 The Clarinet BBoard
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Author: Chris P
Date: 2015-05-25 13:55
I've bought several old clarinets that would otherwise have just ended up stuck in some attic somewhere and never to see daylight, let alone get played again as they were considered by some as too far gone or beyond economical repair.
But as a fan of old large bore Selmers I have taken on the challenge and rebuilt them for my own use and enjoy playing them, even though the cost of the rebuild will have definitely exceeded the price paid (which to me is immaterial as what's the cost of a pro level clarinet nowadays?) and if I was to sell them, then chances are the price may not break even.
But it's not about cost - it's about enjoyment and giving these old classics a new lease of life as they will go on for a long time to come give the right treatment and understanding.
I was watching a programme about restoring cars yesterday and there was a segment where they were discussing 70+ year old Ferguson TE20 tractors and a farmer in his 90s still using his trusty TE20 summed things up nicely with this statement:
"Now, if I sold this now I could ask, we'll say, £2000 - £2,500. But if I was to do this up now it would cost me £3000. You don't do it in a sense of an investment, you do it because of the love of the damn thing. And you want to keep it going."
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: MarlboroughMan
Date: 2015-05-25 19:04
And in the process, you're keeping alive a vital aspect of musical history.
As a jazz musician who performs on vintage large bore Selmers, I have a vested interest in the sort of work you guys do. Without these old horns, I don't have the proper voice.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Chris P
Date: 2015-05-25 19:29
With the lack of anything new resembling a Selmer BT, CT or Series 9 from Selmer and all other makers, we have to do this out of necessity if this is what we have a passion for.
Don't get me wrong - there are plenty of great clarinets being made today, but they're not what some of us want. And for a fraction of the cost of a brand new pro level clarinet, an old Selmer or similar older pro level clarinet can be bought and fully restored.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: MarlboroughMan
Date: 2015-05-25 19:57
Absolutely true. I tried for years to convince folks to support current large bore makers, and even worked for one...but even then the sound concept was only an approximation. For me at least, it's specifically the old Selmer concept that is knit into the fabric of jazz clarinet history.
Benny Goodman, Artie Shaw, Barney Bigard, Johnny Dodds, Albert Nicholas, and countless others played Selmer large bores.
You can, of course, play any clarinet and it can work as a 'jazz' clarinet. But for those of us who love that earlier concept, there is simply no substitute for the real thing.
It's also pretty rare to find a tech who really cares about the old instruments. I'm very grateful to have known at least a couple who care about and know the fascinating history of these horns.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Chris P
Date: 2015-05-25 20:10
Although they are prized by Jazz players, at the time the large bore clarinets were the only clarinets Selmer were making which had a reasonably long production run and were in the hands of many orchestral and Classical players too, so they made for a very versatile instrument. It wasn't until the '60s when they offered a choice of models and then not until the '90s when they offered an intermediate level clarinet.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: kilo
Date: 2015-05-26 01:05
Quote:
... at the time the large bore clarinets were the only clarinets Selmer were making which had a reasonably long production run and were in the hands of many orchestral and Classical players too ...
Sherman Friedland, in a recent article about the Boston Symphony, claimed that in 1960s Boston, “even the cars were Selmer.”
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Author: Wisco99
Date: 2015-05-26 03:32
"Benny Goodman, Artie Shaw, Barney Bigard, Johnny Dodds, Albert Nicholas, and countless others played Selmer large bores."
These people are long dead and gone. The music they played was for the audience and music of their day. We may appreciate their music, but that era will not be coming back, it is history.
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Author: MarlboroughMan
Date: 2015-05-26 03:40
Wisco,
I'm a gigging jazz clarinetist. I'm not dead and gone, and I love playing Selmer CTs--they give me the sound I've always wanted. My audiences seem to love them too (and my audiences are alive too--not at all dead and gone).
Why the venom?
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: MarlboroughMan
Date: 2015-05-26 03:57
I'm not alone on this either...there are many pro jazz players out there who are playing vintage large bores (and some playing newer German large bores too) to get that warm, big sound. Maybe someday the major clarinet makers will take notice. The music will never be dead and gone so long as someone is playing, and people are listening.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Ursa
Date: 2015-05-26 04:00
As a collector and player of vintage clarinets, I prize vintage instruments because there are possibilities with these clarinets that aren't available with today's horns, and vice versa. For me, it's about having the right tool for the job at hand.
That said, I just picked up a Backun Alpha which turned out to be a truly wonderful jazz clarinet when I auditioned it. It has the "blow" , flexibility, and response evocative of my favorite vintage classics along with agility, evenness, and tuning accuracy of a modern instrument. Some of my old favorites are going to see a drastic reduction in playing time, thanks to Morrie Backun...
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Author: Ursa
Date: 2015-05-26 04:05
Eric is right on, too. I'd like to add that some players go so far as to use Albert system classics for the possibilities that only these instruments offer.
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Author: saxlite
Date: 2015-05-26 04:29
I have five or six clarinets, but for my swing band and combo work, I love my old Selmer CT. For concert band, I play a Selmer Series 10 II (they call it the St.Louis these days...). There is something about the CT that seems "just right" and I prefer it to all my other horns, especially with the Chedeville mouthpiece that Fred Rast came up with. The swing band prefers it, too....bigger sound.
Jerry
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Author: MSK
Date: 2015-05-26 05:13
I have an old Selmer Series 9 that I acquired inexpensively and keep on hand as a backup instrument. It has beautiful tone, but has playing characteristics so different from my old faithful R13 that I rarely play it. I'm a classical musician who is just starting to move into jazz. Just wondering if I should dig it out for jazz.
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Author: BobW
Date: 2015-05-26 06:24
I purchased a Selmer Series 9 on Ebay recently for $600.00
I overhauled it myself.
I usually play Buffet R 13s (1975, 2011)
I was warming up in our community band
with the Selmer a couple of weeks ago
and one of my fellow clarinetist noticed
what a great sound
she could tell from a couple chairs away the difference from my usual instrument
I just played my first concert with the Selmer
It gave me great joy to know that this instrument from the 70's
is now making music again
and I did the overhaul myself
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Author: Tony F
Date: 2015-05-26 06:58
A few months ago I had a phone call from a friend who said that she was at a garage sale and there was a clarinet for sale. Would I like her to buy it for me and what was my top price. It was a Selmer, and supposing that it was probably a Bundy or similar I said yes, up to $50. She bought it for $30. I only caught up with her last week and brought it home. The case looked a bit too good for a Bundy, and when I opened it there was a full Boehm series 9 inside.
The corks are good but the pads are rotted out and the keywork was very tarnished, but the wood looks good. It has the original Selmer spring hook and screwdriver and case keys. From the look of the keywork it's had very little use, but I'd say it's been unused for many years. I stripped it last night. Today I'll remove the old pads and clean up the body and keywork. Should be up and running a week from now. I've only worked on a couple of full Boehms to this level, so it should be a good learning experience.
Tony F.
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Author: Chris P
Date: 2015-05-26 12:48
I tried a fairly new R13 recently and found it very restrictive compared to any of my Selmers - I had to really work hard to get the altissimo up to pitch and certain fingerings just wouldn't work as the tuning was often flat compared to using the same (and standard) fingerings on my Selmers. The owner of this R13 is primarily a 1010 player and was badgered into getting an R13 which he deeply regrets, even more now that the top joint has split so he's not likely to get his money back on it.
Generally speaking, all the old Selmers I've played and restored have all played incredibly well considering the poor condition some were in when I got them. So if there aren't any serious issues or damage, they can be given a new lease of life.
My first ever set of Selmers (BT Bb and CT A) are still very playable even with all the joints cracked and repaired (the Bb has a crack going right through to the bore but is still fully playable). While I don't currently play them, there's no reason they can't have another lease of life if someone was looking for a good used set of clarinetsand these happened to fit the bill. Plus the fact that the extra keywork found on these older clarinets is no longer being fitted apart from the LH Ab/Eb lever.
I don't think I'd have all that great a time if I was to play an R13 in any setting - they are nice clarinets, but that's about it. Far too safe for my liking, but that's what people seem to want nowadays - something that's safe and predictable without any element of danger (apart from the likelihood of them splitting!). I have tried to like Buffets but they don't really do anything for me.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Lelia Loban ★2017
Date: 2015-05-26 16:10
I learned to restore old clarinets for several reasons. One of the big reasons: buying used is a boatload cheaper than buying new! I'm curious about how old instrument sound and what it's like to play them. The mechanisms themselves fascinate me.
Flea markets also provided me with excellent modern Buffet R13s in Bb and A that needed nothing but basic maintenance. Thanks to my tinkering with vintage clarinets, some of them worthless, I knew how to refurbish those R13s without damaging them.
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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Author: BartHx
Date: 2015-05-26 20:53
Chris: Thanks for starting this thread. It's nice to know there are actually a number of people out there who share my point of view. In our community band there are a couple of us who stick by Selmers, but we are surrounded by Buffets. I have a collection of old Selmers of which there is only one I did not overhaul as soon as I got it. Currently, my oldest Selmer Paris is a Model 55. The newest instrument I own is a Series 10. However, by far my favorite is a Series 9 which I picked up as NOS for next to nothing from a music store that was going out of business when the recession hit in 2008. I played it for a little while before I overhauled it to replace the gummy oil and used Roo and cork pads for a repad. I added a Portnoy BP02 mouthpiece to go with the large bore and absolutely love it. I carry a CT for backup. While I have never had to go to it myself, I have loaned the CT out several times to people whose Buffets quit on them (most likely lack of adequate maintenance). I carry an extra, short barrel so that people accustomed to Buffets can play the CT in tune with their own mouthpieces. I recently finished an overhaul of a Bundy Paris (late 1920s) for a friend. I was rather surprised to find that it plays like a Selmer (as I expected), but sounds a lot like a modern Buffet.
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Author: Wisco99
Date: 2015-05-27 01:38
I agree that players like Benny Goodman, Artie Shaw, and others of the big band swing era or Dixieland players preferred large bore like a Selmer CT. My repairman was Chuck Hedges, who played one and was one of the best Dixieland players in the country. The problem is all these guys are dead, both the national names and the local players. Dixieland just does not draw anyone anymore. There seem to be a few guys in their 80's who played those around here, but most are in a nursing home. It is a strange situation. Pete Fountain is retired. They sounded great on those instruments, but just as swing music or Dixieland came into being, it also has mostly disappeared just as other forms of music have come and gone. That is the nature of music and instruments. Nothing stays the same.
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Author: MarlboroughMan
Date: 2015-05-27 02:54
Sorry you're stuck in a depressing scene, Wisco. You might want to look outside your immediate surroundings, if that's the case, though--because a lot of good stuff is happening--both audience-wise and in terms of musicians.
There's great work being done by guys like Evan Christopher and Don Vappie in New Orleans (and globally on tour), and the Hot Jazz scene in NYC is starting to come into it's own with players like Bria Skonberg--her Hot Jazz Fest just got favorable reviews in both JazzTimes and DownBeat, and she's succeeding where so many jazz acts have fallen flat--in the interior of the country (she'll be back in Cleveland again in June).
Here in Cleveland, we have a very hip Roots Jazz scene (my term)--multiple gypsy jazz groups performing at a high level, my own retro-New Orleans outfit, a few excellent Big Bands, and several larger early jazz ensembles gigging regularly--all of us working every week in multiple venues--including venues that tend to book nationally touring rock acts. We're making inroads into younger audiences and giving them something real.
In my experience, there are two types of older jazz musicians. There are the ones who moan about how things aren't what they were--they want the packed dance halls and the money they used to get. Then there are the other guys, who love it so much they don't care who they're playing for--they'll play anywhere with younger guys like me, they'll pass on their wisdom and change with the times. The venues are different, the audiences are different, and musicians have to hustle differently for the gigs. But don't say they aren't there...because they are. At least here in Cleveland (like I said, sorry if your scene is so dismal).
As far as those older instruments are concerned, man--they SOUND better on these tunes--that's why we use them! And the audiences react! I played a gig in Kent recently where the whole retro-themed bar was filled with college students on dates. They LOVED what we did--and several of these college kids came up to tell me how great my sound was--how romantic the whole thing was.
So no, the music ISN'T dead. It ISN'T gone. The instruments aren't old fashioned and useless anymore. The music lives, it is dynamic, we are moving it forward, and young people are listening.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Wisco99
Date: 2015-05-27 04:33
Eric,
I am glad you are finding places to play, and enjoy playing your clarinet. The "scene" here is not depressing, it has changed, just as it has all my life. That is the nature of music and the music business. I spent 40 years making a very good living playing music, and working with some of the greatest musicians in the world. I reached a point where I had played enough gigs and decided to retire. I do object to being put into one of your 2 groups for "older" musicians.
Part of the problem here is guys who love it so much that they are willing to play for next to no money just to play. I walked away making $1,000 a night for myself as a musician. Clubs now charge the musicians to play and let them sell tickets to try to make money or make it in tips. The world has changed, and I see a race to the bottom for musicians trying to make a living playing music. I have no interest in trying to find some opportunity to play a gig for bad money or even good money. I am just making an observation of what I see.
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Author: MarlboroughMan
Date: 2015-05-27 04:57
Wisco,
Sorry if you object...but you DO seem to fit my categories. And to a certain degree I can sympathize. I'm not old enough to retire, and I have a lot of creative life ahead of me, but I'm with you in your frustrations on the monetary aspects of the scene (I think it hits me harder than you, by the way..and I'm a man with a wife and kids)...but for better or for worse I'm a musician: I'm going to make my way through this world as a musician whether it pays as well as it used to or not, and as such I have to accept the challenges in front of me.
If you've checked out of the scene because you don't think it's worth it anymore, that's your choice. But don't say the music is dead simply because you no longer feel it's worth your time and energy. I know a lot of excellent musicians, of integrity, who come from your era too--and they're not too proud or angry to still play. For that I'm grateful.
As for racing to the bottom, I don't see it--I see a lot of us not being properly appreciated or compensated, but no race to the bottom artistically. And I've got to say, cynical voices don't help, man. Why not be encouraging to those of us doing good work? You DO love this music, don't you? Let's stay supportive of each other and the music.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Wisco99
Date: 2015-05-27 05:54
Eric,
Gee, thanks for the compliments that I DO seem to fit your insulting catagories when you really do not even know me. You do not know my age, you do not know what I have all done in life, in short, you do not know me period. I too have a wife, and I have a son in college. Why I chose to retire is personal, but you seem to have already made up your mind why. I did not check out of any "scene" because it was not worth it anymore as you say. Several factors came into play, and I felt it was time to walk away. I made the right decision. You refer to my "era", but what era am I from? I have no clue what you mean, but it comes across as demeaning and insulting. We were talking about restoring old clarinets here, and now I am being neatly tucked into some box of your making, and that I do not care for. My point was the older large bore clarinets fit the music of their day just as the saxophones made back then fit the sound and music of that era. Instruments evolve, and the clarinet unlike the saxophone has evolved, and is still evolving. We can value the instruments of the past, some are worth restoring for those who appreciate them, but time moves on. Try following how flutes evolved over thousands of years, and they are still evolving in many ways. That was my point. I wish you the best.
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Author: MarlboroughMan
Date: 2015-05-27 06:27
Hey man, you brought this on yourself. You want to call me out and say what I'm doing isn't worth your time of day, then you call ME demeaning?
You walked away from it for your own reasons. I can respect that. Why don't you show some respect for those of us who still play?
If you played with Buddy Rich (which I think you stated in another thread), most likely you are older than me, unless you were a spectacular child prodigy. Buddy died in 1987, when I was in 8th grade. Maybe you're not as old as you come off, but who cares.
If the playing isn't worth it to you (and you've expressed that over and over) don't get your panties in a bunch when guys like me tell you it IS worth it, and we don't think highly of your perspective.
I wish you the best too, and hope your cynicism is a passing phase. I think your perspective is worthwhile otherwise, and hope you continue to share your musical experience.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Wisco99
Date: 2015-05-27 07:35
Eric,
You seem to have an anger management issue going on here. Yes I did play with Buddy Rich when I was in my 20's, so that does make me older than you. I also played with a lot of other people, and did many things in the music business. What I have tried to get across here is how music and instruments change over time, and they tend to reflect the music of those times. A large bore clarinet for jazz playing is in a way similar to a balanced action Selmer saxophone. When the Mark VI came along it changed the sound for sax players, and the music changed. If you want that older sound of an earlier era you need a sax like a balanced action because it just fits. Same with a clarinet or flute. That is the topic we are talking about, and yes, restoring some of those great old instruments is sometimes worth it for the right people. Studio guys often have an R13 and a Selmer CT for different playing situations. They both have a place.
The music business has changed, and the official end of the big band era is 1946. Yeah, Buddy, Maynard, Kenton and many others reformed and carried on, but things still evolved. They are all gone now. Same thing for Dixieland bands, they were really hot in Milwaukee in the 60's, but faded out over time. The big name players we appreciate are gone or retired. Look at it this way, thank goodness disco is gone. You are still maintaining a tradition, you love it, and hopefully are having fun playing it. Having fun playing music and doing it as well as you can or even better than you think you can is what it is all about. I hope we can agree on that.
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Author: MarlboroughMan
Date: 2015-05-27 15:01
Sorry, man...I thought you were posting from a professional (or former pro) perspective...not as a hobbyist. I'm not talking about restoring the Big Bands, or "Dixieland" or anything of the kind. I mentioned what's going on these days in an earlier post, but you seem either uninterested or incapable of understanding. Either way, it's not all about "having fun" with the horn. At least not from my professional perspective.
So no, I don't have any anger issues--I'm not angry about your posts. You presented yourself in this forum as a retired pro. That's how I was answering you. If you'd been presenting yourself as an amateur, I'd have responded differently.
For the record, I've played with acts every bit as big as Buddy Rich, in both the jazz and classical world, and taught top professionals in both fields. This isn't "weekend warrior" territory for me, and I'm not reminiscing about my wild 20s when I talk about gigging.
In terms of your evolutionary theory of instrument design...it's overly simplistic, and having worked in the instrument business myself, believe me, to pros and conservatory students these days, it's common knowledge that things are more complicated than you might think. In the classical world, the period instrument movement has gained so much credibility and audience over the last sixty years that top conservatories offer majors in it (and in fact, classical clarinetists ought to make sure they can play these earlier instruments for their professional future, IMO). On the jazz scene, even Selmer (after years of stubbornness) admitted their design changes of the 70s and 80s hadn't always constituted evolutionary "improvements" and went back to the VI and BA designs with the reference horns. A decade or so ago, Buffet started making a 'Vintage' model based on the R13 of the 50s. In Britain, Peter Eaton has made instruments that maintained the large bores of earlier B&H models...and not to "live in the past" but to get the best possible sound.
So the past isn't simply the past. I'm sorry if you're so sensitive that this type of discussion makes you feel demeaned, but you're not coming off as someone who knows the jazz scene, the classical scene, or the manufacturing scene.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: MarlboroughMan
Date: 2015-05-27 15:51
[note: I'm actually enjoying this, Wisco. Even took time away from the Cavs game last night to respond to you--and if you knew me, you'd realize how big a deal that is! I would have thought a cat who had played with Buddy Rich would have tougher skin ! Maybe if throw in a bunch of F-bombs you'll feel more comfortable?! ]
btw, how old are you? And what gig did you walk away from that paid you $1000 a night?
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
Post Edited (2015-05-27 18:05)
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Author: Wisco99
Date: 2015-05-27 20:47
Eric,
Words fail me for your inimitable responses and personal attacks. I find you extremely immature, insulting, and lacking in any social decorum.
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Author: MarlboroughMan
Date: 2015-05-27 21:27
All I did was let you know what gigging musicians today are doing, and how 'period' instruments are important--in jazz now as well as classical. I thought, and think, your perspective lacks depth and credibility, your argument (such as there was of it) was more bluster than substance, and when that failed you evaded my actual points to act 'offended.' Sorry man--I've shown you respect in this thread, and you can go back and check out where for yourself.
If you do respond, I hope it will be to let us know what that $1000/night gig was that you walked away from. Not too may of those out there, you know. At least not for jazz men.
Keep swinging, man. Maybe this dialogue will piss you off enough to get out there gigging again---if your life allows for it--in which case we might both be grateful for it.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Wisco99
Date: 2015-05-27 21:42
Chris P,
Your statement sounds right to me:" You don't do it in a sense of an investment, you do it because of the love of the damn thing. And you want to keep it going."
Jay Leno spends a large fortune for him restoring and driving old cars. He has a fantastic collection. I know others who collect old French flutes and play them. You name it, and somebody probably collects it, restores it, and gets great enjoyment out of the darn thing because of their love for it. Enjoy playing what makes you happy, it is money well spent then.
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Author: modernicus
Date: 2015-06-04 04:18
I had the impression that instruments marked "LP" were intended to be played at "Philharmonic Society" pitch, formalized around the mid 1890s in England as A=439, while high pitch was there was A=452. As I understand the A=435 was a tuning established mid-century in France.
Anyway, music is one of humanity's essential and ancient activities and integral to our cultures- and so are the instruments. They deserve reverence so, why wouldn't one restore old clarinets? I think that is a better question.
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Author: ClaireAnnette
Date: 2015-06-04 08:10
Hmmm...so are Bach, Mozart, Beethoven...all dead and gone...
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Post Edited (2015-06-04 08:11)
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Author: Chris P
Date: 2015-06-04 14:24
It has be said that my thread title is a statement and not a question, as it shouldn't really be questioned as to why we restore old clarinets. My question is 'Why buy new?' when there are perfectly serviceable instruments languishing about out there and they deserve a new lease of life for those of us that enjoy both restoring and playing them. Irrespective of the economic ins-and-outs that some may try to weigh up and then call it a loss, I still think they're worth it.
Not so long ago I did some work for a player who was considering upgrading his clarinet (a Malerne stencil which he had new since the '50s) to something better. He couldn't understand the concept that buying a used and fully restored Selmer CT was a higher level instrument than a brand new Yamaha 450 as he could only see the monetary value as opposed to the quality of the instruments. For him, buying a brand new Yamaha 450 made more sense as it cost more than a restored Selmer CT, so he only based his judgement of betterness on the pricetag. His teacher also despaired at his attitude in both this and how he couldn't be taught. His main problem with his Malerne stencil was he couldn't go from throat A up to B cleanly and while I tried to explain that he needs to keep his RH fingers down for the B (as he played A with just the A key and then put all fingers down for B), he wouldn't have any of it as he's never had anyone teach him that, he won't take my advice as I'm 'only a repairer and not a player' (considering I was 1st study clarinet at college and studied with one of the best teachers I can think of) and it's not in any fingering charts he's using. So some people can't be reasoned with - both in terms of what makes financial sense and what they are prepared to learn. Has to be said that both myself and his teacher gave up on him as what else can you do when faced with a brick wall?
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: KenJarczyk
Date: 2015-06-05 00:35
Interesting thread, some folk manifest their passion in different ways. In my long and full life and career (still very active, may I add) I always enjoy trying the newest and so-called best horns. It is always fun to keep up with the trends. My business has me playing everything from classical, pop, theater, jazz and caberet settings. I run the entire spectrum, as best as I can. I am intrigued by the newest Selmers and Buffets. They are indeed very good instruments. Today's R13 is not yesterday's R13, what was the top of the line R13 then is a different clarinet than the R13 today, totally different quality and changed acoustics. I wouldn't mind a new Tosca or a new Privelege, but still, when push comes to shove, the sound of my Centered Tone can't be matched. In Symphonic work my "Brannenized" Selmer 10 or my wonderful 10G "A" clarinet can't be matched by the newbies. Now, with that said, I still enjoy my rather fabulous intonation and sound on a Ridenour Libertas. Not that hard-rubber is a new thing, either. Hard-rubber was used for many fine and wonderful instruments post WW-I!
So, I'm quite happy not giving up on older vintage horns, as they are some of my best "friends!" They've been places and played things too wonderous to imagine! - and still are!
Ken Jarczyk
Woodwinds Specialist
Eb, C, Bb, A & Bass Clarinets
Soprano, Alto, Tenor & Baritone Saxophones
Flute, Alto Flute, Piccolo
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Author: Lelia Loban ★2017
Date: 2015-06-05 17:32
I think the real reason some of us restore clarinets is because we're incurable tinkerers. Whatever I've got, I learn how it works and I monkey with it. Did opposites attract? Nope. My husband's the same way. (Thank goodness. We'd drive other people bonkers.) We can't help it.
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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Author: Tony F
Date: 2015-06-05 19:08
That describes me perfectly. All my life I've been a fixit man of some description in a number of fields. Tinkering is in my genes. Wherever I've played I've always ended up as the guy who fixes the instruments, or whatever. My instinctive reaction to any new piece of kit is to take it to pieces, sort out how it works and then put it together better than it was. Aircraft, radar, missiles, computers, musical instruments, boats, motors. You name it and I've probably fixed it.
Tony F.
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Author: knotty
Date: 2015-06-05 19:17
Lelia wrote: ''I think the real reason some of us restore clarinets is because we're incurable tinkerers. Whatever I've got, I learn how it works and I monkey with it. Did opposites attract? Nope. My husband's the same way. (Thank goodness. We'd drive other people bonkers.) We can't help it.''
I've been that way since childhood, used to make my father so mad, he'd buy me all kinds of nice things only to find a couple days later they were all apart, for instance a complete Lionel train set. I suppose that has carried on to this day, MANY decades later.
I just enjoy making old clarinets look great and play nicely again. Besides for especially old people, it keeps the physical dexterity sharp.
~ Musical Progress: None ~
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Author: KenJarczyk
Date: 2015-06-05 20:05
As a child, my parents had their work cut out for them. I had a thing for taking apart toasters! I didn't want or need many toys, just let me near a toaster!
Ken Jarczyk
Woodwinds Specialist
Eb, C, Bb, A & Bass Clarinets
Soprano, Alto, Tenor & Baritone Saxophones
Flute, Alto Flute, Piccolo
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Author: MichaelW
Date: 2015-06-07 22:01
Attachment: Steinberg_a.jpg (242k)
"The real reason", Lelia Loban:
For 60 years I adored Saul Steinberg's work and this one (if, artistically, not the best of his) always had a strong influence on my "tinkering" justification and career.
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Author: Lelia Loban ★2017
Date: 2015-06-07 22:38
MichaelW, I love that cartoon! It illustrates beautifully how tinkering runs in the family. My parents both used tools -- right in front of impressionable children! And they even gave my brother and me tools of our own at early ages! ![[whoa]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie10.gif) It was the kind of family where I knew I wouldn't get in trouble (well, not much trouble) for taking apart the typewriter.
When I went off to college, my dad presented me with a tool kit, on the theory that naturally I'd need one, even in my freshman dorm room. I've still got that tool kit. I keep it up here in my attic office, so that I won't need to run downstairs to the dungeon workshop every time I need a hammer or a screw driver. As for the clarinet, I first took the keys off at age ten. No particular reason. I just wanted to see whether I could get them back on again.
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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Author: ClaireAnnette
Date: 2015-06-07 23:00
I have a LOVELY "C" clarinet that was obtained by restoring one found in an "antique" shop. Great wood. Obviously well loved by a previous player. I imagine once it did not play in tune as a Bb for someone else it was discarded! LOL This clarinet has tone very close to Bb, not so C sounding. Good intonation for a C. Has no marks or brands anywhere, but from design I guess French 1920's. Mouthpiece with it was wooden with very very deep tooth imprints. It's only crack was in barrel-big deal to replace! Perhaps it came from a wind band player during a time when C was key used more?
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Author: Jim22
Date: 2015-06-08 05:38
Count me in as a tinkerer too. I was taking stuff apart at 3 or 4, but putting them together may have taken a couple more years. I have definitely smashed watches with hammers. I repadded my first flute at about 12, but I don't think I got it to play afterwords. That flute made a trip to the repair shop.
Jim C.
CT, USA
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The Clarinet Pages
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