 The Clarinet BBoard
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Author: kthln.hnsn
Date: 2014-02-13 04:39
I repadded one of my student's clarinet a few weeks back. And since I don't see her every week, she just informed me today when I saw her that her clarinet wasn't playing 3rd line B up through 5th line F#. I tried adjusting the pads to see if any of them just didn't set right, which helped a little where if I started on a lower note such as 2nd space A and played up the scale or vice versa (started on a higher note and the went down the scale) then it would play those problem notes just fine. But if I just start on one of those notes, such as the B, it only comes out as a squeak or dead air. I am not a clarinet technician, however in my experience I've never had this issue before. I was just wondering if any of you technicians have any suggestions for me to try. Also let me know if you need me to clarify anything.
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Author: BartHx
Date: 2014-02-13 00:23
If a leak test on the lower joint doesn't show anything, there is most likely a problem with the timing. Since the problem persists up to F#, I would start by checking the bridge key. With the bridge key lined up exactly, check to be sure that the associated pads on each joint are closing at exactly the same time. If the pad on the lower joint is being prevented from closing COMPLETELY by a mis-adjusted bridge key it could, possibly, cause the conditions you describe. Once I eliminate all leaks in both joints, I use a triangular piece of cigarette paper in a locking hemostat as a feeler gauge to be sure that both pads close at exactly the same time. The bridge key can be adjusted by VERY GENTLY bending the extension on the upper joint with SMOOTH JAW (padded if possible) pliers. If you don't already have a duck bill smooth jaw plier, it is a very worthwhile investment.
It is very possible that, starting above or below the tone range, you are expecting to run into trouble and are applying enough extra pressure on the keys to close an otherwise slightly out of adjustment pad.
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Author: kdk ★2017
Date: 2014-02-13 00:36
Not a technician, either, but...
How easily does top-line F5 (natural) speak when you go from G5 to F5. If it takes more than minimal pressure on the RH 1st finger ring to make the F speak, the pad in the first cup on the bottom section (the one that closes when you play F) is possibly the wrong thickness. It may be too thick and closes (or the back edge closes) before the index finger is fully covering its hole. Extra pressure will press the pad farther into the hole and allow the finger to seat. Likewise, when you go up over the break from A to B, you may naturally be applying more finger pressure as all of your fingers go down at once.
Conversely, if the pad is too thin it may not fully close when the index finger has completely seated on its hole. It seems to me less likely this would be the case because even with extra pressure it would be hard ever to close a too thin pad - the rings will only go so far down. When the fingers hit the key chimneys, that's as far as they'll go.
F-sharp feels better than F-natural because any leakage under the 2nd finger is less significant in comparison to the air escaping through the open hold above it. But I wonder, if you try going from G to F#, you find it needs more pressure than it should.
Other ideas will be offered. This one is easy to check.
Karl
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Author: BartHx
Date: 2014-02-13 05:56
Again, cigarette paper feeler gauges work well to check the seating of any of the clarinet pads. Check the contact at several points around the edge of the pad. The amount of drag should be the same at all points. The amount of adhesive you put behind a pad will also effect how high it sits. Using too much can cause a mess and make the pad sit too high. Too little can cause an early failure of the bond. The best long term solution is practice. It's not difficult, but you need to develop consistency.
Post Edited (2014-02-13 05:57)
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Author: donald
Date: 2014-02-13 09:30
If it's only those notes that don't work well, then it's either the top-most pad on the lower joint (ie the one by the tenon) or the bridge key.
As mentioned above, the pads attached to the rings/bridge key assembly MUST close together. If the pad on the top joint closes first, even by a tiny amount, it will stop the pad on the lower joint from closing and render the notes you mention unplayable.
dn
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Author: Gordon (NZ)
Date: 2014-02-13 05:11
Yes that is almost certainly the problem.
Deal with it by slightly bending the arm on the A/D key that is operated by the lower section ring key.
If you bend it too far, it is probably not too much of a worry, because it would only affect the 1-1 Bb fingering.
Post Edited (2014-02-13 05:13)
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Author: Steven Ocone
Date: 2014-02-13 13:57
Check the 3 ring key pad on jower joint, the adjustment to the A/D ring key on upper joint. Check the ring heights.
Steve Ocone
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Author: TAS
Date: 2014-02-13 23:28
Memo:
Have a competent clarinet technician re-pad and do the major maintenance on a clarinet.
Doing it yourself is like having an ape repair a fine piece of jewelry.
TAS
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Author: kthln.hnsn
Date: 2014-02-18 09:39
Thank you everyone for your suggestions! Turns out I the pad I had on the bridge key was too thick! Again thank you, you all are always so helpful to amateurs like me
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Author: MichaelW
Date: 2014-02-18 23:42
Hi TAS, I don't like to be compared with an ape (sure, they're nice animals). I began clarinet overhaul, repadding etc. as an amateur some years ago with cheap instruments from the auction site. That was learning by doing; so I became able sometimes even to correct faults "competent technicians" had missed, and by now have the courage to work on really complicated systems like Oehler.
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Author: cyclopathic
Date: 2014-02-19 01:16
MichaelW wrote:
> Hi TAS, I don't like to be compared with an ape (sure, they're
> nice animals). I began clarinet overhaul, repadding etc. as an
> amateur some years ago with cheap instruments from the auction
> site. That was learning by doing; so I became able sometimes
> even to correct faults "competent technicians" had missed, and
> by now have the courage to work on really complicated systems
> like Oehler.
oh well, deal with it ape! 
on a serious note, at some point it becomes skill vs time issue. You may have a pro who is very good, but he has to make $$$, so he won't spend as much time as one who isn't pro but has time and willing to get it 100% right. Difference is that he'll get it to ~90% in less then 10% of the time.
Agree on "faults of competent technicians", had "opportunity" to re-seat old pads to fix leaks on more then one quality horn. They probably were o'k new, but started leaking after the while.
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Author: kthln.hnsn
Date: 2014-02-19 05:41
MichaelW, I chose to just ignore TAS' comment. I'm not a professional, but I'm no ape, either I would say I comfortably know my way around most instruments, sometimes you just run into a problem you've not encountered before, no matter how simple the issue is, such as was the case with me and stupid pad thickness?? I feel silly about that one I think once TAS does a full restoration on an oboe, then s/he can call me an ape, but until then....
And TAS, sorry that sounded rude, honestly no offense was meant Everyone has their own opinions!
Post Edited (2014-02-19 00:45)
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