CLARINETS
Like my saxes, I've put quite a lot of time and effort into getting solid clarinets that perform reliably and have the tonal characteristics I want. I can't say they're all lifetime horns yet, because now that I'm taking a real clarinet lesson with a great teacher, my concept of clarinet tone and tone production is still evolving.
MORE DETAILS AND PICS COMING SOON ...
B-Flat Soprano
Amati ACL-314, c. 2003. This is a full-Boehm in every respect, except it only goes to low E The price was right so I originally bought it as a backup to the Selmer CT, but I've switched to this horn for all my clarinet playing, because (a) the finger holes are smaller and easier to cover, (b) the resistance is more even over the range of the horn, and (c) the tone just seems a little more "classical" than the Selmer CT. It's also easier to play in tune than the Selmer, although it plays flat if I use the Amati 63.5mm barrel that came with it. I've got an old Pedler on there now that seems to be the right length, but the bore is clearly a mismatch with the horn -- it's bigger than the clarinet bore, and seems to be a rougher tone quality. I guess I need to get the original barrel cut down in length. The throat B-flat is much stuffier than the Selmer, so I'm still trying to get used to that. I'm playing a Vandoren M30 mouthpiece, with the Rico Grand Concert Evolution reeds.
A Soprano
Selmer Paris, c. 1925. This is a full-Boehm system with low E-flat. This one was an eBay "special" (i.e. it really needed a lot of work) but I have it with Eric Satterlee at Meridian Winds for a full restoration. Looking forward to getting this back in ready-to-play condition.
Bass
Selmer Paris Series 9, c. 1965. Grenadilla body, nickel plated hardware. It's got a few bands on the upper joint, but man, this is a big tone monster. Really dig this horn!
Backup B-flat Soprano
Selmer Paris "Centered Tone" c. 1958. Full-Boehm system with low E-flat. This is a very free-blowing clarinet, but it's pretty hard to tame the tone down into a "classical" sound. I may sell it, or I may keep it around for jazz playing -- haven't decided yet.
B-Flat Soprano
Amati ACL-314, c. 2003. This is a full-Boehm in every respect, except it only goes to low E The price was right so I originally bought it as a backup to the Selmer CT, but I've switched to this horn for all my clarinet playing, because (a) the finger holes are smaller and easier to cover, (b) the resistance is more even over the range of the horn, and (c) the tone just seems a little more "classical" than the Selmer CT. It's also easier to play in tune than the Selmer, although it plays flat if I use the Amati 63.5mm barrel that came with it. I've got an old Pedler on there now that seems to be the right length, but the bore is clearly a mismatch with the horn -- it's bigger than the clarinet bore, and seems to be a rougher tone quality. I guess I need to get the original barrel cut down in length. The throat B-flat is much stuffier than the Selmer, so I'm still trying to get used to that. I'm playing a Vandoren M30 mouthpiece, with the Rico Grand Concert Evolution reeds.
A Soprano
Selmer Paris, c. 1925. This is a full-Boehm system with low E-flat. This one was an eBay "special" (i.e. it really needed a lot of work) but I have it with Eric Satterlee at Meridian Winds for a full restoration. Looking forward to getting this back in ready-to-play condition.
Bass
Selmer Paris Series 9, c. 1965. Grenadilla body, nickel plated hardware. It's got a few bands on the upper joint, but man, this is a big tone monster. Really dig this horn!
Backup B-flat Soprano
Selmer Paris "Centered Tone" c. 1958. Full-Boehm system with low E-flat. This is a very free-blowing clarinet, but it's pretty hard to tame the tone down into a "classical" sound. I may sell it, or I may keep it around for jazz playing -- haven't decided yet.
