Author: clarnibass
Date: 2023-11-19 10:15
Do you mean on Buffet or other clarinets where the spring is mounted on the key with the end sitting in a channel in the clarinet body?
If not, then it depends on what clarinet and the specifics specs of the spring, it might not be different from other springs.
First, a lot depends on the length of the spring compared with its diameter. The shorter it is, the more you will feel a change in tension/resistance along the travel. This spring on Buffet clarinets is not terrible but slightly on the short side, so there is a small amount of this effect.
One way to improve this - in theory - is to use the thinnest spring that still allows a good feel (i.e. is not too thin/weak). In theory because for this spring on Buffets, usually even one size smaller diameter than the standard size is too thin.
Notice if it is really "too weak" or "too stiff", or it is actually the problem I just mentioned. The latter can feel like it's "right" or maybe "too weak" at the very beginning of the key travel (when you just open the key) and then "too stiff" (or at least significantly stiffer) the more you open it. In that case it is that change in tension during the travel that is the problem. That's when you often try to to make it stiffer, so it might feel good immediately, then it's too resistant later in its travel.
The first thing to notice is that, to adjust this you also remove the F/C key, which also acts as a stop for the F#/C# key, which means you might be opening it more than it would. The restricted travel shows the real difference might not be as bad as it can seem when testing just the F#/C# key by itself. On the other hand, the F/C moves with it and adds to its resistance somewhat when not moving from F/C to F#/C#.
A way to significantly improve it is to modify the key and spring. Basically change it to a regular spring mounted on the post, with a cradle on the key. Some clarinets are that way originally.
For some clarinets, in particular Buffet clarinets, in order to do this it would take some modification to the key hinge rod itself. I've done this before, I remember Chris P mentioned he does this often, but locally in almost all cases players don't want to have this done. They don't like the modification to the instrument in spite of it improving the feel of the key (a sort of mental resistance and a misconception that the design from the factory shouldn't be "disturbed").
This would solve the two issues of the spring length for its diameter and the lesser but potential problem coming from the end sliding in the wood channel.
>> Ohh, why do they have to be needle springs, not just springs without a needle at the end? <<
Several reasons.
One is just tradition. Springs were/are essentially needles with a different temper. I guess they still have a process that makes them that way and it makes sense to continue.
There are real advantages to this too. It creates less friction between the spring and the cradles and allow smaller cradles in tight spaces. This is not relevant in all cases but sometimes it is to the point of being noticeable.
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