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Music Industry News to 2011
Welcome to the Industry News Page
This feature on the WKA site provides new offerings and important product and service news for the Clarinet
Community. All firms with new products are encouraged to submit information so the Clarinet world can be made
aware of innovations and developments that can enhance their performance and educational goals and interests.
Please send articles to Mike Getzin, WKA CEO
10 October 2011
Philippe Braidy (President of CDC Entreprises) and Pascal Lagarde (General Manager of CDC Entreprises) awarded the trophy during the annual forum.
The prize is handed out to 8 CDC affiliated investment teams as well as 3 businesses.
“We are proud to have received this award from CDC Entreprises” commented Antoine Beaussant, President of Groupe Buffet Crampon.
Buffet Crampon is pursuing it’s activity with strong positive growth. Thanks to the 2010 acquisition of W. Schrieber and J. Keilwerth, Buffet Crampon became the world’s number two wind instrument manufacturer.
Buffet Crampon is the leader in wind instrument manufacturing thanks to it’s management buy-out (MBO) by the investment fund Argos Soditic. Founded in 1825 in Paris, the Buffet Crampon group, implanted in France, Germany, USA, Japan and China is made up of 530 employees and has a turnover of 67 million euros, 94% of which is international. The group manufactures 60,000 musical instruments per year under the brand names Buffet Crampon, Antoine Courtois, Besson, W. Schreiber and J.Keilwerth.
The group’s positive performance is actively pursued with the support of CDC Entreprises and it’s Culture & Heritage funds.
Buffet Crampon as a French Living Heritage Company:
In 2011 Buffet Crampon was awarded with the highly distinguished label Entreprise du Patrimoine Vivant (Living Heritage Company, or EPV) as a mark of recognition of the French Ministry of the Economy, Finance and Industry, put in place to reward French firms for the excellence of their traditional and industrial skills. Awarded for a period of five years, the label brings together producers committed to the quality of their trades and products.
1 October 2011
This recent barrel innovation which has caught popularity in Germany is available for both German and French Boehm system instruments. Unigue is the tuning itself is controlled by turning the center ring on the barrel to shorten or lengthen it to proper pitch as conditions change in performance. Information on ordering is available on the above website.
10 August 2011
from ClarinetFest, Northridge, California USA
11 July 2011
Workshop for hand-crafted
Obere Königstr. 15, 96052 Bamberg, Germany
Tel: +49 (0) 951/22528 Fax: +49 (0) 951/2082653
WKA Artist VIP Shirley Brill on her SCHWENK & SEGGELKE's French Boehm System C2000 Boxwood Clarinet
SCHWENK & SEGGELKE's French Boehm System Clarinet
After many years of experience in adapting industrial Boehm clarinets to the desires and needs of various professional musicians Werner Schwenk and Jochen Seggelke took on a new challenge last year: An internationally known solo clarinettist commissioned them to develop a French bore Boehm clarinet. The instruments he had been playing for more than 20 years served as a base. SCHWENK & SEGGELKE revised the tone hole positions and the bore in such a way that they now offer instruments in Bb and A that will satisfy the demands of top clarinettists.
All clarinets by SCHWENK & SEGGELKE are custom-made and open to special
requests. A clarinet of your personal design? Contact us!
Unlike in industrial production, the making of a hand-made clarinet means about 80 hours of work. These are spread out over a period of 3-4 months, deliberately giving the wood time to rest between the individual production steps. This is why we, unlike the industry, cannot provide shelves full of finished instruments to pick from; but that wouldn't be necessary as we put a lot of care into every single instrument. However, we always keep a choice of barrels and bells on stock, as both can influence the behavior of your clarinet. Take your time in picking the combination that is right for you. Your clarinet will feel right and will make you happy for many years.
11 May 2011
The Clarinet Web Site
Andrew Roberts Clarinet Service
The aim of Andrew Roberts Clarinet Service is to offer the discerning player an instrument that will truly play to its highest potential.
Showing how good, or bad, the airtight seal of any clarinet has been a problem, until now.
With the exciting news of the arrival of a Magnahelic testing machine at the workshop of Andrew Roberts Clarinet Service, clarinettists can now see for themselves the results of their investment!
The arrival of this testing machine will allow any customer to see the state of their instrument on arrival, and to see the percentage improvement that will result from the service.
Unlike other testing devices, this machine produces a positive air pressure (which closely resembles the players air input) in the sealed clarinet, and will show the degree of leakage in each joint.
After many months of planning and hard work, Andrew Roberts Clarinet Service (ARCS) now has a brand new machine shop, including a lathe and a milling machine, in addition to the existing workshop. This will allow an even wider range of customisation and improvements to all clarinets. Do read the recent reviews from previous customers, they speak for themselves.
ARCS now has new facilities to offer custom keywork and re-plating on site. The photos show the extension of 3 Buffet bass clarinet keys, including the re- shaping of the thumbrest.
With many years of experience working with world class experts, including at production level in the Leblanc factory, ARCS now offers the best available advice and practical help in solving problem notes on your clarinet.
Re-tuning on all of the full range of clarinets, including tone hole re-positioning/replacement is now offered. The cost will be discussed with you in advance based on your requirements and is charged at £40 per hour.
Photos show the replacement of a tone hole on a basset horn with a chimney to cure the flooding of the throat B flat, a common problem, solved by this procedure with improved intonation at the same time!
Background to Andrew Roberts
The acoustical and mechanical design of the clarinet has always fascinated Andrew and so it has been a great privilege for him to be able to work along side some of the world's experts in this field for more than 10 years.
Through his work in the clarinet production facilities in both France and the US, Andrew has tried and tested hundreds of clarinets and accessories, enabling him to acquire an up-to-date working knowledge of new developments and ideas. He has been able to assist hundreds of clarinet students and professional players through his clinic days and Summer schools.
He has learnt to maintain, improve and overhaul clarinets with the help and encouragement of master craftsmen like Tom Ridenour (USA), William Simmons (UK) and Wolfgang Lohff (Denmark).
Why is this service special?
The importance of the airtight seal in any woodwind instrument is critical, yet many clarinet players have never actually tried a clarinet that has a true seal. The symptoms that would indicate a problem with a clarinet include difficulties with high notes speaking freely, resistance (requiring more effort to blow) and squeaking. Often players attribute these difficulties to lack of control or even ability. However, a properly set-up instrument will allow the player to concentrate on the music and performance, leaving the player wondering why they waited so long for such an overhaul.
The advantages of a reliable key-work action and an airtight seal transform the instrument and thus producing greater enjoyment for all players.
Andrew’s ability to assess the problems with any clarinet, and test the finished instruments to the highest standard, makes this service unique.
This service will aim to deliver instruments that will out perform any factory standard instrument.
Checks made include:
How to book the service
To access this service, and to ensure customer satisfaction, there is a quick Internet booking facility for overhauling and improving clarinets at a reasonable cost, with a commitment to the completion time.
If you are unsure whether your instrument needs an overhaul, a unique "testing service" is available for a minimal charge of just £25 or €35 (plus return shipping charges). This will provide the owner with a detailed report of the work required, and will involve some oiling and small adjustments.
To achieve this standard takes many hours of detailed and precise work, and unlike any other repair facility, you can actually see the improvement on our Magnahelic testing machine. This will show the amount of leak your instrument has on arrival and the complete airtight seal completion of the work giving you the satisfaction of knowing the work has been undertaken and that you now have the best possible instrument to improve your performances.
The overhaul costs including the above detailed work are as follows:
Other work charged at specific rates:
There is a currently a waiting list so customers are advised to book early.
To discuss your needs further, contact Andrew Roberts via firstname.lastname@example.org or via his UK personal telephone +44 7968 555 534
"My clarinet had been
becoming progressively hard to play over about three years. Andy
repaired a small crack, as well as replacing corks, felt, pads, work
on tone holes etc. It now feels and plays like a completely
different instrument - extremely quiet mechanism, blows freely,
overall feel of the instrument - and he even improved things which I
didn't realise needed improving! Excellent - thoroughly recommend it
(and already have!)."
"Les Craven had told me
about Andy's unique method of overhauling clarinets at a time when
my E flat was in need of repair. When I got it back it was literally
like a different instrument - far better than new. It is testimony
to how pleased I was that within 2 weeks of this I had booked in my
B flat and A clarinets for the same treatment. I now have them back
and they are playing better than I knew clarinets could play. Now
that Andy has attended to all the sealing and venting I feel that an
obstacle between myself and the music has been removed. It is his
attention to tiny detail that makes the huge difference. I would
recommend this service to anyone who is serious about getting the
best out of themselves and their instrument."
"I would like to recommend
the clarinet overhaul to any professional clarinettist. Andy's
service is excellent; it covers every single aspect with great
detail and care to ensure that the instrument plays to its full
potential. Now my clarinet is air-tight it allows me to persuade it
to play in the way that I want it to. It responds instantly at all
ranges and dynamics and is no longer stuffy and resistant The main
difference is being able to perform without being distracted by the
flaws of the clarinet-I no longer have noisy keys or poor intonation
that I have to compensate for. Thework on the tone holes has
improved the intonation vastly and it is such a nice change to play
a clarinet that is actually in tune! Aside from the brilliant
technical work, Andy sent my clarinet back beautifully polished and
looking brand new!"
"I almost didn’t believe
they were my clarinets when I opened the box - they looked at least
10 years younger! Andrew has done a great job with my Selmer Recital
clarinets. I am very fond of these instruments, but after 15 years
of heavy professional use, they were getting to the stage where I
thought they might be approaching retirement if something wasn’t
done soon, and now they have been given a new lease of life. On an
aesthetic level they look wonderful. I have had quite a few keys
re-plated and the rest have been polished to a lovely shine. But the
best improvement is in their feel when I play. Andrew has regulated
the key-work and springing so that they feel even and responsive,
without any slack. The pads seal perfectly so that the instruments
respond immediately at every dynamic level.
'I instantly recognised a
vast improvement when playing my clarinet after Andrew's overhaul. I
could finally hear my true sound without the interference of the
clicks of keywork that I previously had, and with this I am able to
achieve a lot more variety to the colour of sound. The perfect seal
that Andrew has achieved enables legato lines over large leaps very
smoothly. I would recommend this service to any serious minded
When I attended the
Clarinet Summer School last year I was thinking about changing my
clarinet. Many people, including Les Craven commented on the nice
tone of my instrument, but it was a shame that it didn’t seal very
well, amongst other things!
" I certainly noticed the
difference to my elderly 1010s after Andy's extensive overhaul. Not
only did the clarinets look much better, but the tone seemed more
mellow and focused. The intonation of a few notes which I had
previously been unhappy with was improved, and the sound seemed
freer, particularly in the altissimo register. This was definetely
money well spent."
"Since having my clarinet
overhauled by Andrew Roberts I have noticed a huge improvement in my
instrument's performance and, as a result, my standard of
performance. I hadn't realised that my ten year old Leblanc Opus had
so many small imperfections that were making my life as a musician
more difficult than it needed to be.
"I'd like to
whole-heartedly recommend Andy's clarinet overhaul service. Like
many, I was sceptical to begin with, as I've had my clarinet looked
at several times at different places. With a fair amount of money
spent so far, I didn't know if it was worth trying again.
Nevertheless, as I am starting a short one-year postgraduate course,
I felt it was worth a shot, and can honestly say I am really
Terms & Conditions for repairs/overhauls
Payment is due as soon as work is completed and an invoice has been issued, normally we would expect payment within 7 days.
Collection and delivery can be arranged, usually with DHL, at the customers cost. Collections will require someone to be available during the day between 9am-5.30pm.
Insurance cover for the instruments is the customers responsibility, both for shipping, and during the time they are in the workshop.
Instruments and mouthpieces are available on a trial basis for one week after receipt. Should they be returned to ARCS, the customers will be asked to pay the shipping costs for delivery and return. Any items damaged in transit must be immediately reported on receipt.
The 3 year warranty does not cover any cracking of the wood body or barrels or the keywork plating.
6 May 2011
Nuestadt a. d. Aisch, Germany
Important Ordering Details
At Wurlitzer, we realize that a professional clarinet demands a mouthpiece of equal quality.
Unlike the manufacturers of mass-marketed factory clarinets, we refuse to sell substandard mouthpieces with our instruments. The Wurlitzer tradition of excellence and accumulated knowledge dates back seven generations. All current Wurlitzer Reform-Boehm mouthpieces are made with German bores.
We highly recommend the new WZ (Wurlitzer-Zeretzke) models. WZ2 = Pure, German sound. 3WZ = Open, American/International sound (with a Vandoren V12 #3 Reed).
|A and B-flat Soprano Clarinets||
|"Heirloom" mouthpieces. Unique examples in the private collection of Charles Stier or those consigned by collectors or professionals.||
French mouthpieces will not fit in Wurlitzer
Reform-Boehm barrels and do not match with
Wurlitzer German-Reform-Boehm bores. Even the finest French mouthpieces
will cause the Wurlitzer Reform-Boehm clarinet to "back up" and will
play out of tune (typically by spreading the 12ths too wide). We
recommend the Wurlitzer WZ2, 3WZ and the excellent Hans Zinner
German-Reform-Boehm "George Pieterson Model" mouthpiece. All are
designed to be played with either the traditional
ligature or with a metal ligature.
Vandoren White Master No.3 or 3.5 reeds are also recommended. 3WZ's are
designed to be played with French cut Vandoren V12 reeds No.3.
Since opening, we have received queries from many clarinetists hoping to get closer to the Wurlitzer sound, yet unable for either professional or financial reasons to change their instruments. For them we offer the new Wurlitzer/Komsta mouthpiece and barrel combination; a system enabling French clarinet players the flexibility of a Wurlitzer mouthpiece for the first time.
Barrels are hand crafted by custom designer Wojciech Komsta, made specifically for each clarinet. When ordering, please specify:
Mouthpiece Material and Color: Wurlitzer mouthpieces are either solid black (see middle mouthpiece below) or have a "smoky" transparency (see above). Both are made out of the exact same type of acrylic. There is no difference in sound or design, the black ones simply have more color added to the "mix."
|Photo comparison of a legendary Kaspar mouthpiece with Wurlitzer and Zinner models for the Reform-Boehm.|
|left to right:|
While French-playing clarinetists seek to recapture the sound of the classic Kaspar and Chedeville mouthpieces through various reproduction attempts, there are superior contemporary options available to every clarinetist once the switch to the Wurlitzer Reform-Boehm is made. The Wurlitzer tradition is your solution.
|return to top|
5 April 2011
Springfield, Missouri USA
Vandoren introduces Revolutionary Masters Mouthpiece
Vandoren announced the launch of a revolutionary new mouthpiece at this year’s winter NAMM show in Anaheim, CA. The mouthpiece is a radical new design not seen in any previous Vandoren models. The outer shape of the mouthpiece is conical providing more room to redesign the chamber which is unlike any chamber Vandoren has designed. The outer shape is so unique that it requires its own specially designed M|O ligature. No conventional ligature will fit the conical design.
The Masters mouthpiece comes in two facings; the CL4 and CL5. “It’s an extraordinary step,” commented Vandoren artist relations manager David Gould. “The design is so unique it will take the clarinetist a little longer to adapt to it. But once they do, the rewards are really huge.”
For more information consult www.vandoren.com
10 September 2010
Links | AGB
21 July 2010
23 June 2010
Herbert Wurlitzer and Sabine Meyer
Many people ask us why they should spend so much money on a clarinet. The truth is - you don't need a Wurlitzer Clarinet to make good music. In fact, if all you want is "playing the clarinet" you probably shouldn't buy one. We would advise you to buy a cheaper clarinet and spend the rest of your money on something else because you will probably get more out of it that way.
Why then should you play one of our clarinets? - There is always a difference between "good" and "great" in life. A lot of people settle for "good" and there is nothing wrong with that. It is just that those who truly inspire us are the ones who strive for the best and who will not rest until they have achieved that. If you happen to be a musician on that path we are sure that we can help you. We would be more than happy to support you with our expertise in clarinet making.
There are a lot of good arguments for why you should get a Wurlitzer but we think that it is best for you to experience for yourself. You can listen to artists who play our instruments to get an impression of the amazing sound that you can produce with them. We do not want to openly advertise anyone here so if you are interested, just ask us for examples of recordings that were done with Wurlitzer Clarinets. The best way to experience our instruments is of course trying them out yourself. Just let us know when you would like to visit us and we are happy to arrange that for you.
© All Rights Reserved, 2010, Cherry Valley Communications, Inc., d/b/a
Wurlitzer Clarinets America
photography by Michael G. Stewart
The Worst Enemy of ‘Great” is “Good”
We have always had one aim. We strive to deliver musicians the very best instruments to enable them to unleash their full potential.
Our company has never tried to sell as many clarinets with as much profit as possible. There is nothing truly inspiring about that. Passion for music is what drives composers and musicians to give their very best. We believe that they deserve instruments that were built with the same passion. That is what motivates us every day.
The essence of our success is that we make every clarinet a masterpiece. Every Wurlitzer is handcrafted in Germany which makes every single instrument unique. The process of making a Wurlitzer takes more than 10 years so you can be sure that when you hold it in your hands there is not the smallest detail on it that we have not paid attention to.
26 August 2009
25 October 2008
The Limité clarinet (not to be confused with the Limited) is considered a professional clarinet, right below the R13 in the BC professional pecking order. It is made at the same factory as the R13 in France, is made from African black wood and has silver-plated keys. Bruce Marking has played some that he said played every bit as good as an R13, so they are a great alternative for someone that is looking for a Buffet Crampon professional clarinet but can’t come up with the money to purchase an R13.
27 August 2008
A serious aspect of musical development besides the lesson studies, physical technical development, musical performance in several venues, and more, is the importance of listening to music through live performances and recordings. In the last few years, technology has advanced to the point where listening and recording has become state of the art. When the Digital era started 30 years ago, it revolutionized the entire professional mastering field. In 1981 when Sony introduced the now legendary PCM F1, the unit, consisting of a book-side processor matched with a Betamax SL 2000, same size, about destroyed the Analog recording industry with specifications 30+% better than analog recordings with Dolby and DBX Noise Reduction (for reducing hiss- Signal-Noise Ratio). These PCM F1 units cost $2000 plus the SL-2000 for another $800. Analog studio machines cost about $6000+ depending on features. Add the Mastering Tape on 10" reels running at 15 or 30 ips (inches per second), the cost was very high to make recordings of Studio quality. In the last year, a new era of Digital Recording technology has made its mark again. A new unit called the Sony PCM D50, a handheld unit utilizing microchip technology, and costing only $500, delivers specifications even hotter than the Sony F1 including 96 KHz oversampling, over double that of what is recorded on CD's. The unit includes built in Stereo XY Condensor microphones, making the unit perfect for concerts, rehearsals, lessons, practicing, and more. The unit weighs less than 1 pound. It is highly recommended for every player, teacher, as it can make for music progress in an accelerated way.
The Wave® music system is engineered with waveguide speaker technology to deliver enhanced audio performance. The Bose® Wave® music system is setting a bold new standard for tabletop systems, and may well become the primary music system in your home.
Another Tech aspect is the availability of playback systems for listening. Many students are financially limited, and need a music hi-fi system at a good price for the performance. There are obviously many of these systems that can be purchased at a hi-fi store, and one that has become very popular by its small size and all inclusive design that can be placed on a desk is a BOSE Music Wave System, costing about $500. Information on the company websites.
15 April 2008
15 September 2007
Introduction of Tom Ridenour Lyric Clarinets
much research and careful testing with the 'from the ground up' design percepts,
Tom Ridenour has made available these formidable clarinets, made from Hard
rubber rather than
wood, possibly proving that wood based on physiological characteristics is
not the only answer to tone quality production. These clarinets will not
crack under extreme temperature conditions, produce a tone equal to a wood
clarinet, and in addition as the above gallery photos indicate, improvements in
the key mechanism and its contribution to the final product. Of great
interest is the price which is much less than competing clarinets given its
quality. Serious students and pros should check these instruments
and note that Mr Ridenour is a major player as a performer as well as a designer
and repair tech. For an interesting review analysis of these new
Clarinets, check a review by
Craven, Solo Clarinetist in the National Welsh Opera Orchestra.
11 November 2006
Luis Rossi Clarinets
Clarinet maker wows world - Virtuoso's wares made
to order $4,400 price tag reflects his expertise
Workers in a small adobe house in a gritty area of
downtown Santiago are quietly producing what many musicians consider
to be the world's best clarinets, carving out a niche in a global
trade dominated by two or three big manufacturers.
The workshop of Argentine-born virtuoso clarinetist Luis Rossi is
midway down a tidy lane of one-storey row houses, its exterior giving
no clue to its importance in the rarefied world of professional
The shop in Chile's capital is nearly silent as seven workers
concentrate on forming wood and metal into concert instruments.
The painstaking work contrasts with the mass production of the big
clarinet makers. They include global giant Yamaha of Japan, which
sells nearly $3 billion worth of musical instruments annually, as well
as Leblanc and Selmer, owned by U.S.-based Steinway.
"In a world dominated by two or three large manufacturers this is an
example of a small-scale business succeeding, and the reason he
succeeds is because his instruments are so good," Jane Ellsworth, Ohio
State University music history lecturer and Kenyon College clarinet
instructor, said of Rossi. "It's a real miracle."
Rossi, who is in his 50s, has built a loyal following over the last 15
years among major symphony orchestras, leading conservatories,
acclaimed soloists and recording artists.
Musicians wait more than a year for a Rossi clarinet and pay upward of
$4,400. They say he is the only manufacturer who combines being a
world-class performing artist with such a vast store of technical
"There is nobody else," said Howard Klug, recording artist and
professor at the Indiana University school of Music. "It's an unusual
Rossi uses African blackwood from Mozambique for most of his
clarinets. When the instrument bodies are complete they are given a
10-day oil treatment, which crystallizes, and is then buffed into the
traditional lustrous black finish that gives the mistaken impression
clarinets are made of ebony.
"Paquito" reads a label on one of the wooden tubes, which dry for
years in the shop before they can become clarinets.
"Paquito D'Rivera wants us to make him a clarinet. It's amaranto wood
from Costa Rica," Rossi said. D'Rivera, an acclaimed Cuban jazz and
classical musician and winner of five Grammy awards, already owns
three Rossi rosewood clarinets.
"The amaranto has been here for a year, and we'll see, it will depend
on how impatient Paquito gets. We'll try to make him wait," Rossi
said, explaining that his five-year natural drying process makes the
instruments more stable than the three-day kiln-drying process of
Another difference in Rossi clarinets is the one-piece body design. It
is harder to produce, but unlike the standard two-piece design, makes
it possible to place toneholes exactly where they belong for accurate
After the clarinets are built, Rossi puts each instrument through a
rigorous two-week process of testing and final adjustment. Rossi
clarinets, including 10 different standard models, as well as custom
instruments, are built to the specifications of individual performers.
13 August 2006
TYRO Clarinets from Mitchell Lurie - New Product Introduction
The Finest Clarinet in its Class
by Mitchell Lurie is a premium-level student
clarinet. This instrument was designed under the direct guidance of Mitchell
Lurie, the world-renowned teacher and performer. Mr. Lurie's design concept
was to create an instrument that allows the student musician the best
opportunity to learn and advance, "without the problems of a troublesome
TYRO: The Finest Clarinet in its Class
20 May 2006
Buffet-Crampon USA Grand Opening
Jacksonville, Florida USA
A momentous celebration convened earmarking the headquarter position in the United States of this great company in its distribution of its clarinets and other products. The attendance included corporate and dealers, and many of the star clinicians, active professional players from many Orchestras in the US, including the New York Philharmonic, the Rochester Philharmonic, the Buffalo Philharmonic, the Philadelphia Orchestra, and more. During the time of this event, the interaction between the guests and the positive regard for the company was well poised with musical activity provided by students from the University of Florida Clarinet Studio under Professor Mitchell Estrin, who also is Creative and Educational Manager for Buffet-Crampon. Paul Baronnat, President of Buffet from Paris, and regarded as a savior for the firm in the past year, presided in ceremonies opening this facility and made presentations as shown above in the galleries.
It is a rare event to have in presence such luminary musicians in attendance. Special note and distinction was made to Stanley Drucker, the legendary Solo Clarinetist in the New York Philharmonic. Having performed in this Orchestra for 58 years with his track record is unheard of. A chronological history of his career was posted along a wall detailing his accomplishments.
Other great players and dignitaries included Donald Montanero from the Philadelphia Orchestra, Robert DiLutis from the Rochester Philharmonic, Patti DiLutis from the Buffalo Philharmonic, and New York Philharmonic members Mr Drucker, Mark Nuccio, Pascual Martinez Forteza, Stephen Freeman, Jon Manasse, Eastman faculty and Solo Clarinet in the American Ballet Orchestra, and several others to be named.
This was a memorable event celebrating a great firm and a loyal list of players. Credit is due to Francois Kloc, US Artist Director, Paul Baronnat, for his efforts to reinforce the future of the firm, and the many involved in their loyalty to keep the company strong to the faith of its customers.
April 10, 2006
News Release – Forte’ Instrument Group, Atlanta GA
Sharon Henderson 770-381-0092
The G-H Corporation, Forte’ Instrument Group announced that it will be
introducing the Forte’ C clarinet at the Oklahoma Clarinet Symposium in June
2006 and ClarinetFest 2006 in Atlanta, August 2006. The Forte’ C in the key of
C joins the Forte’ Bb clarinet from the Forte’ Instrument Group as the newest in
their lineup of revolutionary / evolutionary clarinets.
The “C” clarinet is unique among the clarinet family because it is described as
having a tone closest to the human singing voice and can take advantage of the
huge repertoire of music written for the piano.
The Forte’ C clarinet is a professional level clarinet offered initially in hand
selected Grenadilla wood, silver keywork, and with two tuning barrels especially
designed for the clarinet. In addition to the acclaimed Forte’ features which
include the patented no-jam bridge key, ergonomic key modifications, SOFAS
bridge key alignment system, and strategic key strengthening elements, a new
innovation – TRAC (Tuned Resonance Acoustic Chamber) has been added to
the scientifically designed bell to clarify intonation of the low notes, facilitate
crossing the break, and adding a wider more colorful sound pallet for the player.
“We are pleased to offer a truly affordable high quality Forte’ C clarinet to our
lineup and our prototype testing by experts has far exceeded our expectations in
performance, sound quality, and playing characteristics. We had trouble getting
the “little” clarinet back from the expert testers who wanted to keep it for concerts
and performances right away.” stated Dr. L. Omar Henderson, CEO of the Forte’
Instrument Group. “Many professionals that have tried the Forte’ C say that it
plays like a little Bb clarinet without the shrillness and tuning problems associated
with even the most expensive “C” clarinets on the market today costing 2,4 or
even 8 times as much” said Dr. Henderson.
Graham Golden, CMO of the Forte’ Instrument Group stated, “our goal of
producing a high quality “C” clarinet at an inexpensive price is realized in the
Forte’ C and plans for introducing the Forte’ C in a composite material will
probably come in early 2007.” “There is a huge resurgence in the market for “C”
clarinets among the expanding ranks of senior players that want to play music
with friends, at social gatherings and church.”
Copyright © 1999 WKA-Clarinet.org. All rights reserved.
Revised: January 10, 2013