My Full-Boehm Buffet

What!? You had a full-Boehm Buffet.?Yes indeed, I did.

Here is the story and perhaps an excellent argument for the maturing clarinetist to teach rather than make the leap of faith to become an orchestral player.
You see, after playing Principal in the Milwaukee Symphony Orchestra, I continued playing, but decided that teaching in a University would be preferable than playing principal in what was a mediocre orchestra.

And so I did a Masters Degree and than I taught.The results are all through this blog. They added up to many years. My final job was in Concordia University in Montreal. I was hired to teach Baroque Music History, and the History Survey Course, the Orchestra and the Choir and Basic Skills, their first fundamental music course given in that curriculum.
Busy Schedule? Yes, almost insanely so, because my schedule included teaching on both campuses (should that be campi?) The shuttle from one to the other took 20 minutes and naturally, or un naturally, I was always late for the History Course.
As far as the Choir and Orchestra were concerned they were non-existent. But the conductor of the Communty Orchestra was going back to Tornoto and he asked me if I wanted it?
I needed to be asked only once.
I built that orchestra from a group of disenchanted amateur musicians, students, and deaf mutes into a group of amateur musicians, students and deaf mutes.

Took me 17 years, and more fun than I can remember having, ever.
I had never conducted before, only took one course in conducting and conducted a few times where I had been a guest in some festival or another.
What was the difference?

Easy.

We played only the best music I could find for the group, Beethoven, Mozart, and a couple of the Brahms, many Beethoven Overtures and Haydn as well. By the time I got through, Egmont was coming out of my ears.

But, in this particular job,I became Chair, I got to play whenever I desired and whatever I desired, got a grant in order to play four concerts a year,all of which were proadcast on Radio Canada, and despite the ridiculous course load, I began to have a truly wonderful time.
Of course, as Chair of the Department, I was treated with respect by every music dealer in Montreal.
So, that brings me back to my Full Boehm Buffet.

I used to go to Arduini Music on Bleury St. in Montreal to get reeds and all kinds of other things, for myself, and and for the department. Naturally, whenever they had a new horn or one that they couldn’t get rid of, they asked me if I wanted to try it. I always said yes, and it was a geeat way to try everything there was to be played.
That is where the Full Boehm came in. Norman Arduini asked me if I wanted to take it and try it. My answer was always yes and home it went with me.
Brand new in the case, from perhaps the end of the 50s. early 60’s or so.
It played beautifully, except for the articulated g#. I brought it back, telling Roland that the thing didn’t play the g# articulation very well.
He took it back there to where the magic happens and brought it back out to me in maybe a minute and a half. “Try it now”. he said.
Oh my! it was spectacular! What a beautiful horn. I think I played it on one chamber concert and brought it back. Why? Because they had another one to try, a Leblanc L27, another wonderful horn , which I should have kept.
That is the story of my full-boehm Buffet, and a reason it is so much better to teach in University than to play in an orchestra in th boonies.. And perhaps good for a few laughts, or a smile, perhaps.
Keep practicing.
Best always, Sherman

All of the above is or was true. Montreal is still a great city, but Arduinis is gone, and so am I , and the Milwaukee symphony after 40 years is an acceptable orchestra.

Hawkins and Thomas on Legere,I compare Forestone

I’ve been playing Légère Reeds for months now. I hope to play all repertoire in upcoming orchestral season on a Légère Signature. I wasn’t always that sure about them.

Several years ago I bought a few at the Atlanta Clarinet conference, but they didn’t click with me, being too different from cane.

This past April, while trying mouthpieces at Richard Hawkins studio in Oberlin, OH, I noticed he is still playing them. I tried his Legeres and loved them. I decided to give them another try.

I asked Richard a few questions to help me, and others, adjust to these revolutionary reeds.

1- How long have you been playing Legeres? “Since 1998 without looking back!”
2- Do you play Legere reeds exclusively (no cane reeds)? Yes
3- Do you use every Legere reed you get, either for practicing or performances? “I would say on average I use about half the reeds that I get- once you get used to them, you start knowing what to look for– much like cane reeds in the beginning”.
3a- What percentage of them do you use for performances? I use them for all teaching, chamber music, recitals, orchestral performances (even when I have played with the Cleveland Orchestra on Bb/A, E flat and Bass).”
4- Do you ever adjust them? “I used to, but I found the best ones are always ones that nothing has been done. I have not worked on them in years.”
5- What advice would you give to a new user to help them get used to Legeres? “My biggest advice is to pick a reed that is slightly harder in blowing resistance than you would normally pick out on cane reed. Once it is played on for a bit it has a break in period and gets a little softer- be sure to pick out ones that do not make you bite the mouthpiece reed combination. Especially since the new model (Signature) has arrived the flats are perfectly flat– within 2 microns– which is really fantastic. His (Guy Legere) newest machining process is remarkable. I just spent 3 days there helping with the new Signature E flat and Bass reeds which are due on the market any time now. The Bb Signature is available now and many people are starting to give them a go”.

Since April I’ve done my own research. I have to admit these things take time, and money! I report here to save you as much.

Legere reeds take more air in general, though the Signatures are MUCH closer to the response of a cane reed than any of the previous models, Traditional, Ontario and Quebec. Of those models, the Quebec is very resistant to me, the Traditional less so and the Ontario even less, though it can sound a bit buzzy.

They do get softer after some playing, so be careful of quick judgments about their resistance. I heard they can be softened by soaking in very warm water, and this is true.

Position them carefully on the mouthpiece. A small variation in position can change the reed, more than with a cane reed. But you can use this to influence the reed: a tiny move to right, left, up or down; find the sweet spot, then keep it there.

As for ligatures, P R of Legere advised me to try the old fashioned, simple Rovner, and to tighten it well. This advice has worked well.

Legere Signatures work well on any good mouthpiece. I am using them on a Behn Vintage model D, but they work really well on my Hawkins B and R as well.

I played Traditional models last Spring in the Columbus Symphony, and they worked pretty well. But I was relieved when the Signatures came out. As you may know, I used a Signature on my recent mp3 snippets for the Jeanjean 1st etude. I was quite happy with how well they respond. I could not have played such subtle, pp phrases comfortably on a Legere Traditional.

One thing about them. I agree with Richard that not every reed is great. In fact, I’d say one out of three is really good. That can get a bit expensive, considering the Signatures cost $30 a piece! But hey, it’s a small price to pay for stability, reliability and peace of mind. And they last forever, by reed standards. I have not tested them long enough to report how long they really last, but I’ll let you know in a few months.

(BTW- I also tested the other top contender in synthetic reeds, Forestone from Japan. Though they have more vibrancy (and potential) than the Signature Legeres, they fell “flat” literally, in rehearsals with the orchestra. I tried harder ones, but they just felt harder, not higher in pitch. I got tired of biting. It’s too bad, since they are more consistent than Legeres, being made by “molded injection” rather than the less precise machine cutting of each reed. I will try them again. Goodness knows, I’ve spent enough money buying to try them! For now, the Signatures are my highest recommendation.) Dave Thomas, ColumbusSymphony

Dear DT:
I am in receipt of your two Jean Jean recordings, as well as your piece on Legere reeds. Thank you very much for sending them to me.
As far as the two Jean Jean snippets, as you call them, I found it fascinating to listen and to watch, especially recorded on two different clarinets, but with the same mouthpiece and reed, a Legere Signature. As far as sound per se is concerned ,the two are quite dissimilar,the first recorded on the Selmer is played quite diffidently, and feels as you are just hoping that the sound comes out. It is relatively moribund in sound, especially compared to the second, which you made with the same setup, with a Buffet R13. This a much more interesting rendition, the legato being within your grasp, as opposed to the Selmer rendition. My own feeling is that these are more than just “sound” pieces, but have a relative musical interest as well. They are very well played and I thank you again for them.

Concerning your piece on Legere Reeds, I experienced much the same reactions as did you, spending many hundreds of dollars, trying each of the various models available, conversing with Richard, having been impressed with his Legere performances,   I have the same mouthpieces as do you, but prefer the RH R model, which plays superbly for me, however on cane only, which I cannot explain. After trying everything I could of Legere, I have given up on them. They do not play as well as cane and are nowhere near as consistent, in my opinion.

Then, I was recommended to the Forestone reed, made in Japan, and developed by a trumpet player. I looked at them with grave doubts, and was told that injection molding doesn’t work on synthetic reeds. Instead of doubts, after trying two reeds which were identical twins to one another, I found that I had been introduced to the best reeds I have ever played. This was about 6 weeks ago and I still have the first reeds, and one is still on.

I developed a whole set of conditions that ought to be in place concerning synthetic reeds, based upon both the Legere and the Forestone, actually using the Legere as the reed which didn’t comply with my conditions.

Synthetic Reeds

1. After establishing your strength, each reed plays exactly as the preceding reed. For Legere, never, for Forestone, always.
2. Each synthetic shall incorporate the best features of the best cane reeds with which you have had experience.

Legere is a whole different situation. I was advised by the same rep from Legere, to try different mouthpieces, different reed strengths, and he may have mentioned different horns as well. With Legere, I found with experience that each reed is a whole new “trip” so to speak, and I’m too old to travel.

Forestone does away with the aforesaid conditions and this reed does not go flat, It does not go flat ever. If you have experienced flatness during a rehearsal, you were playing with the embouchure you developed in order to play your Legere reeds, I would think.

Forestone simply plays the way a good can reed does and that is really all there is to it.

The injection molding process has been perfected over a 20 year period, requiring no fantastic machine to cut the blanks. The tips of Forestone are totally uniform all across the tip.

The proof is in the playing. My experiences have been totally without reservation, superb. I have several different mouthpieces, several Zinners(Hawkins), several Van Dorens, Selmers, and Clark Fobes, and a couple of Gennusas. The Forestone reed enhances every mouthpiece I own.

Best regards. Sherman

“I really lament the apparent demise”

Dear Mr. Friedland and all,

I have read with great interest the many very justifiable criticisms of the contemporary Buffet R-13. I really lament the apparent demise of a company that once contributed so much to the art and craft of the clarinet.

It seems that Boosey & Hawkes doesn’t know what they’re doing as far as the clarinet goes. When I was 1st-chair in a nationally recognized high-school concert band ensemble in the late 1960’s, my director found me a vintage Buffet from the early 1950’s. We had some of the pads redone in cork (the usual upper-joint ones), replaced the needle springs, and swedged a couple of the rod-pivot screw fittings, and ended up with a clarinet that responded like a dream, and in tune with itself (well, at least as much as a stopped cylindrical pipe that overblows at the 12th ever can be in tune with itself, without humoring some notes).

Years later, I tried some new R-13’s, and they sucked. Sorry, but that’s actually being kind. Even more recently, I tried a few more, and they sucked even more, if that’s possible. I have a Noblet that I keep around for my students that plays better than these monstrously overpriced tragedies do. When Buffet was Buffet & Crampon in Paris, they knew what they were doing. After all, did they not invent the polycylindrical bore? I suppose I should get past my resentment of Boosey & Hawkes for screwing up what was once, arguably, the Stradivarius of clarinets, but doggone it, facts are facts.

For the record, I now play a Selmer Series 10 refurbished by Tom Ridenour and fitted with one of his professional mouthpieces. It is one hell of a horn. I also own his Lyrique C, a work of genius. At any rate, I guess there’s no question here, but I just wanted to relate my experience. I’ve been playing for 46 years, so perhaps that counts for something.

GM

“If they are so bad, why are they so popular”

Dear Mr. Friedland:

I thoroughly enjoy reading your columns — they’re informative, entertaining, and you get right to the point.

I find your opinions about Buffet clarinets particularly interesting. You say they’ve got all sorts of problems, don’t play in tune, and require the player to make many adjustments during the course of playing to get the instrument to play properly.

My question is simple — if all this is true, why do so many terrific clarinetists play them? I can understand that they’re popular with the general population of clarinetists because world-class professionals play them. What I can’t understand, is why would (many of) the best of the best play with them and no others? Don’t they want every advantage to make their playing even better,? Why would they put up with all the troubles you cite? Is there something that a Buffet has that makes up for all the drawbacks you mention?

Once again, thanks for providing such an interesting perspective on clarinets for us to enjoy.

Regards,

E.L.

Dear E.L
Many thanks for your compliments,and commentary on my commentaries concerning Buffet clarinets. They are appreciated.

Everything you say is true; it is only a question of degree. There are a couple of hasty generalizations to which I will respecfully draw your attention.

First, as to your statement posed as a question: “why do so many terrific clarinetists play them?”
Answer, they don’t. Three of the finest living clarinetists play others: They are Larry Combs, Principal of the Chicago Symphony Orchestra,(retiring this year),Eddie Daniels, a player who is renown for his jazz playing, but also plays so-called classical, with equal aplomb, play Leblanc Clarinets, and have for a number of years. The late Anthony Gigliotti, principal of the Philadelphia Orchestra, did play Buffet, however at the conclusion of his career played the Selmer 10G clarinet. And let us never forget Mr.Morales, the current Principal of the Philadelphia Orchestra when last I heard, plays Selmer “Recital”, really a different bore than all the other mentioned..I think one would agree that they are all “terrific” clarinetists.The New York Philharmonic clarinets have always been Buffet players, but not the Boston Symphony, where all the section played Selmer, until Mr Cioffi retired. Boston was a Selmer town, as NY was a Buffet town. Now, this was not the reason, but what the current principals play is frequently the way the students follow, terrific or not. I cannot make a list of the various major symphonies and what clarinet they all play, but I do think that every single player mentioned is a “terrific” clarinetist. I make that statement with certainty because they have all passed the most rigorous audtion process ever devised. Many of the people you consider to be “terrific” are not that, and that is my opinion,separate from fact. The barrier I create by having to pass the audition and to play each day in front of the world the repertoire, without error.

But this is not a statement about Buffet or Selmer, for there are many terrific players who play neither. I speak of Sabine Meyer, and this young Bliss fellow, also playing other instruments than Buffet as do most of the symphonic clarinetists of Europe. They play a different clarinet with a different mouthpiece, bore and reed.

Choice of instrument has a lot to do with tradition and the principal players of the Big 5 in the US back in the 50s, 60s, and 70s all played Buffet, except for Boston, which had the tradition of beging a Selmer orchestra, and there is a special reason for that, too. Gaston Hamelin was the Principal clarinetist of the Boston Symphony Orchestra. In 1930, his contract was not renewed by Maestro Kousevitzky, the reason being that he played on the Selmer Metal Clarinet, metal being the operative word. This was a superlative instument, but it was metal. Selmer, very quickly took the instrument out of prodction and their catalog. Hamelin simp,ly went back to France. He took with him students, one of whom was McClane, who returned to play Principal in the Philadelphia for 8 years until he passed away, almost on stage, his second being Gigliotti, who helped prop him up in his final days, and who became Principal. These players had someone who is no longer around, Hans Moenig, who doctored McClanes clarinets for years.He was the magician.

Presently , there is Tom Ridenour and others as well. Ridenour designed the “Opus” and “Concerto”,played by Combs and Daniels, mentioned above. If you are interested in traveling to Duncanville, Texas, I’m sure Tom will greet you with cordiality. (Call first.)

Please refer to my article written in August,” Buffet and Anthony Gigliotti” in which a former student of Gigliotti tells of the procedure in which Buffet clarinets were chosen for him to try, which I found extremely interesting. The production workers on line in every factory know whats is special and they went over the horns produced for the finest instruments for Gigliotti. He in turn, would let Moenig work over them until they were up to professional standards. He is legend in the clarinet business, Moenig, and in his shop ion Philadelphia he worked on literally everybody who was either in Philadelphia or anywhere near Philadelphia, and I mention , for many , it “was always” Moenig.

Here is a list of what is not my opinion, but what I and many others have found to be true of the ordinary Buffet clarinet:

1.the silencers for the keys played by the little finger are made of plastic which is , as one reviewer said, “is an accident waiting to happen”

2. The throat notes are in general, sharp, the low E, F and F# are flat. The high C is sharp, and the high e and f are flat, all these are standard for this clarinet.

3. Currently, there have been problems with plating peeling off.

Now these are almost standard on all Buffets, however they are fixable by an acoustician who can hear and can play the clarinet. But, to whom do you bring your horn? There are many who can tune, however the price can be prohibitive for the student, and there are many young people who do not hear all that well so they perhaps buy the horn just to have “Buffet”. Cost of Buffet is just too much for a young student to bear, and I’ve seen students who have to borrow to buy them or have their parents do so, and I find that difficult, when there are so many other clarinets that come better prepared, in tune, and with little defective issues, which are facts I have found and certainly not my opinion.

Yamaha clarinets are generally to be somewhat of a copy of a Buffet, and they are, but, without the defects mentioned above.

So, while I do state some facts about clarinets, I do nor consider them opinions. They are facts, as I have discovered them, generally true of all high end Buffets. Yes, they can be fixed mostly, the only question being, whom does one ask.

I hope this helps . Best regards,
Sherman

Really Vintage Oehler Bass Clarinet

Dear Mr. Friedland:
Circa 1930, My husband (Maestro Theodore Gargiulo) purchased from a private individual in NYC an improved Albert System bass clarinet. Theodore passed away in Dec 2006, but played this instrument till his 90th birthday. He enjoyed an illustrious career in conducting.
With this instrument he began his career as he played it in the Bellison Clarinet Ensemble which was sponsored by the New York Philharmonic Symphony Society and through the 1940s in bands, orchestras and the National Youth Administration Symphony under Leopold Stokowski.

“This bass clarinet is reputed to have been only one of five made by Oehler. It is a unique instrument (a Stradivarius of the winds) with a smaller bore and mouthpiece; it stands off the floor longer than the standard French models and the keys are made of German silver. When played well, the sound is more solid and less spreading than the sound of a bass clarinet with a truer continuation of the lower range of the Bb and A clarinet sound. Its range is concert pitch)”
These notes were left by the maestro in a letter.
I am thinking of selling it …
Warmly,
Allegro con brio.

Hi everyone: Am posting this because it speaks of a highly unusual Oehler System bass clarinet from the 30s, played until recently.

I have the name and photos of the horn should anyone be interested.

Stay well, sherman

Yamaha XT1 clarinet

Hello Mr. Friedland:

You responded  recently with info about the Yamaha xt-1 clarinet. Do you know anything else about this horn? Why discontinued? When? Why not mentioned on Yamaha’s site? Was it faulty? Is it same design at ycl-450 or Allegro?

I’m considering buying one off of eBay tomorrow but am hesitant because of the lack of info.

Thank you for your excellent site, by the way. I’ve read a number of articles while shopping for a clarinet for my 14-year-old son, a fourth-year clarinet student stepping up from a ycl-250.
J D

Dear JD:
I would suggest you purchase the XT1 as it is a good instrument and better than the 450, or the 550, both of which I’ve played and owned.
Here is what I said in 2008 about the XT1:
As to the original question, the XT1 is a clarinet whose price was 1139 and is now being offered for 939, or approximately those prices. There are also similarly priced XT1s in Saxophone, trumpet and trombone, and those too are all or will be discontinued. The XT1s are being offered to retailers and are generally the same as the line being discontinued with some changes in some instruments. The XT1 clarinet has silver-plated keys.

I looked at the photo of the only XT1 on Ebay and noticed the plating on the keys. t is most probably exactly as a higher priced model, but without a couple of the more sellable features. This one looks good and the price is right, so, without further adieu, grab it!

Companies as Yamaha are essentially good . Yamahas standards in clarinets are quite high, so it is most probably a small difference from a much more costly difference. Frequently(especially with Yamaha) items are discontinued and replaced with a different numbering, and frequently a higher price. I mention specifically the 20, now called 250 and the 450.

Models are frequently the same as previously numbered, but with higher prices.

best of regards, and luck, Sherman

Determining worth of a vintage clarinet

Dear Mr. Friedland,

My grandfather gave a clarinet to me for my 12th birthday in April, 1956. It is a Leblanc Symphonie II, B Series, Model Number 1076, Serial Number 6171. I have the original bill of sale and the warranty certificate.

The Leblanc website says it does not have any information on clarinets made before 1964. Please tell me what you know about my clarinet. It is in perfect condition, as I have had it completely rebuilt. For insurance purposes, I need to determine a value. If you can estimate a range of values for it, I would appreciate that also.

I have just given it to my grandson, age 11, who chose to play clarinet in middle school.

Thank you,
RJB

Dear RJB:
This is also for the many who request a determination of value for insurance purposes for their instrument. In one sense it is a difficult question to answer for so much depends upon the actual playing condition of the instrument and also, the appearance, including the condition of the keys, whether there is pitting or other wear which is discernible, for these things can diminish the value of an instrument almost to nothing. The cost of replating is prohibitive as it also includes a compete reconditioning and replacing of all the springs, corks, etc.

In the case of the Leblanc 1076, this was the model preceding the 1176, the LL, which is perhaps the best clarinet ever made by Leblanc, but it too is subject to all of the conditions of the first statement: playing condition and appearance. The playing condition really can only be determined by a clarinetist, and then, it depends upon whom you ask, for there can be a dozen different opinions, for instance, if the player prefers another brand or bore or almost any of the variables, these can be part of the determination as to worth of the instrument. I would also have to suggest avoiding having a dealer make the determination for those and other reasons, perhaps too obvious to mention here.

So, considering all of the above, there is still a place to get such a determination, which also may be difficult to use for insurance purposes.
These are the various auction sites for musical instruments  . On these sites one can compare ones instrument with others of the same brand and model .

One thing is quite important to remember and that is, as a rule, clarinets do not appreciate. These instruments were made in great numbers and while the quality of Leblanc is quite high, the years of use take their toll on the instrument. Many request a determination for insurance purposes, however they usually have in mind to sell the instrument and do not know what to ask and this is really in how you value it yourself and your ability to accurately describe its provenance. Photographs always help and an acurate description is the most important. On this particular clarinet depending upon its condition the comparative prices will be all over the map. It is a good or high quality instrument, part of the determination. For insurance purposes there are many who will give you an official appraisal which you can use, however the actual value can besomething else again.

I hope this has been of some help.

best regards, Sherman

Buying Buffet, a walk in the forest.

Dear Mr Friedland:

Hi. I’m nineteen years old, and have been playing clarinet for several months. I cannot afford a teacher, but am making considerable progress on my own, with the help of books and my ears. One issue I have is that when I tongue notes in the upper clarion register, I often find that all I get is the note as it should sound without the register key. Also, I need to tighten my embouchure for the higher notes. It that supposed to happen? Any response would be a big help, Thank You. (I’m playing a Selmer 1400, Fobes Debut, Luyben Ligature, Legere 2.5 student reed)

My second question relates to a clarinet I bought last week in a local store. I was told it’s a Buffet R13. The serial # is 38,251. Is this really an R13, or is it too early to be an R13. Also, I got it for around $600. Is that more, or less than it’s true value? It’s in playable condition, but could use some work here and there. Also, the barrel is newer- it says “R13 B 660″ on it. Anything you can tell me about this clarinet would be helpful- I can still return it if it was a ripoff. Thank You Very Much.

Aaron

“Told it was an R-13″
Well, Aaron, perhaps we have a lot of talking to do.
It could have been an R-13, or perhaps an E-11, in any event, the barrel is a 66mm and is probably not original, as you have said. Suffice it to say that you could have an R-13, but most probably not. In any event this particular clarinet is quite famous for being infamous, meaning uneven, complete with many tuning problems, and in general, not a great instrument, and I’m sure you paid quite well for it, at $600.00. The going price for either a new actual R-13 or anything like it is usually much more. So let us say, you got a good deal.

But, if I could not afford a teacher and had 600 dollars, I would have put the money into perhaps a dozen lessons, a much better deal than some leaky clarinet purported to be something it is not, which in general , is the Buffet story,regardless of price, or deal. If you have a perfectly good student instrument, why would you buy something not as good, and with money you can’t afford?

How does one know that one is making “considerable progress” without a teacher? One does not.
It is not a matter of your ears, or anything having to do with what you play on or how you clamp it to the mouthpiece. All this equipment plays , but you are either taking in too much mouthpiece, or the clarinet is leaking , or you are not covering the keys properly. In short, you donot have a clue.

But, I have a solution: Take the “Buffet” back today to the place you bought it and get your money back. Then, find out about getting a teacher, who is a clarinetist, or a graduate student in Clarinet at a school nearby. Call her (or him) and arrange for at least one lesson. Maybe, it might cost you 50 bucks. You’ll find out more in that one lesson about why the clarinet sounds the way it does than all the crap you can buy at a local music store, and what is more, you’ll be getting what is most valuable for a new clarinet player: that extra set of educated ears. If you get lucky, you’ll learn more in that one lesson than all the Buffet has taught you.

Good luck to you.
Best regards,
Sherman

Ridenour Responds

Ridenour Responds
SW wrote in to ask about the Ridenour clarinet, one which he favors buying. However he has some of the facts a bit out of order. I wrote to TR and this is his response.
“Yes, Sherman, thanks for giving me a chance to clarify–this fellow is confusing my clarinets with the Ridenour 147 sold years ago by Brook Mays.

Dear Mr. Friedland:

Hi, I am looking to buy a new clarinet since I’ve had my Yamaha YCL-250 for years now. I don’t know if I should get a Buffet E-11 or a higher end Yamaha, etc. My strongest choice so far is the Lyrique RCP-146 but I’m still not sure about it because I’ve heard both good and bad things about it. I’ve heard that since it’s hard rubber it won’t crack or anything and the tone is good.
The RCP-146 is ABS body with a hard rubber barrel. The sound is remarkably good and it plays extremely evenly. It is more of a Buffet style clarinet, but much, much more even and an excellent scale–very good 12ths. The 576 has more warmth and depth and tonal core over all. This clarinet has nothing to do with the TR147 of years ago.
All the accurate info can be found at:
http://www.ridenourclarinetproduc0ts.com/146Bb.html

But I’ve also heard that the lower notes are a bit off, also that the A is not lined up correctly (I’ve heard this to be a problem on many, but it doesn’t effect performance at all so I’ve heard) and some problems with the thumb rest.

This is nonsense– misinformation. One customer (in hundreds) writes something on the internet about one thing not being to his or her taste and all of a sudden that becomes “a problem” with the model—even though no one else has ever complained. In fact, I’ve never hear of this. in regard to “the lower notes”–they tune much better than any Buffet I’ve ever played.

I don’t really want to spend a lot, I want a durable good clarinet.

Why do so many people believe that wood clarinets are better than ABS or Hard Rubber clarinets?
Because they’re not educated to the facets of hard rubber—
Is there going to be a new model soon and I should wait a bit?
None is planned.
Also what is the difference between the custom made 576BC and the RCP-146? Sorry for asking all these questions, I’ve never really looked into buying a clarinet before, I’m still in 8th grade and want a clarinet that can last me and perform well compared to other clarinets throughout High School and College.
Either the 576 or 146 would fill this bill.
thanks,
Tom

I would recommend that all who have not, read the article “The Myth of Grenadilla”, by Tom Ridenour.

All will be explained in that article and , while ebonite has been around for years, he is the first to design an ebonite instrument which is really in tune. The sound or response of hard rubber is more dulcet and dark than is wood, which is a fact. Wood has been in vogue for years; this quality hard rubber instrument design and horn is relatively new on the market. While people who play wood are not necessarily “idiot”, there are many idiots who play rubber and many that play wood, so the idiot factor is even.

Keep practicing. I favor Mr Ridenours horn because they are best in tune and the best response and the biggest bargain in the industry. Take that to the bank!

sherman

Mouthpiece coverings, teeth pads

Dear Mr Friedland,

Will teethpads on a clarinet mouthpiece (i.e. Vandoren Bb B45) significantly alter its playing characteristics or the player’s embouchure?
Many saxophone players use them, however, I can’t recall any clarinet players.

Thanks,
ODC

Dear ODC:
If you mean the pads that one acquires to cover the mouthpiece and protect the teeth from either moving on the mouthpiece while playing, and/or scratching it, the answer is that in no way does the placement of mouthpiece pads alter the playing characteristics or the players embouchure, accept perhaps, in making it more secure. Most clarinetists do indeed use them , if I’ve taken your meaning properly. But, there are differences in thickness, which can lessen vibration and give the illusion of more comfort. I have always used them, but I find the thinner the covering, the more I feel the response is not hurt, but enhanced. Since we get a lot of the sound through bone conduction (teeth), this can be made more amenable through a mouthpiece pad, (really a covering). I’ve found that saxophonists use a thicker covering than do clarinetists.
But I wonder if you perhaps meant “teeth pads” as covering the lower teeth for approximately the same purpose: lessening the vibration, and in an ancillary manner,diminishing discomfort from biting. In this area I have had considerable experience and know other players who have had discomfort from biting. Biting is either caused by the jaw not pointing down , away from the reed, as part of the embouchure, the use of a reed which is too resistant for the embouchure, and/or taking in too much mouthpiece. There are several remedies for biting. One, which I’ve seen many players employ, is having there lower teeth shaved down, perhaps because they have crooked or sharp lower teeth. This can help. however these players usually have other habits which contribute to the problem. Or they have a dentist make an impression of their lower teeth and then fashion a thin piece of either gold or silver which fits over the lower teeth perfectly and helps to alleviate the biting. Then there are those who simply moisten a piece of cigarette paper prior to playing and carefully fit same over the lower teeth.

Actually, in all of the above, proper embouchure is always the best solution, for some more easily achievable than for others. The pad on the top of the mouthpiece keep vibration absorption down and the mouthpiece from getting disfigured.

Keep practicing.

sherman