street
Post Edited (2004-03-02 18:59)
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Author: sfalexi
Date: 2004-03-02 19:02
JJM and other NY locals,
Would Guy Chadash be considered a "repairman"? I know he offers many products of his own, but he does offer a lifetime service guarentee with his Chadash clarinets, and so I was under the conclusion that he might do overhauls or repairwork.
Alexi
US Army Japan Band
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Author: larryb
Date: 2004-03-02 19:10
Guy Chadash "repaired" my Selmer Recital. I actually made an appointment for a simple cork replacement (my usual repairman was sick at the time), and ended up spending several hours listening to rare Marcellus recordings; talking about the relative merits of different makes of clarinet and his process and philosophy of clarinet manufacture; having several pads replaced with cork; adjusting for perfect seal; and, oh yes, having that cork that needed replacing replaced with a teflon screw that he drilled into the key mechanism.
Best to call for an appointment.
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Author: Anders
Date: 2004-03-02 19:31
In the Philadelphia area...
Beverly Hawkins of Windworks Studio (with Lindsey Sherwood on flutes).
244 S. 22nd St., Phila., PA 19103 215-790-9815
windworksstudio@yahoo.com
Beverly is a fine player and a meticulous technician, and their shop is a very friendly place to hang out and chat and meet other musicians -- when in Philly, don't miss the opportunity.
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Author: fredackerman
Date: 2004-03-02 23:32
Bill, I have two professional clarinets in John Butlers shop in Sugar Land Texas. He is going to do a complete restoration on both. I never met the man, just e-mail [so far] and I trust him immensely. Now why would I do that? I believe in research, I check out everything carefully, I read almost every old post on this forum + have had many e-mail messages from "extremely happy", customers of Mr. Butler [when I asked the same question you just did]! Since I love Clarinets, I plan to buy more over the next few years and I feel I can do it with less trepidation knowing that John Butler will make the old horn...right. I like to get it right, the first time.
Fred
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Author: kurtmagnuson
Date: 2004-03-03 02:18
I can only say that having had my leblanc symphonie set-up and repaired by John Butler it played so well I immediately arranged to have my selmer clarinet sent to him also.
To say I am impressed with his work would be an understatement. I found him to be meticulous and very easy to communicate with.
Thanks John.
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Author: ned
Date: 2004-03-03 05:36
I know a good bloke in Melbourne Oz, but I presume u mean USA.
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Author: William
Date: 2004-03-03 14:31
And if your in Madison, WI (USA), visit the Ward Brodt Music Mall and ask for Mary Jones in the Wind Repair Dept. She is a trained repair technician specializing in woodwinds and does the general maintaince on all of my clarinets.
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Author: Synonymous Botch
Date: 2004-03-03 17:37
I do most of my own clarinet repairs and adjustments.
This makes me appreciate the delicacy of qualified people.
Guy Chadash made (and maintains) the clarinets of my instructor.
Amazing really, how different an instrument set up by a professional, feels.
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Author: billryan
Date: 2004-03-05 18:15
Boy is this forum amazing! Thank you all for the education. Mr. Ackerman has a point about doing research on this board and that's what I'm doing. John Butler is considered by a vast number to be a excellent repairman and I see that he also plays, which is a plus for me. Like Mr. Ackerman, I too have received five e-mails from people on this board who "love" the work that Mr. Butler does. My father (who pays for everything)! also agrees with this line of thinking, do your homework. I also did some checking among the Professors and Mr. Butler comes out a winner. I now know that some of those funny user names on this forum belong to music world bigshots! Now I have to (must) practice.
Bill
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Author: ron b
Date: 2004-03-05 19:58
Well, if you really want the really real lowdown, Bill... I'm second best west of the Mississippi River. The fella who taught me is a little better but I'm gaining on 'im 
- ron b -
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Author: Ralph G
Date: 2004-03-05 20:08
Speaking of repairpeople, what about Alvin Swiney? He was an apprentice of Hans Moennig, and I see his name all over the archives as an active poster. But his Web site looks pretty sparse and apparently hasn't been updated since 2001. I emailed him earlier this week and haven't heard back yet. Is he still around?
________________
Artistic talent is a gift from God and whoever discovers it in himself has a certain obligation: to know that he cannot waste this talent, but must develop it.
- Pope John Paul II
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Author: Tara
Date: 2004-03-05 23:18
I recently had both of my clarinets overhauled by the Brannens in Evanston, IL. I think they have a website with their contact information. Search under Brannen Woodwinds. They're the best... came highly recommended and gave me a terrific result. Better save your pennies, though- each one cost me $500. Good luck.
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Author: ohsuzan
Date: 2004-03-06 14:55
How about Carl Marks in Hermitage, PA? (Look on the Web for Marks Music, or just type in Carl Marks).
Susan
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Author: jmsa
Date: 2004-03-18 17:43
Mr Mark Jacobi is indeed one clarinet repair genius and can be contacted at the following telephone number 215-334-2545.
jmsa
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Author: BSL
Date: 2004-03-18 23:55
Steve Harris in Westminster, CO(Denver area) hands down, bar-none.
He also studied with Moening.
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Author: cowboyjonus
Date: 2004-03-19 00:14
in the dallas area andy crisianti is proabaly the best. he does very fine work and he is a very nice man.
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Author: lyn
Date: 2004-03-19 02:57
Mark Jacobi has worked on our horns before. He is very much in demand, and very backlogged.
Vince Marinelli (who worked with Jacobi for a while), in Wilmington DE, works on our clarinets now, he is excellent.
I also recommend Mike Hammer, he worked on my horn when I lived in Philly, and I still take my flute to him.
Lynn
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Author: Taxijazz
Date: 2004-03-19 11:33
Clark Fobes, but he's retired.
Or were you looking for Best Instrument Repair in downtown Oakland?
With not one repair person, but a staff of perhaps a dozen master technicians--Hard to beat.
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Author: terry
Date: 2004-03-20 08:34
I have been very happy with Larry Naylor (of Naylor's Oil fame) with his immersion treatment and recondition that revived my vintage full boehm Buffett. Likewise Guy Chadash is a master on the repair and especially trouble shooting tone and intonation issues. go to my webpage for more on each.
1929 matched A and Bb Herman Todt Clarinets, Chadash Mouthpiece, Fogietta reeds, http://sterkel.org/clarinet
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Author: mw
Date: 2004-03-20 14:47
Rather than name "names", I will state that we are BLESSED to have so many fine high quality technicians available to us. That said, what really counts is how they perform for YOU. How they follow through on everything that needs done (& that YOU want done).
Don't let out of town or long distance frighten you. The ingredient that is needed is a clarinet player on the OTHER end (of the phone) who can (& is willing to) communicate with the customer. SANS EGO .
That said, the only relevant issue is COST (given, we are past the assumption using finest materials & exercising finest skills in performance of the repair & maintenace work).
COST, imo, has gotten a little bit out of hand with some of the service folks.
When an overhaul costs $800-900 - well, it's gotten out of hand - again, in my opinion. I am being nice. AND, for that $800-900 - the work should be more of a restoration than an overhaul.
Many times the names are drawing on their excellent work performed for fine artists & may not perform at optimum levels for the average customer. Other times, some of the names (& no-names) consistently perform at very high levels.
.... oh, you want it when ?
best,
mw
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Author: GBK
Date: 2004-03-20 14:55
mw raises an important concern.
One would certainly hope that the bigger names in the repair game would service a clarinet brought in by Joe Bagodonuts with the same skill, care and concern as one which was brought in by S. Drucker...GBK
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Author: ron b
Date: 2004-03-20 18:15
Each and EVERY clarinet, in my estimation, should get from a competent tech the attention they deserve. Little Suzie's Bundy Beater requires the same scrutiny, care and concern as Mr. Big's Golden Glory. Skilled techs know by experience that you must give it your best shot, every time.
- ron b -
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Author: David Spiegelthal ★2017
Date: 2004-03-22 18:07
If anything, the LSBB (Little Suzie's Bundy Beater) requires MORE attention than the professional's clarinet, because (a) it's probably in worse shape to begin with, and (b) the repairs have to be made as rugged and 'childproof' as the instrument itself. So, it should actually cost MORE to repair the LSBB --- but what parent would be willing or able to pay that much?
See the quandary? This is why many techs (and I include myself among them) do not want to work on LSBBs.
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Author: larryb
Date: 2004-03-22 18:32
GBK -
you're right. It's funny that I read your post after picking up my clarinet from Stanley Drucker's repariman, who replaced a shorn tenon cork. He did a great job for me as always.
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Author: ron b
Date: 2004-03-22 19:37
All techs have individual appetites and approaches of course and the course of my business has taken me to servicing mostly LSBBs; lots of Bundys, many Artleys, a few Vitos and ocassionally those "others" that I Try to accomodate but often [sadly] have to turn down. I'm set up to do 'emergencies' quickly and reasonably and once in a while I'll do one as a "training exercise".
I'm constantly upgrading my skills so, for all I know, as I improve my course may change. Last week when I spoke with the music teacher at the school I do the most repairs for... everything was fine. All their horns were in good shape. Maybe I'm doing TOO GOOD a job -- hahahahaha
Right now there's a special place in my heart to keep Suzie Soothingtone and Staccatto Stan makin' music as long as they're willing and interested. I'm not getting rich but that's what I do.
And, I have no quandry over it.
rb
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Author: David Spiegelthal ★2017
Date: 2004-03-23 15:20
ron,
All I can say is, you're a better man than I --- it's a good thing there are people like you who are willing to work on the Bundys of the world and do a top-notch job with them. I wish I had the time, patience, and self-discipline to do those things, but frankly I'm just not up to it.
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Author: ron b
Date: 2004-03-23 17:32
The last thing in the world I wish to be is, "better than... anyone or anything :| ". I'm not talking about self-improvment; I can always do "better" in that respect. I'm happy being 'people like me' but, please, that's not worthy of any commendation - for anything. I work on Bundys, etc., because those are popular student horns, around here anyway. Circumstances afford me the time. I am by nature patient, self-discipline is border line but I'm determined to do a good job. I really and truly do enjoy keeping the kids' instruments in playing condition so they can experience the joys of making music and all the additional benfits that go with it. What I do is not appealing to everyone and I don't expect that it should be. Some techs around here gripe and complain about these "pieces o' junk". Well, we all have our places in the grand scheme of things... and fixing student instruments is my place for now.
Maybe I'm a little like that fellow who hits himself in the head with a hammer; because it feels so good when he stops.... When I get a pro instrument to work on ocassionally... now, that's how I imagine being next to heaven might be. They're sooooo delicious!!! It takes a long time to build up a reputation though (and get all the 'nice jobs'?) and I may be too far up in years to establish one, I don't know. I do know that fixing student instruments is great training ground for anyone. If you can do those, you can do 'most anything.
When a kid picks up the instrument from me and it "Plays! " ...that grin is all I need, and more than I ever expect. Practicality, however, demands that I charge something (most of the time) for the service. The personal satisfaction goes far beyond that and that in itself is far better than I deserve....
-r-
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Author: Henry
Date: 2004-03-23 17:49
Good for you, ron b! Kids need people like you. Keep at it!
Henry
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Author: jbutler ★2017
Date: 2004-04-02 23:46
I repair all kinds, and most all brands. The only repair I've turned away this year was a First Act flute that had the head joint receiver come unsoldered. I told the parent to return it to Wal-Mart for a refund.
jbutler
Post Edited (2004-04-03 01:06)
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Author: Pete
Date: 2004-04-03 16:03
As much as I would like to work on nothing but pro line instruments, there are some realities that I look at not as problems, but rather as opportunities.
For starters, doing a great job on little Suzzies Bundy may give her the opportunity and exuberance she needs to become tomorrows pro player or teacher rather than another career choice. Personally, I am just as satisfied (perhaps even more so) to hear a students compliment that my work allowed them to get a good rating at the local music festival,as I am to hear a pro say thanks for squeezing in their emergency before a concert.
In addition, doing student work allows me to test my skills in other matters. How well are the pads and materials I am using really holding up? How do my techniques and theories produce tangible results?
It is true, little Suzzies instrument has to hold up even better than the pro's. The seasoned player can play through a lot of problems that will destroy a students performance. I am amazed at how often great players bring in instruments that are in horrible condition.
Yes, it does take discipline to put the same care and materials into a student instrument, but for the long term benefits of the craft and industry, it is well worth it.
Emerson Musical Instrument Repair
North East Wisconsin Band Instrument Co.
ToneLure Tone Enhancement
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Author: DavidBlumberg
Date: 2005-02-28 21:25
Little Suzie's Bundy Beater shouldn't be taking up the time of a great technician when a lesser one could do a comparable job.
Of course a bad repair is a bad repair job, but you shouldn't take something like that to a Jacobi, etc. - many wouldn't even accept the job!
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Author: DavidBlumberg
Date: 2005-02-28 21:27
My vote is Morrie Backun as the best of the best. I doubt that anyone else in the field has the equipment that he has either.
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Author: sonatina1234
Date: 2005-02-28 23:56
For anyone in the upstate NY area (or anyone with an interest in horse racing), Bill Cole in Saratoga Springs is the man to go to. He's the only person I trust my clarinet with, and he's got a pretty good track record. Some of his previous customers include one of the clarinet players with the Metropolitan Opera (who I missed by half an hour when picking up my clarinet one time!!!!), Ian Anderson (from Jethro Tull), and a bunch of others I'm blanking out on now... he's got autographed pictures that line the walls of his shop. He's awesome, I would recommend him to anyone :-)
-------------------------------------------------
Det. Lennie Briscoe: Maybe he's got some other life-long pursuits.
Lt. Anita Van Buren: Like what? You think he plays the clarinet?
Det. Lennie Briscoe: I *hope* he plays the clarinet.
~Law & Order
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Author: Bill
Date: 2005-03-01 00:22
Vytas Krass is excellent! An artist!
VKolympus@aol.com
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Author: John J. Moses
Date: 2005-03-01 00:24
DavidBlumberg posts:
"My vote is Morrie Backun as the best of the best."
David and all:
Are any of you aware of the 3% exchange rate charged by at least 2 of the major credit card companies for doing business with Canadian dealers?
Morrie is sending me a large shipment of his custom bells & barrels, and I've just been informed by my credit card provider, that they are adding the additional fee for the money conversion!
Not having dealt with Morrie before, I'm a bit surprised by this large added expense. Have any of you also experienced this 3% rip-off, or know anything about it? Seems a bit strange, since Morrie also accepts personal checks...my goof, I guess!
JJM
Légère Artist
Clark W. Fobes Artist
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Author: Gordon (NZ)
Date: 2005-03-01 00:33
There are excellent repair guys, who get an instrument fully functional and with a high degree of reliability. To do this economically for student instruments is far more challenging in skills, efficiency, equipment and resourcefulness than doing the same for a pro instrument. This is because on a student instrument it often requires upgrading aspects of substandard manufacture - work that is not normally needed so much on pro instruments, and all for a smaller expected charge.
A repairer who turns down this sort of work on student instruments may well not have what it takes to do this very challenging work.
On the other hand, there are a few guys who we could call acoustic modifiers rather than repairers. This is a very specialised field, and has not much to do with typical servicing work. They typically work on professional instruments, perfecting the acoustic aspects of manufacture that the manufacturer skimped on. These are a rare breed, and are justified in charging accordingly.
However Brannen-type charges for work that does not involve this acoustic work, to me, seems unjustified. Professional instruments are very easy to work on for a typical overhaul that does not involve acoustic modification.... usually easier than a student instrument.
IMHO.
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Author: Mark Charette
Date: 2005-03-01 00:34
John J. Moses wrote:
> Are any of you aware of the 3% exchange rate charged by at
> least 2 of the major credit card companies for doing business
> with Canadian dealers?
It's an good rate exchange compared to what you get at currency exchange kiosks around the world. 3%-5% is the norm for currency exchange. The current spread for large excanges between Canadian/US currency, bank to bank, for cash is 1.5%, wires, credit cards, checks, and traveller's cheques is 2%. Only banks get that rate. The credit card company tacks another 1% on top for the service of getting your funds to the bank.
Checks made out in USD from a Canadian bank incurs a $7.00 processing fee!
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Author: John J. Moses
Date: 2005-03-01 01:32
Nice to know, Mark! So doing business with those great Canadians will cost us an extra 3%, at least. It's worth considering, if you're spending big bucks $$$.
Thanks,
JJM
Légère Artist
Clark W. Fobes Artist
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Author: Robert Moody
Date: 2005-03-01 01:44
BAH! ![[mad]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie9.gif) I used to teach public school band...duct tape. Fixes everything.
Slap some duct tape on it and get back to playin'!
![[cool]](http://test.woodwind.org/clarinet/BBoard/smileys/cool.gif)
Robert Moody
http://www.musix4me.com
Free Clarinet Lessons and Digital Library!
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Author: Steve Epstein
Date: 2005-03-01 01:54
Steve Malarskey, of Malarskey Woodwinds, in Pipersville, Bucks County, Pennsylvania.
Takes care of my Patricola C (and all my other horns). Turned my Conn C-melody sax back into a professional instrument.
He was an oboe player, if not being a clarinet player bothers people. (He does worry a lot about your horn cracking and likes bore oil)
Steve Epstein
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Author: avincel
Date: 2005-03-01 01:58
I second the endorsement of Vytas Krass. I bought a LeBlanc overhauled by him and could not be more pleased. I believe he is in New Jersey.
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Author: Steve Epstein
Date: 2005-03-01 02:03
DavidBlumberg wrote:
> I used to have a student from Pipersville - always wondered
> where the heck it was!
About 20 minutes north of New Hope, or 10 minutes north of Stockton, NJ.
Steve Epstein
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Author: hornfixer.geo
Date: 2005-03-01 03:34
I agree with Gordon; (Professional instruments are very easy to work on for a typical overhaul that does not involve acoustic modification.... usually easier than a student instrument.)
Newer profesional models are built tight and need very little swedging and tighting of the keys, but I find that I am mostly rebuilding vintage pro horns. These old horns need a lot more work than current student model. Most of the students where I live have newer models.
1973 Allied Graduate
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Author: clarnibass
Date: 2005-03-01 06:47
The best imho is someone I don't remeber his name, but he is the head repairman in the Buffet factory. Since I don't want to pay $400 for a plane ticket just to replace some cork, I settle for Shai Brenner, who studied with the Buffet head repairman for 6 months, more than 6-7 hours EVERY day if I'm not mistaken. Then he leanred at the Selmer factory about 2 months too. He is an authorized Buffet repairman.
If you are in the USA, it will cost you only arond $1,000 to fly here! Definitely worth it....
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Author: fredackerman
Date: 2005-03-02 04:44
This post is back? Now I can say that John Butler has overhauled my third horn a Selmer BT that I consider my favorite. He did the same magnificent work that he performed on my Selmer N series and LeBlanc 200, this guy is terrific! I'm a professional photographer and I appreciate someone who knows that small details are important. I plan to buy another Clarinet this year and I know that Mr. Butler will make it "right"..
Fred
Post Edited (2005-03-02 22:28)
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Author: hmph
Date: 2005-03-15 21:11
I highly suggest Tom Ridenour, I don't remember seeing anyone else mentioning him. He has overhauled AND maintained (for free) all of me and my father's clarinets.
He has a website : www.ridenourclarinetproducts.com
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Author: hornfixer.geo
Date: 2005-03-15 21:57
I have been repairing clarinets for over 37 years. There was a time when I got so good at them I wasn't making any money.
1973 Allied Graduate
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Author: hartt
Date: 2005-03-15 22:16
For years, I've used John Butler, a nationally known BB sponsor.
Over the yrs, he's done oh, maybe a dozen of my clarinets (R13's; Bb, A, Eb and when the need arises for any of my other clarinets or half doz saxes or a flute, he'll get the nod.
John's workmanship is impeccable & consistent. Others , including local sym players, have admired my horns, sent theirs and they, too, have been extremely satisfied.
John's pricing structure is very reasonable, especially considering all that he does in an overhaul.
I just got back another R13 that is a fantastic Bb and am awaiting another any day. As mentioned, consistency and first class workmanship.
He has a wonderful personality and is a teriffic person.
Without mentioning names, prior to John, I was disappointed in higher priced nationally known techs.
regards
dennis
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