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.
The
latest addition to Sony’s family of portable
audio recorders, the PCM-D50 recorder adopts
many of its features and style from the highly
acclaimed PCM-D1 model, including rugged
construction and cool design. It’s the ideal
choice for making live musical, nature sound and
field recordings. The PCM-D50 is a 96 kHz/24-bit
recorder fitted with two-position (X-Y or Wide)
stereo microphones, 4 GB of internal flashmemory
and a Memory Stick Pro-HG Duo™ slot for
additional storage. Operating on four AA
alkaline batteries, it provides 14 hours of
record operation at 44.1kHz 16bit recording.
Unique features such as a two-position stereo
microphone, a prerecord buffer that records five
seconds of audio before hitting the record
button, digital pitch control, and A/B segment/
repeat offer great portable possibilities for
songwriters, musicians and journalists. To
complement the PCM-D50 recorder, new optional
accessories include a remote control, tripod
stand, and microphone windscreen.
Superb Recording
Quality
The PCM-D50 is a 96kHz/24 bit linear
recorder that records in standard .WAV
file format and surpasses standard DAT
sound quality. A low signal-to-noise
ratio provides virtually noise-free
recording quality.
Expandable Memory
With a 4GB built-in memory, the PCM-D50
records up to six hours when recording
in 44.1kHz 16bit CD quality mode. And
the Memory Stick Pro-HG Duo Slot
provides up to 4GB memory expandability.
Built-in Microphones
The PCM-D50 recorder comes equipped with
a high sensitivity, built-in,
two-position electret condenser stereo
microphone with flexible rotation for
either X-Y or Wide stereo positions.
Playback Functions
The PCM-D50 recorder provides MP3
playback, a special Digital Pitch
Control feature that slows down playback
without changing pitch, and an A/B
segment repeat feature that allows you
to mark and repeat segments.
Versatile Recording
Functions
The Dual Digital Limiter feature helps
prevent distortion, a pre-record buffer
records five seconds of audio before
hitting the record button, and Super Bit
Mapping technology helps achieve, wide,
dynamic range.
PC/Macintosh Compatible
The PCM-D50 utilizes a simple drag and
drop file transfer via high-speed USB
connection.
Rugged Construction
Constructed of lightweight metal
(aluminum), the PCM- D50 recorder is
built rugged to withstand the demands of
pro applications.
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.
Hear what people are
saying about our newest tabletop music
system
Learn more»
Popular Science called the original Bose® Wave® radio "a sonic
marvel." Now, the Wave® music system builds on the
achievements of its acclaimed predecessor to set a
whole new standard in audio performance, simplicity
and elegant design. This innovative music system
provides lush, room-filling sound from a system so
small and simple to use, it fits almost anywhere.
Enjoy crisper, more
accurate sound with the Bose Wave® music system
The Wave® music system reproduces one-half octave
lower musical notes and delivers even greater
clarity and definition than the original Wave®
radio/CD. With its deeper tones and even more
lifelike sound, you might just feel like you’re
sitting in the front row.
Inside, our new
proprietary waveguide speaker technology
combines with other Bose® technologies to deliver
enhanced performance—at all listening levels. You'll
hear the same clear musical nuances whether you turn
the volume up or keep it soft.
You'll also enjoy the full depth and range of
every vocal or instrument on newer MP3s, CD-R/RWs,
and conventional CDs. Listen to CDs created on your
computer and take advantage of the new digital MP3
format to enjoy hours of uninterrupted Wave® music
system quality sound.
Wave music
system—simplicity by design
The Wave® music system was engineered to be
delightfully easy to use. There are no visible
buttons. Instead, the entire music system is
completely and conveniently controlled by a
credit card-sized remote control. And setup
couldn’t be easier. The CD player, digital AM/FM
tuner, amplifiers and speakers are all built-in so
you can enjoy quality sound right out of the box.
The large, bright display panel is easy to read
and understand, prominently displaying the artist,
title and album names of your suitably encoded MP3
CDs. It's also easy to enjoy the system's full, rich
sound with your iPod or MP3 player, computer, TV or
DVD player. And just plug into the headphone jack to
keep the music to yourself.
Elegance in a
distinctive design
The Wave® music system may look familiar, but it
takes the original award-winning design of the Wave®
radio/CD to new levels. With its absence of buttons
and a convenient slot-loaded CD player, the Wave®
music system is different from customary bookshelf
stereos. Its slim, sleek profile shines through to
complement just about any room.
You'll also enjoy more options for placing your
music system where its distinctive design looks
best. That's because the speakers are magnetically
shielded to prevent interference from TVs or
computer monitors.
Your
Wave® music system can even become part of an
expanded home entertainment experience. With
Bose® link, the Wave® music system is now
compatible with select Lifestyle® systems. So you
can easily extend your Bose listening experience to
multiple rooms.
It comes with a 30-day
excitement guarantee
We offer a 30-day risk-free in-home trial so you
can compare, side by side, the sound of the Wave®
music system to that of larger and more expensive
sound systems.
Quotes are reprinted with permission: Marcelle M.
Soviero, Popular Science, 12/93
Key
Features
Proprietary waveguide speaker
technology This Bose breakthrough builds on
the performance of original award-winning
technology, delivering deeper, richer sound from
a radio music system virtually the same size. It
produces one-half octave lower musical notes
than the original for more natural sounding
bassoons, cellos and drums.
Credit card-sized infrared
remote control This slim and easy-to-use
remote lets you conveniently operate every Wave®
music system function from anywhere in the room.
Slot-loaded CD player
Convenient, front-facing slot allows you to
easily load a conventional CD or enjoy MP3s from
a CD-R/RW. Simply slide the CD into the open
slot and the player automatically pulls it the
rest of the way. This sleek design allows for
greater flexibility with placement of the unit,
compared to traditional bookshelf speakers.
Similar Products to Consider
Wave® music system with multi-CD changer
Experience the Bose standard in audio
performance from a tabletop system as elegant as
it is easy to use. And enjoy extra hours of
uninterrupted CD music with the add-on multi-CD
changer included in this package.
Wave® music system with iPod® connect kit
Combines acclaimed Bose® performance and iPod
convenience in one handy package. Now it's easy
to enjoy iPod content through a Wave® music
system at the touch of a button.
Wave® radio II
Engineered to a bold new standard for crisper,
more accurate sound. The Wave® radio II is
simple to operate and small enough to use almost
anywhere in your home.
Acoustic Wave® music system II
Our top-of-the-line integrated music system.
Enjoy rich, room-filling sound that rivals
large, costly stereos from an easy-to-use music
system about the size of a briefcase.
Acoustic Wave® music system II with 5-CD changer
Our best one-piece music system, updated and
combined with our 5-CD changer for hours of
uninterrupted listening. Delivers even better
sound quality to large rooms and outdoor spaces
than its acclaimed predecessor.
Acoustic Wave® music system ll with iPod®
connect kit
Our premium one-piece stereo system can
transform your iPod listening into a rich,
shared audio experience—easily and elegantly.
The Acoustic Wave® music system ll with iPod
connect kit brings new life to your iPod
content-at the touch of a button.
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.
After
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
grenadilla
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
Leslie
Craven, Solo Clarinetist in the National Welsh Opera Orchestra.
Clarinet maker wows world - Virtuoso's wares made
to order $4,400 price tag reflects his expertise
LISA YULKOWSKI
REUTERS
SANTIAGO, Chile
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
clarinet players.
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
knowledge.
"There is nobody else," said Howard Klug, recording artist and
professor at the Indiana University school of Music. "It's an unusual
situation."
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
other manufacturers.
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
tuning.
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.
Metropolitan Opera Clarinetist, Mike Getzin, and Mr Backun
Shifrin trying new LeBlanc Legend
Geir Mildestveit from Norway and Mr Backun
David Shifrin and Mike Getzin
Ronnie Odrich and Eddie Daniels
LeBlanc rep showing Clarinets
Eddie Daniels and Backun adjusting instrument
20 October 2006
G.
LeBlanc Introduction of the New Backun Clarinet lines at Robertos Music in
New York 19 October 2006
New York City USA
'East Coast Unveiling of the LeBlanc designed by Backun Clarinets' took place at
Robertos Music, a major dealer and repair shop serving music professionals,
especially jazz and studio musicians with a full array of these new and
innovative instruments. As posted by LeBlanc, there are 3 models of
interest: the Legend, the Symphonic, and the Classic, all of which are
professional class. After seeing many top artists, with Eddie Daniels,
Ronnie Odrich, David Shifrin, and many others with more visiting the following
day, a new era in design and quality may have evolved using innovative
improvements in the keywork, including realigning the side keys so water from
condensation won't get into those tone holes, extra adjustment additions to key
posts along the entire horn, new design on the C#/G# key so one can access it
for trills with the right hand, and several other design improvements.
Morrie Backun, the designer who rebuilt the entire clarinet from scratch, was
named to be the Design Chief for LeBlanc and was given generous support in the
entire infrastructure in manufacturing retooling to an investment of over $6
million, and staffing trained personally by himself. One year of
orders has already been received, with special interest in the Legend and the
Symphonic models. Quality control is second to none from the factory, a quality
found in hand made clarinets. The collaboration with Ricardo Morales, Solo
Clarinetist in the Philadelphia Orchestra, and the innovative development of
special bells and tuning barrels, has led to an outstanding product to be
evaluated and reckoned with.
Three new professional clarinets in the
Leblanc line represent historic innovations in clarinet design -
well-chosen words when it comes from an instrument line that dates
back over 250 years.
The new Leblanc instruments are a fusion of artistry, technology and
passion, designed by Morrie Backun. Director of product development
for Leblanc professional clarinets, Backun is one of the most
respected woodwind designers and technicians in the world today. He
has worked with clients that include Ricardo Morales, David Shifrin,
Eddie Daniels, James Campbell, Howard Klug, Julian Bliss, Sabine
Meyer, Alessandro Carbonare, Wenzel Fuchs, Jessica Phillips, Larry
Combs, and other renowned clarinetists.
The awe-inspiring flagship of the new line is the Leblanc Legacy,
available in the keys of Bb (model LB110B) and A (model LB115A). The
Legacy design features an aged and highly figured grenadilla body
with undercut, integral tone holes and two specially crafted
Traditional Backun bells in both grenadilla and cocobolo woods. Both
bells include Backun’s signature wooden tenon ring. While grenadilla
is the traditional wood of choice, a large number of players,
including many of the world's finest performers and educators,
prefer cocobolo bells as these offer a warm, rich tone that does not
sacrifice projection of sound.
Backun Traditional grenadilla and cocobolo barrels are both
featured, as well. The wood-ringed barrels vibrate freely, giving
the player a warm, resonant response with great articulation and
superior tuning.
A highly developed acoustical design of these instruments provides
for greater individual expression, while the stunning keywork
incorporates many unique features that expand the possibilities of
performance. Balanced key suspension, 24K gold plated register and
thumb tubes, post pivot locking screws, six adjustable key points,
and other exclusive features offer today’s finest players the best
way to express their true individuality.
Not surprisingly, the Legacy is cradled in a deluxe French "pouchette"
style double case, for Bb and A, with case cover. In addition to
this, a handcrafted wooden case with hygrometric vents is included
for the finest care of your reeds. No mouthpiece set-up is provided.
The Leblanc Symphonie, available in both Bb (LB120B) and A (LB125A),
is a tribute to tradition, incorporating the best design features of
the past and present, with an innovative look to the future of
clarinet performance. Like the Legacy, The Symphonie features an
aged and highly figured grenadilla body with undercut, integral tone
holes and Backun Ringless cocobolo and grenadilla barrels. The
Backun Traditional cocobolo bell provides for a warm, rich tone
without sacrificing projection. The keywork is very similar to that
the Legacy, as well, but with fewer locking screws and adjustments.
Both models are carried in a professional BAM backpack case, with no
mouthpiece set-up.
The Cadenza Bb clarinet (LB130) is the first step towards artistic
excellence. Sharing similar acoustical designs as the Legacy and
Symphonie, the Cadenza offers incredible value and performance. The
grenadilla instrument features two Backun Ringless barrels in
cocobolo and grenadilla. The balanced key suspension offers fewer
adjustment points, while the locking, custom tapered pivot screws
provide excellent stability to the mechanism. The outfit includes a
compact backpack case and a Leblanc Cadenza hard rubber mouthpiece
with a Bonade inverted silver ligature and cap.
For more information about the new Leblanc clarinet models, please
visit our website at
www.leblancinc.com.
Julian Bliss, the outstanding young soloist
and “rising star” in the clarinet world, has selected the new
Leblanc Legacy clarinet for his personal performances. He will also
be involved in Leblanc student clarinet design, according to Conn-Selmer,
Inc., the maker of Leblanc clarinets. At the age of 17, Julian Bliss
is already establishing himself on the international concert scene
having already made highly successful debuts appearing as soloist
with orchestras such as the BBC Symphony (including a recent
appearance at the Proms in the Royal Albert Hall), Seattle Symphony,
BBC Philharmonic, Orchestre National de France, NHK Symphony, Munich
Chamber, City of Birmingham Symphony, London Philharmonic, Malaysian
Philharmonic, Swedish Radio Symphony Royal Philharmonic Orchestra
and Bergen Philharmonic.
Julian is currently appearing as soloist with a number of important
orchestras including the Baltimore Symphony Orchestra, on tour with
the BBC Philharmonic, Budapest Symphony, Gulbenkian Orchestra,
Zurich Chamber Orchestra, Ulster Orchestra, Orchestra della Toscana,
Lazio Symphony Orchestra, Scottish Ensemble, Bournemouth Symphony
and Orchestra of St. John’s.
He is performing on his Leblanc clarinets as created by Conn-Selmer’s
director of product development for these instruments, Morrie Backun.
Three new clarinets in the Leblanc line all feature related design
characteristics to Bliss’ instrument of choice. The Leblanc Legacy,
Julian’s personal choice, incorporates a great many unique features,
including a choice of bells and barrels designed by Backun and
produced from traditional grenadilla and striking cocobolo woods.
Leblanc Symphonie and Leblanc Cadenza models also feature some these
exclusive features.
Julian comments: “I felt so absolutely secure and comfortable with
the new Leblanc Legacy clarinets, that the day after I took
possession of them, I embarked on a major tour with Marin Alsop and
BSO. Since then, I have thoroughly enjoyed the precise intonation,
the exact action; beautiful full, warm mellow sound. Keywork is just
completely right for me, sealing and speaking immediately. Worrying
about the clarinet is not an issue! Such complete confidence in my
set-up leaves me free to concentrate on the music making. Next week,
I am working in the studio, with my teacher Sabine Meyer, on an
orchestral duet CD for EMI. With these beautiful Leblanc Legacy
clarinets, I have some chance of attaining the gorgeous and
enchanting sound that she produces.....adrenalin will have to do the
rest!”
Having already appeared in recital at such prestigious venues as the
Wigmore Hall, the Louvre in Paris and Montpellier Festival, Julian
will be making his recital debuts in Munich and at the Lucerne
Festival and has been re-invited to Verbier Festival, as well as
giving recitals in Italy, Switzerland and Germany.
“It’s an honor to have such a highly energetic and exciting player
select the Leblanc Legacy clarinet for his personal instrument, said
Morrie Backun of Conn-Selmer. “Julian’s artistry and sound belies
his age, but his vision and drive captures the essence of what the
new Leblanc line is all about – the fusion of artistry, technology
and passion.”
Julian now records exclusively for EMI on their main label. He has
already appeared on national television on numerous occasions; at
the Golden Jubilee celebrations at Buckingham Palace in front of a
live audience of 12,000 and a television audience around the world
in forty countries, in a three-part documentary about his life for
Channel 4 entitled ‘Gifted’, the Today program in the USA and on NHK
in Japan.
A favorite of the Royal Family, Julian has performed several times
at Buckingham Palace, Windsor Castle, and Covent Garden Opera House
for HRH Prince Phillip and HRH Prince Charles and was among the
distinguished artists invited to perform at the Queen’s Golden
Jubilee Celebrations at Buckingham Palace on 1 June 2002.
Julian balances his busy schedule of engagements with his clarinet
lessons in Lubeck with Sabine Meyer, his studies in chamber music,
conducting and studio technology at the Royal Academy of Music in
London and the completion of his A level examinations next Summer.
In 2002 he graduated with a Post-Graduate Artist Diploma at Indiana
University, Bloomington, studying with Professor Klug, where during
his studies, he won first prize in the Concerto Soloists Young
Artists Competition in Philadelphia.
The Leblanc Legacy clarinet is the awe-inspiring flagship of the new
Leblanc line and is available in the keys of Bb (model LB110B) and A
(model LB115A). The Legacy design features an aged and highly
figured grenadilla body with voicing and acoustic by Backun,
uniquely undercut, integral tone holes and two specially crafted
Traditional Backun bells in both grenadilla and cocobolo woods. Both
bells include Backun’s signature wooden tenon ring. While grenadilla
is the traditional wood of choice, a large number of players,
including many of the world’s finest performers and educators,
prefer cocobolo bells as these offer a warm, rich tone that does not
sacrifice projection of sound.
Backun Traditional grenadilla and cocobolo barrels are both
provided, as well, to offer each player the unique opportunity to
fine tune their personal tonal preference. The wood-ringed barrels
vibrate with a unique freedom, giving the player a warm, resonant
response with, tremendous power, great articulation and superior
tuning.
The unique and highly developed acoustical design provides for
greater individual expression, while the stunning keywork
incorporates many unique features that expand the possibilities in
performance. Balanced key suspension, 24K gold plated register and
thumb tubes, post pivot locking screws, six adjustable key points,
and many other exclusive features offer today’s discerning players
the best option to express their true individuality.
Not surprisingly, the Legacy is cradled in a magnificent French "pouchette"
style double case, for both Bb and A, with case cover. In addition
to this, a handcrafted wooden case with hygrometric vents is
included for the finest care of your reeds. No mouthpiece set-up is
provided as each high level player will have their own preference
Leblanc clarinets are available through all professional musical
instrument retailers.
Conn-Selmer, Inc., the largest manufacturer of band and orchestral
instruments and accessories in the United States, is a subsidiary of
Steinway Musical Instruments, Inc. To contact Conn-Selmer, write to
P.O. Box 310, Elkhart, IN 46515-0310 U.S.A. or visit
www.conn-selmer.com.
TYRO
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
instrument."
TYRO: The Finest Clarinet in its Class
Backun display
Morrie Backun, John Stoner, Ricardo Morales, and representative
After a long anticipated wait, a new line of instruments designed by Morrie
Backun from Vancouver were displayed for examination by the Clarinet market.
Many unique characteristics as stated in the publications are available for
view. Recently, as mentioned in a previous article below on this page,
Backun, Ricardo Morales, Solo Clarinetist in the Philadelphia Orchestra, and
Conn-Selmer, are teamed up to produce these clarinets along with specialty
tuning barrels and bells. A whole double row of displays covered the
exhibit floor, and a visit by the President of
Conn-Selmer John Stoner. This
should be a wake-up call for the clarinet community serious about the quality
standard of instrument design and manufacture. Over the past year, there have
been a number of product tours and workshops including New York, Michigan State
University, Los Angeles, and in Germany in collaboration with first tier
artists, many of whom are using these bells and barrels.
Buffet Reception
Dignitaries visiting
Buffet Opening Cake
NY Philharmonic Clarinet Section with Buffet
Stanley Drucker with score check
Drucker, Doc Severenson, Mitchell Estrin
NY Phil players and reception
Buffet browsing reception
Chris Coppinger and Stanley Drucker
Mark Nuccio, Mike Getzin and Stanley Drucker
Pascual Martinez Forteza and Buffet President Paul Baronnat
Entertainment reception
Nuccio, Drucker, Severonson, Jon Manasse
Clarinet Quintet ensemble from University of Florida
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.
Drucker Chronological Career summary
Continued
Continued
Continued
Continued
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.
Baronnat Clarinet Presentation
Orchestra Painting Presentation
Painting Presentation
Paul Baronnat at presentation
FRancois Kloc, Drucker and colleagues
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.
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.”
Morrie Backun, Jessica Phillips
(Metropolitan Opera Orchestra). and Ricardo Morales (Philadelphia Orchestra)
1 April 2006
For Immediate Release
Contact: Richard Breske
574-523-0657 rbreske@conn-selmer.com
Morrie Backun Joins Conn-Selmer To Lead Leblanc Clarinet Development
Conn-Selmer named exclusive distributor of Backun Woodwind Products for U.S.
Morrie Backun, one of the most respected instrument designers/technicians in the
world today, has accepted the position of director of product development for
Leblanc professional clarinets. Considered a leading expert in the woodwind
world, Morrie has worked with clients that include Ricardo Morales, David
Shifrin, Eddie Daniels, James Campbell, Howard Klug, Sir James Galway, Sabine
Meyer, Alessandro Carbonare, Wenzel Fuchs, Jessica Phillips, Larry Combs and
players in orchestras throughout the world. As a professional clarinetist
himself, he understands the rigorous demands that professional players and
advanced students face.
Along with this new association, Conn-Selmer has been named the exclusive
distributor for Backun Woodwind Products in the U.S. Backun is well known among
professional woodwind players for his custom clarinet mouthpieces, bells and
barrels, as well as his custom tuning and body work of woodwind instruments.
“We are very pleased to have Morrie lead the efforts in developing our Leblanc
professional clarinets,” stated John Stoner, president and CEO of Conn-Selmer,
parent company of Leblanc. “The great traditions of Leblanc have always focused
on achieving the finest in instrument design. With Morrie’s vast experience in
producing the performance demanded by today’s greatest clarinet players, we are
eagerly looking forward to his immediate impact and to advancing Leblanc
professional clarinets to new heights.”
“I am delighted to have been asked by John Stoner to design a series of artist,
professional and intermediate wooden clarinets for Leblanc,” Morrie stated. “We
share a vision of revolutionizing the clarinet world and I look forward to
working with the team at Conn – Selmer.”
Backun has received many accolades for his work in developing the clarinet
sound. One such comment from Sabine Meyer, former principal clarinetist of the
Berlin Philharmonic: “For us, Morrie Backun is the most wonderful surprise in
the field of instrument making in many, many years. His perfection of the craft,
unbelievable pieces of the rarest woods, and quest for the perfect sound has
opened our eyes to the future of clarinet playing. We hope to creatively
collaborate with Morrie for many years to come!”
The tradition of Leblanc clarinets traces its origins to the founding of Ets. D.
Noblet of France in 1750, when the great flourishing of instrumental music at
the court of Louis XV created a demand for musical instruments of all kinds.
More than any other instrument manufacturer of the day, Noblet refined and
developed early woodwind manufacturing techniques, securing his pre-eminent
reputation for producing some of the best wind instruments in the world.
In 1904, the Noblet family passed its holdings to Georges Leblanc, descendant of
a long line of distinguished French instrument makers. By the time he acquired
Noblet, Georges Leblanc had gained a reputation as one of the finest woodwind
makers in France. The workshop at the Leblanc headquarters in Paris became a
meeting place of the great woodwind artists of the era.
The subsequent growth and success of G. Leblanc Cie. as a manufacturing entity
was largely due to the work of Léon Leblanc, who in addition to his reputation
as an instrument maker and businessman, was also a gifted clarinetist, holder of
the first prize of the Paris Conservatoire, the first and only instrument maker
to have held such an honor.
As Léon Leblanc
once noted, “Musicians of today should not be handicapped by the deficiencies of
those before me. Acoustical, mechanical and musical improvements will be made.
To this end, I have dedicated my life.”
“The continuation
of the Leblanc tradition is an important responsibility,” said John Stoner.
“Morrie Backun’s experience is an ideal next step in defining the new traditions
of Leblanc and Conn-Selmer. We welcome Morrie to our team.”
Conn-Selmer, Inc.
is a division of Steinway Musical Instruments, Inc. To contact Conn-Selmer,
write to P.O. Box 310, Elkhart, IN 46515-0310 U.S.A. or visit
www.conn-selmer.com.
Jazz Clarinetist Ronnie Odrich evaluating bell and barrel
10 October 2005
Backun Clarinet Technology Tour - Northwestern University, Michigan
State University, Juilliard School
New York City USA
During the
period 1 – 14 October, the Backun
firm specializing in custom made Clarinet Bells and Barrels took on a USA
Nationwide Technology Tour visiting Northwestern University in Evanston
(Chicago) Illinois, Michigan State University for their Clarinet Spectacular –
Jazz Meets Classical, in East Lansing, Michigan, and the Juilliard School in New
York. This endeavor begins a collaboration with Ricardo Morales, Solo
Clarinetist in the Philadelphia Orchestra as a corporate team for the purpose of
increasing the effective promotion of these high tier clarinet products, and
adding to the offering Clarinet mouthpieces which after the tryouts, turned out
to be the most sought after items. Clarinetists are usually brought up in their
development to accept the instruments they purchase and ‘put up’ with their
problems, which includes issues such as intonation, response, tonal evenness
throughout the registers, tonal color, and being able to perform musically as
freely as possible without fighting their horns. All players select extra
things to enhance their control of their clarinets, like buying a mouthpiece
that covers their likes and needs, and now for a few years, Backun has made
available bells and barrels of all specifications, using various exotic woods to
improve on what otherwise the instrument lacks. Several high tier players are
using these items to improve their playing and perceptions. This tour provided
opportunity for folks to carefully focus on this issue and try out these
products, and many took home and ordered these and more. The newly introduced
mouthpieces proved to be the best seen and heard. They come in 5 different
facings to suit the players, and unique about them is the technology accuracy
and material consistency never seen before no less the very clean tone quality
and effortless response which made reeds less of a problem. Price tag is $500
US each. After trying 4 German formatted mouthpieces, I was convinced that
these may be the best mouthpieces on the market. Over 60% of the invited
visitors to the reception bought at least one.
Jonathan Cohler with student
Cohler evaluation
Informal discussion
Backun Mouthpiece tryouts
Reception group with Morales and Backun
During the whole 5 hour afternoon reception/ tryouts, it was very clear what
makes Morrie Backun a special individual in this field. As a Bass Clarinetist
himself with years of Orchestral experience, he was astute about all critical
aspects of playing and able to instantly hear problems and make solutions.
During sessions held on this tour, critical evaluation of instrument care and
maintenance was emphasized. During a session he asked everyone to pull out
their clarinet swabs, and discover that many had swabs that have not been
cleaned for years?, all of which contributes to subtle damage to the bore of
their clarinets. When one plays, acid from the mouth travels down into the horn
along with the condensation. Another serious topic included the importance of
key maintenance, pointing out that if the keys are noisy due to no cork to quiet
the action, and the seal is not tight, these are noticed in critical performance
situations, and if an orchestral audition panel heard all this, one’s chance
to make good on it is as good as cancelled in less than a minute, citing that if
the applicant plays like this and doesn’t take care of his equipment, why should
we have him? Many other areas were covered, and the participation was very high
in numbers who came, and the seriousness of why they came. Mr Backun worked
with everyone who desired assistance, and brought equipment and tools to help
everyone. This 5 hour afternoon was held in the Trump Center in Manhattan.
Juilliard School at Lincoln Center
Morrie Backun coaching student
Student session with Ricardo Morales
Juilliard student with Morales
Mendellsohn Concertpiece with Basset Horn
Many distinguished players from New York attended, including all the major
orchestral players from the Metropolitan Opera Orchestra, Lincoln Center, many
major schools, and freelance musicians from all the venues. Several students
also took part. Ricardo Morales was in attendance to codify the Backun
relationship with assistance from many others, including Jessica Phillips, Eb
Clarinetist in the Met. Later in the day, Master Classes were held at the
Juilliard School, covering the normal fare with students. Morrie Backun
conducted a class, covering the importance of what was convened earlier in the
day.
This combination of
Artist/ Technology was an important event and hopefully will open minds about
what they play. Many instruments by nature of their production, need
enhancement to bring out their full potential, and in other cases, to salvage
them. It may not be obvious to most, but the quality of equipment a Clarinetist
plays is a major priority and the cost, whether one buys a hand-made or a
production model must fulfill a standard, and such enhancements as seen here can
make a large difference for everyone.
1 October 2005
LeBlanc Clarinet Line
LeBlanc Total Clarinet Range Lineup
Unified woodwind branding now serves every
player, from beginning student
through seasoned artist
Leblanc, Inc. announces
its most significant new offering in decades:
the Leblanc USA line of plastic-bodied
clarinets. This line, comprising clarinet models
from E-flat soprano to contrabass, is made
entirely at Leblanc’s Kenosha manufacturing
facility and offers an abundance of value-added
features that will be of great interest to
students, educators and parents alike.
While
these new models boast superior quality and
playing characteristics, perhaps the most
notable advantage of the Leblanc USA line is the
name itself—a recognizable, unified brand that
will allow students to play a prestigious
Leblanc model from the first note as a beginner
on Leblanc USA, then advance to the unequaled
heritage of wood-bodied models from Leblanc
France.
In addition, all Leblanc USA
clarinets feature a new seven-year
manufacturer’s warranty against joint cracking
or breaking, now the best warranty of its kind
in the industry.
The Leblanc USA line includes three soprano
models, each with a different bore style. The
L7214 has the standard cylindrical bore, for an
immediately full-bodied, open tone. The L7242
offers a somewhat smaller cylindrical bore for a
more focused, mature tone. The L7250 features a
polycylindrical bore, which is the same
configuration found in Leblanc’s top-line wood
clarinets, giving the young clarinetist a
playing experience approaching that afforded by
artist instruments.
Each of these soprano models
incorporates new standard features suggested to
Leblanc by players and educators. A cushioned,
adjustable thumb rest provides proper hand
position for the youngest players, and side
trill keys have been reengineered for quieter
performance. Repair techs will doubtless prefer
Leblanc’s new pad style, which makes seating
easier and more secure.
Each Leblanc USA soprano is
delivered with a redesigned ligature and plastic
cap, a Leblanc reed guard and a new, more
absorbent all-cotton swab. Leblanc USA sopranos
are also supplied with a newly styled, stackable
molded case, which now includes a padded
shoulder strap for comfortable, hands-free
transport.
Leblanc
USA harmony clarinets feature the same
exceptional quality, playability and value that
band directors and musicians have come to expect
from Leblanc-made instruments. They are covered
by the same seven-year warranty as Leblanc USA
soprano models.
Leblanc’s popular Vito
clarinet line continues to be offered, now as an
exclusive line for school music dealers. The
simplified Vito lineup, also covered under the
new seven-year warranty, comprises four familiar
soprano models: 7212, 7214, 7242 and 7214P. The
7212 has been upgraded with a brushed, wood-like
finish, which is now standard on all Vito and
Leblanc USA clarinets.
All previously branded Vito
harmony clarinets will now be branded Leblanc
USA, bearing the new logo. Harmony models are
otherwise identical to their Vito predecessors,
with the same model numbers now bearing the
prefix “L.”
In coming months, Leblanc
branding of student woodwinds will be expanded
to include saxophones and flutes.
Leblanc USA.
Leblanc France. Woodwinds for every
player. Leblanc for life.
17 September 2005
DVD available CONCERTO FOR MITTENS,
Buffet Crampon clarinet on
the top of Mont Blanc
Thursday, June 30, 2005
Friday, September 17, 2004 at 8 in the morning, Romain
GUYOT, professional clarinettist and Philippe
LECONTE, responsible for public and artistic relations at
Buffet Crampon, take the Mont Blanc tramway. They are escorted by
Alpine guides Gilles BURDIN and Thierry OLIVIER.
They are soon to experience together in an original human and
artistic adventure: to succeed in the bet to give a clarinet concert
on the top of the Mont Blanc, after having climbed it by the “Royal
Route”…
Concerto for mittens follows the group step by step to
the roof of Europe in order to make you feel the emotions of this
adventure.
This event celebrates the 10th anniversary of the GREEN
LINE material, result of blending 95% ebony powder with
carbon fibre in a process patented by Buffet Crampon. Green Line
brings an exceptional resistance to variations of atmospheric
conditions (temperature and humidity).
SPECIAL FEATURES: Complete concert on the top of
Mont Blanc - Photos on Mont Blanc - Bonus photos - The manufacturing
of clarinets (by Lionel Tuchband)
SELLING PRICE: 10 €
Please send a cheque to Buffet Crampon
5 rue Maurice Berteaux 78711 MANTES LA VILLE - France
The Custom reed
program is offered on a limited basis to clarinetists who want to be insured of
a high level of playable reeds for critical performances.
We believe that you
will find the reeds you receive from us to yield the highest degree of playable
reeds out of each box you have ever had from a commercial source.
Of course, no one
can guarantee a box that yields 10 out of 10 concert quality reeds, but we can
assure you that you will find several concert quality reeds and a very
high percentage of
playable reeds for practicing and rehearsing that will play with ideal
resistance and comfort.
REQUIREMENTS FOR THE PROGRAM
The program
requirements are simple.
1. You must play a
symmetrically faced mouthpiece. We offer no playability guarantees on reeds
played on crooked facing mouthpieces.
2. We need two to
four new reeds from you that meet your standards for playability. Two of the
reeds should represent reeds you would play and find acceptable but
on the lighter
side, the other two should be acceptable reeds you would play on the heavier
side.
These reeds will
enable us to establish a range of acceptable resistance for the reeds we will be
sending you.
They will be kept
on file and gauged against all the reeds we send you to help insure you not only
get playable reeds that are well balanced, but reeds that fall into the
parameters of
your resistance "comfort zone."
COST
FOR THE PROGRAM
Each box of 10
custom reeds, produced uniquely for you will be $31.95, plus shipping and any
applicable tax.
To some this may
seem costly, but think of how much you now pay for a preponderance of reeds that
do not play are are unusable, and how much time you spend working
on reeds instead of
actually practicing music. Once these issues are factored in, we believe you
will find this service to be a big savings, both monetarily and time-wise.
TERMS
OF THE PROGRAM
The program is run on a very limited
basis and reeds must be ordered at least 30 to 45 days ahead of time, so please
plan ahead!
Poor planning on your behalf does not constitute
a crisis on our behalf.
There is no minimum
number of reeds to purchase and you may drop out of the program at any time by
simply contacting us to that effect.
Reeds you find
unworkable for either concert performance or practice may be exchanged up to one
time.
You have five days from date of receipt to
indicate any returned reeds. Simply return the reeds and we will exchange.
We depend upon your good will to not abuse this
aspect of the service.We emphasize
that it is unreasonable to demand 10 top concert quality reeds from each box of
reeds.
We do not guarantee that.
We do guarantee that you will received several
concert quality reeds per box and a playability rate of 80% or better right out
of the box!... without working them.
Reeds that have been worked on may not be
returned. We also do not expect that you necessarily use Ridenour Custom Reeds
as a sole or routine source of reeds,
though if you so desire we will try to oblige
within our means and time parameters.
The service is primarily offered to help insure
that you will have the excellent reeds you must have at critical times. We
recognize that many of you included on the list
are excellent at reed making and reed
finishing. We are including you in the hope that, though you do not personally
need such a custom service, you will know those who need and can benefit from
what we are offering.
If you are interested in participating in this
unique service please contact us by email so we can arrange and set up your
account. If you know of any clarinetists who would
be interested in participating
please feel free to forward this post to them.
I look forward to
hearing from and serving you and/or your students in the near future. We pledge
we will do what we can to raise the level of you and your student's
performances by
providing you will the high quality, consistent products you both need your
artistry deserves.
31 July 2005
Ted Lane in performance
of Copland Clarinet Concerto with the American Sinfonietta-Michael
Palmer Conducting
BUFFET CRAMPON, one of the finest manufacturers of musical
instruments, regains its independence with ARGOS SODITIC
Buffet Crampon, world leader in the clarinet market,
is delighted to announce that the Company, created in 1825 in Paris,
has regained its independence through an MBO of the company Buffet
Crampon by its Managing Director, Paul Baronnat,
accompanied by Argos Soditic’s funds. For several
decades, Buffet Crampon has been controlled by British groups.
Each year, Buffet Crampon manufactures 63.000 student and
professional wind instruments (clarinets, bass clarinets, oboes,
bassoons, saxophones) under its own label. The 22.000 professional
instruments are manufactured at its historic site in Mantes la Ville
(240 employees).
Following this takeover, Buffet Crampon is now at the head of
two distribution networks, in the United States (Los
Angeles) and in Japan (Tokyo), and has a consolidated
turnover of 47 million euros, mostly from export.
The brand’s reputation is worldwide, with nearly 80% of
market share in the universe of professional clarinets. In
addition to distributing its own products, Buffet Crampon makes use
of its worldwide network to distribute other brands of wind
instruments.
Paul Baronnat, 59 years old, Managing Director
of the Company which initiated this transaction, becomes
President of BUFFET CRAMPON SAS and its American and
Japanese branches. Strongly attached to the corporate culture of the
Company, Paul Baronnat looks forward to the future with confidence
backed up by the timelessness of the Company’s values, its go-ahead
desire to occupy new commercial territories and its capacity to
innovate. With its newly regained independence, the Company will be
able to redevelop its range of products, and benefit from the
control it now has of its worldwide distribution network.
ARGOS SODITIC is an independent private equity
partnership active for more than 15 years in MBOs in Continental
Europe. ARGOS SODITIC specialises in accompanying medium sized MBOs
by strong management teams, generally in complex situations.
With this fresh impetus, Buffet Crampon wished more than ever to
restate its corporate values : respect for and
attention to musicians’ requirements, the tradition and the spirit
of the Company, the quality of a unique savoir-faire in upper range
instruments, the dynamic of a world-wide distribution network, a
strong taste for innovation and the awakening of new tones, a
permanent engagement in the development of instrumental practice.
Buffet Crampon’s renewed state of independence reinforces the
influence of a brand which this year celebrates 180 years of
existence.
About Argos Soditic: Founded in 1989, Argos
Soditic is an independent private equity partnership with offices in
Paris, Milan and Geneva, active in medium-sized MBOs/MBIs in
Continental Europe. With aggregate committed capital of €250
million, Argos Soditic has structured nearly 40 transactions since
its creation and employs over 20 professionals across Europe. The
group’s portfolio includes companies such as Du Pareil Au Même,
Kermel ou Oxbow in France, Sparco in Italy, and Maillefer in
Switzerland. For more information about us, please visit our website
at argos-soditic.com
Wolfgang Weth, retired since 2004 from the “Badische Staatskapelle”
now making chamber music and jazz. “Opera Swing Quartet, and a Duo (clarinet
and guitar) called “Only Two” with Martin Müller.
He played on this box tree C-clarinet in Rothenburg o.d. T. on the 6.5.2005 with
the “Hans Sachser Ensemble” in the Townhalle.
This period
instrument is made to precise specification by Herbert Wurlitzer is a replica of
klarinetten of that period and produced with the same standard of manufacture
(hand made) as the standard Wurlitzer models including materials and
craftsmanship. Only limitation is the ‘period’ characteristics inherent at that
time. These klarinetten are produced on special order only and are not included
in the normal catalog.
Bernd Wurlitzer and fellow artist Josef Balogh and friends
US Marine Band soloist SSG Chang with Wurlitzer Eb Klarinette examination
Mike Getzin trying new Basset A Klarinette with Wurlitzer
Bernd Wurlitzer and Mike Getzin
Bassett A Klarinette tryout
25 July 2004 - from ClarinetFest
University of Maryland
One of the best kept secrets at Conventions like this is the modest and quiet
displays of these clarinets from Neustadt a.d. Aisch Germany produced by this
Stradavarius-class Klarinette maker. This family firm owned by Herbert
Wurlitzer and passed generation to generation has produced the finest
instruments used all over Europe, especially Germany, and in use in all the
German Orchestras and the Netherlands. Wurlitzer produces Artist-class
instruments in both Oehler (German System) and Reform Boehm, and delivery is
usually 1-2 years. Although the price of these instruments are very
expensive and almost non-negotiable (klarinettes are not sold through
distribution and dealers), the life of these horns is over 3 times the life of a
production instrument. Karl Leister has played his set since he bought his
in 1978, and has other sets to play overseas to play the pitch needed to perform
(A-440 - A-446). The Reform Boehm models are in fact the state of the
Boehm Clarinet with the German bore-tonal characteristics and able to project
better than any other clarinet on the market. Intonation is literally perfect
even in the high register ranges over G, and barrels are available to play on a
French mouthpiece without complications. The mechanics of these clarinets
are second to none with a quick light action that is even throughout the
instrument. With new clarinets becoming available in the French market,
these Reform Boehms have been current and ahead for over 50 years. At the
ClarinetFest 04, I acquired a Reform Boehm Bassett A Klarinette and all that was
needed was the upper joint to my Wurlitzer A Klarinette. Having bought a
set in 1987 from Herbert Wurlitzer and having him personally evaluate the set
bought then, the Bassett A lower joint still tonally and pitch matched with no
complications whatever. It is very important for the
Clarinet world to check and inquire about this Reform Boehm revolution,
especially professionally bound players. For more information,
contact Wurlitzer direct.
25 July 2004 - from the ClarinetFest Maryland Exhibit
Canyes
Xilema clarinet reeds made its debut at the International Clarinet Convention in
Washington, D.C. on July 22, 2004. Jose Herrera, principal clarinetist of the
Valencia, Spain Orchestra and designer of the reeds, and his sister Inma
Herrera, maker of the reeds, joined Ben and Leslie Redwine, owners of
RedwineJazz and makers of the Gennusa “Excellente” clarinet mouthpieces, at
their booth to introduce them publicly for the first time.
Jose Herrera, well
known in Spain for his handcrafted reeds, spent one year designing and refining
the reeds. He and Inma then had their machines digitally copy his design to
produce high quality reeds. They select cane from the Mediterranean coast and
use strict quality standards selecting only the best cane in the lots and
discarding any substandard cane. After the reeds are machined, the quality
control staff (five professional clarinetists) selects only the best reeds for
packaging. Canyes Xilema is proud of the uniformity in their production, which
is confirmed by customer feedback indicating 8 – 10 reeds per box consistently
perform beautifully. One valued customer has said, “They are very responsive
and I feel I can get more presence in the sound than in the reeds I used to
use.” The reeds are available in three different cuts. The Viena cut is for
the Viennese style mouthpieces. The Professional and Artesana are designed with
a thicker heart and vamp, which produces a rich, dark sound. The Artesana are
then hand finished by Inma, so the pores of the cane close and the reeds have a
longer life. The Classic reeds are designed with a thinner tip giving easy
response and great flexibility in playing.
"I have been using the Xilema
Classic model reed for some time and feel that it is a responsive, rich-sounding
reed with excellent stability and longevity. I recommend this reed to all
players who are searching for perfection."
Larry Guy
Author, "Selection, Care and Adjustment of Single Reeds"
Faculty, Juilliard School, Manhattan School of Music, Mannes College of Music
Free-lance performer, New York City
Find out more about
Canyes Xilema by visiting their website
www.xilema.net Customers in the United States may purchase the reeds
from RedwineJazz, LLC; contact information can be found at
www.redwinejazz.com.
25 July 2004 - from the ClarinetFest Maryland Exhibit
NEW PRODUCTS
2004
The Valgon Rings™
Valgon Sound launches
revolutionary product for woodwinds
TORONTO, Feb. 23/04.
Valgon Sound Inc. today launched the Valgon Rings™, a revolutionary
discovery that focuses and projects the tone of woodwinds, significantly
improving the instruments' response.
"By simply adding the
Valgon neck and bell ring, players will immediately notice an improvement in
all aspects of their playing with considerably less effort," said Valgon
co-inventor Harold Gomez, a clarinetist, teacher and inventor of musical
products.
The Valgon Rings™ attach
quickly and easily to improve the sound of both student and professional
quality instruments. The rings retail for less than the cost of most
mouthpieces.
The Valgon Rings™ have
been described as the most innovative discovery for woodwinds since Theobald
Boehm devised a new fingering system for woodwinds in 1832. Soloists love
how the rings improve their virtuosity, doublers enjoy how each instrument
responds right away.
"They help me access a
beautiful clarinet and flute tone quickly, making fast switches from one
horn to another more fluid," said Colleen Allen, saxophone/woodwind player
with renowned jazz singer Molly Johnson. "I find I am able to focus my sound
and increase my dynamic range more readily while using the Valgon Rings."
Mr. Gomez developed the
rings with one of his students, Konstantin Valtchev, a doctor who holds a
number of patents on medical instruments. Dr. Valtchev noticed an
improvement in sound after he had added a ring to his mouthpiece in order to
quickly remove his mouthpiece without disrupting the ligature. Mr. Gomez
discovered that adding a second ring at the bell made an even greater
improvement, and that the rings would also improve other wind instruments.
After an additional five years of research and development, they founded
Valgon Sound Inc.
"We discovered that the
rings control and stabilize the oscillating air column on the outside of the
instrument, resulting in reduced turbulence inside the bore," said Mr.
Gomez. "Thus, the player doesn't have to work as hard to make a good tone,
and note transitions are easier at all dynamic levels."
Performers have been
using the Valgon flute and clarinet rings in large concert halls and in the
recording studio. "I find that the rings project sound to the audience much
better," said Ms. Allen, adding, "I don't go anywhere without them!"
The rings are currently
available for Bb clarinet, Eb clarinet, flute and piccolo. They will soon be
available for alto, bass and contrabass clarinets, alto and bass flutes and
alto and tenor saxophone.
The Valgon Rings are
distributed by D'Addario Canada and will also be available at conferences,
including the International Clarinet Association Conference in Baltimore,
MD, and the National Flute Association Conference in Nashville,
TN.
For wholesale or retail
information, and for a complete list of retail stores, contact
www.daddariocanada.com.
For further information:
Mr. Harold Gomez, president,
Valgon Sound Inc.
416-923-5113
harold.gomez@sympatico.ca
Available For:
Bb Clarinet, Eb Clarinet, Flute, and Piccolo.
Soon To Be Available For:
Alto, Bass, and Contrabass Clarinet, Alto and Bass Flute, Alto and Tenor
Saxophone.
Selmer and Henri Bok
Ricardo Morales and Jean-Francoise Bescond
Selmer 100th Anniversary St Louis Limited Edition Clarinets
Selmer Exhibit
Selmer, Morales, and Bescond
25 July 2004 - from the ClarinetFest Maryland Exhibit
Instrument commemorates 100 years since Selmer Paris won the gold medal at
the St. Louis World's Fair.
In 1904, the World's Fair in St. Louis, Missouri celebrated the centennial
anniversary of the Louisiana Purchase. One of the most successful world's fairs
of that era – over 1,200 acres – exhibited the best in creative and
technological advances from 60 nations. The Palace of the Liberal Arts dedicated
an entire wing to musical instruments, including the very first Selmer Paris
clarinets. Alexandre Selmer, then a member of the Philadelphia Orchestra,
demonstrated the performance advantages of the Selmer Paris instrument created
by his brother Henri and a few companions. Authorities were so impressed that
they awarded the Selmer brothers the gold medal.
In commemoration of this event,
Selmer Paris has created the new St. Louis Anniversary Clarinet. Available in Bb
and A, this instrument is designed for professionals, as well as for advancing
students and hobbyists.
A
special commemorative gold-plated St. Louis logo plate is featured on the
upper joint of the SL models. Special silver and gold plated joint rings
exquisitely finish the instrument.
The instruments have been warmly
received, with professionals highlighting the qualities of tone, pitch and
playing flexibility of the St. Louis model. Technical features include
grenadilla wood, aged over three years before turning and oil treatment,
multiple barrels for personal tuning adjustments, .571” bore (.573” for A),
left-hand Eb/Ab lever, silver plated keys, metal tenon sockets, and adjustable
thumb rest. Leather pads are used throughout, with resonator pads on the three
lowest notes (E, F, F#).
A special commemorative
gold-plated St. Louis logo plate is featured on the upper joint. Special silver
and gold plated joint rings exquisitely finish the instrument.
Selmer Paris has also gone so far as to recreate the original barrel-shaped C85
Selmer Paris mouthpiece in a special edition with a unique St. Louis-style
ligature. A special designer anniversary case by premier luggage maker, Lancel,
completes this spectacular instrument.
Conn-Selmer, Inc. is the
exclusive distributor of Selmer Paris instruments and mouthpieces in North
America. Selmer Paris products are available through all Conn-Selmer dealers.
Published:
July 22, 2004
Milwaukee, Wisconsin - American City Business Journals
Inc.
Steinway to buy G. Leblanc for $36 million
Steinway Musical Instruments Inc. said Thursday that it has agreed to
buy G. Leblanc Corp., a musical instrument manufacturer in Kenosha, for
about $36 million.
Leblanc is a manufacturer of high quality band instruments and sells
products under the Leblanc, Noblet, Vito, Holton, Martin and Yanagisawa
brand names. Leblanc expects to generate revenue of $28 million for
2004.
In a statement, Leblanc chairman and chief executive officer Leon
Pascucci said G. Leblanc will maintain operations in Kenosha.
"The business has been in my family for nearly 60 years, so my primary
concern was to ensure its continuation," he said. "I'm thrilled that
Leblanc will become part of a company with the reputation of Steinway
Musical Instruments."
The announcement comes just weeks after the company said it will close
one of its two plants in Kenosha later this summer, resulting in the
loss of 67 jobs. Leblanc plans to halt production at 9009 Sheridan Road
by Aug. 27, according to a notice filed with the state Department of
Workforce Development.
Leblanc operates a second plant at its headquarters in Kenosha, 7001
Leblanc Blvd., where it has about 160 employees. The company also has a
factory in Elkhorn with about 75 employees. About 40 employees work at
Leblanc's other remaining plant, located in La Couture-Boussey, France.
Waltham, Mass.-based Steinway, famous for its pianos, is one of the
world's largest manufacturers of musical instruments. Its notable
products include Steinway & Sons pianos, Bach Stradivarius trumpets,
Selmer Paris saxophones, C.G. Conn French horns, King trombones, and
Ludwig snare drums. Leblanc will be operated as part of Steinway's
Conn-Selmer band instrument division.
The transaction, which is subject to customary closing conditions and
purchase price adjustments, is expected to close in the third quarter.
Copyright(c) All rights reserved.
20 June 2004
FORTE CLARINETS USA
Dr. Omar Henderson –
Co-inventor of Forte’
Forte’ booth at Oklahoma
Clarinet Symposium , June 04’
You will be way ahead of the
pack with Forte' advantages only available on artist quality clarinets costing
thousands of dollars and lack the durability needed for the rigors of student
life. Forte' has been endowed with features that exist on no other clarinet,
professional or otherwise.
=Forte' is strong and
plays well=
Student level clarinets have
not changed much in a quarter century. They are always the last to receive
innovations. Forte' gives you these advantages now! Forte' is designed to
withstand the rigors of young and progressing players with distinctive
strengthening in areas most prone to require expensive and lengthy repair.
Forte' is fun to play and the design process has enhanced the acoustic qualities
giving it superb tone, accurate spacing of notes (intonation), and quick and
effortless response in all the registers. It is as much at home on the marching
field as it is on the concert stage.
=Forte' is well made and
tested
Forte’ is technologically
advanced and built on the collective suggestions from noted experts. Innovations
have been thoroughly engineered, prototype tested by a panel of experts, and
further tweaked to optimum performance. The instrument is strong and built of
the best available materials and workmanship by a world renowned old line
company that was selected after great research by the design team. Each clarinet
received is play-tested and adjustments made to assure optimum, worry free
performance when it reaches you the customer.
=Great accessories=
Most other clarinets come
equipped with less than satisfactory mouthpieces, ligatures, swabs and other
accessories. Purchasing the necessary quality mouthpiece, ligature, and other
accessories later can easily cost 1/4 the total price of the clarinet. The
quality mouthpiece, ligature and swab supplied with the Forte' translate as an
exceptional added value.
=Quality parts
availability and warranty service=
We have instituted a
revolutionary "First" in the industry computerized parts distribution network to
get parts to repair technicians with 72 hours of order at our toll free number
should a Forte' need repair. We also give a comprehensive "Mouthpiece to Bell
Ring" one year factory warranty on materials and workmanship on the Forte'.
=Power Barrel
As an option, a power barrel
is available. It was inspired by marching band, and the need for a LOUD
clarinet. This barrel is quite possibly the world’s most complex, scientific
clarinet accessory available. The Power Barrel is a breakthrough in acoustical
engineering which emphasizes the even harmonic frequencies of notes. It allows
the marching band, or jazz band clarinetist to play loud and full, it is almost
like having a portable amplifier when you march!
All of these features
make Forte' and exceptional value with industry leading technology.
. Step up with Forte' - The Clarinet
Evolved
Exceptional value and price!
Unsurpassed durability, quality and innovation
Top of the line accessories
The Forte'™ clarinet
is the first truly revolutionary and affordable student clarinet to be
introduced to the market in more than a quarter century. It is an instrument
designed with the student in mind, and built to facilitate rapid growth in
all areas of technique. Its intonation and tone quality are suitable for
very mature ensembles. Forte' is a true revelation in clarinet design.
Some outstanding features of the Forte'™ clarinet are:
hand finished ABS resin body, nickel plated nickel-silver
and bronze alloy keys, French blued-steel springs, Italian white kid leather
waterproof pads, undercut tone holes, .575" polycylindrical bore, pin style
nylon lever joint connectors, adjustable thumb rest and all natural tenon
and key corks.
Some of the revolutionary features found on the Forte'™
clarinet are:
Sculpted ergonomic register and throat "A"
key spatulas
Ergonomic improvements
are not new to the industry, but the combination of these two keys, and
their ease and comfort were designed to more easily facilitate complicated
passages for smaller hands, and foster correct left hand position and
curvature.
Fortified Key Supports
Another common cause of
mechanical problems that come from the assembly and maintenance of a student
clarinet, is the bending of the low "E" rod, and bending of the side trill
keys. We have designed custom bracings for these critical areas that will
prevent the keys from shifting. Thus, problematic leaks can be avoided, and
maintenance time and costs reduced.
Custom Moennig Inspired Barrel
Many professional
musicians spend great amounts of money on custom barrels to improve the tone
quality, intonation and response of their instrument. Our free-blowing
custom designed barrel is based on the world famous Moennig barrel bore. It
provides a rich mature tone quality, excellent intonation and a
responsiveness that aids in the development of air support for the student
musician
Resonance Bell Vent
This feature was
borrowed from the German persuasion of clarinet design. Such a feature has
never been seen on a Boehm System student clarinet. It adds new clarity and
depth to the sound in the lower registers, and improves intonation as well.
Gennusa
Mouthpiece
This may quite possibly
be the most important part of the clarinet set-up. This is a professional
quality mouthpiece made from a durable kid friendly acrylic resin, and
designed for the Forte' clarinet. It has a medium tip opening, and
encourages and supports the growth of a mature embouchure.
Ben Armato with his PerfectaReed device
PerfectaReed measuring device
Product demonstration
Armato showing PerfectaReed to client
9 June 2004
Ben Armato’s
Reed Wizard and PerfectaReed
updated Products
The above Metropolitan Opera
Clarinetist, teacher, and inventor of these portable incredible Reed measuring
and adjusting devices are probably the state of the industry. As described in
the website, the beauty and ease of use of these tools make them a must for all
serious players, as they will cut out lost productive time due to overkill in
trying to make reeds work. The PerfectaReed is a acutely accurate measuring
tool to find all irregularities in any set of reeds, including the unplayables,
and makes possible finding the cures to make them work. The Reed Wizard is a
wonder in that a duplicate can be made of model reeds, thus saving time and
enjoying consistent results. Special word should note that Mr Armato,
being an artist clarinetist with a high level of Orchestra and teaching
credential, knows how to make a player ‘tune in’ on his message about tonal
fundamentals, and anyone who has worked with him knows his critical ear
regarding getting the best from a player for his benefit. These products
are essentials that all players should have at their disposal to make more time
for music-making than wasted time being consumed by reed stress.
Tom Ridenour, known for many
years as a Clarinet / mouthpiece craftsman and now the technical developer of
this new model line of Clarinets, pitched in Bb, A, C, G, low Eb Bass and low C
Bass. Information about models on the above website.
Offers these clarinets in Five Customizing
Options :
Option I:
The Basic Pro Clarinet
These clarinets are specially selected from
Brook Mays large stock. They are then gone over in detail, both mechanically
and acoustically to make sure that they are in optimum playing condition and
adjustment for testing. Skin pads are all treated with Tom's special pad
treatment for improved seal, water proofing and increased durability.
Option II:
The Basic Pro-Plus
* Five cork pads in the upper joint in water
prone tone holes
* All skin pads coated with our special pad
treatment which water proofs, improves seal and increases pad life.
* Complete adjustment, quietening and
balancing of mechanism and pad heights
* All tone hole imperfections corrected
* Thumb and register tube sealed with special
sealant to eliminate possible leakage
Option III:
Artist Customizing
* Balancing of color and resistance in tone
holes
* All tone hole imperfections corrected
* Handmade cork pads in upper joint
* Thumb and register tube sealed with special
sealant to eliminate possible leakage
* Complete adjustment, quietening and
balancing of mechanism and pad heights
* Review of all dimensions of clarinet after
break in period. (This is best done between six months to a year after the
clarinet has been purchased.)
Option IV:
Ultra Artist Customizing
* Balancing of color and resistance in tone
holes
* All tone hole imperfections corrected
* Handmade cork pads in upper joint
* Special padding in lower joint for
durability and perfect seal
* Special teflon and nylon sliders that make
the mechanism extra smooth
* Specially silencing process for a remarkably
quiet, smooth mechanism
* Special acoustical upgrading to increase
depth, flexibility, darkness and maturity of tone.
* Review of all dimensions of clarinet after
break in period. (This is best done between six months to a year after the
clarinet has been purchased.)
* Two years mechanical and acoustical care of
clarinet beyond manufacturer's warrantee.
Option V:
The Total Clarinet!
These clarinets are specially selected by
instrument designer, acoustician and clarinetist Tom Ridenour because
of their outstanding qualities in tone, tuning and response. These clarinets
then receive a Customizing Level IV, plus hand tuning and
fitting the instrument with a Ridenour Artist Model Mouthpiece
that is optimum for that clarinet
Tom Ridenour ATG Reed
Finishing Products
LEARN
THE ATG FINISHING TECHNIQUES DIRECTLY FROM ITS CREATOR THROUGH A FIFTY- MINUTE
DVD THAT WILL ENABLE YOU TO GET EVEN BETTER RESULTS WITH THE AMAZING ATG
UNIVERSAL REED FINISHING SYSTEM! SEE
ALL THE TESTING AND FINISHING TECHNIQUES THAT WILL MAKE REED PROBLEMS A THING OF
THE PAST PERFORMED IN REAL TIME!
In his definitive new
text on reed finishing Tom Ridenour reveals for the first time the fundamental
and common error of all past approaches to reed finishing, why it is wrong, and
why finishing systems based upon it can't really work as they should. Tom also
reveals his astoundingly simple solution: an amazingly effective, yet easy to
learn method of reed finishing that will have you perfectly balancing reed after
reed, even in your very first attempts! The system is so easy to learn and
master you'll soon be able to even balance reeds blindfolded!
Tom's method is the link between forming and finishing the reed that has been
missing up to now. With it, reed finishing is no longer the exclusive domaine of
a select few who have the aptitude, time, patience and reason to master what, up
to now, has always been a difficult and complex art. The amazing ATG method of
reed finishing brings the power of finishing great reeds easily within the grasp
of players of all skill levels and budgets, because it costs only a small
fraction of other expensive reed finishing tools and machines. Yet, it is more
effective, more versatile and amazingly easier to master. It is also portable:
only one set of tools finishes all single reeds, natural or synthetic, from the
baritone saxophone to the Eb clarinet!
If are like most reed players you have lots of old reeds lying around that are
unplayable. If so, get ready to use virtually everyone of them! Get ready for
some of them to become the very best reeds you've ever had!
Use Tom's new finishing method on them and watch the system pay for itself many
times over in just the first few days of receiving it! You may not even have to
buy new reeds for a year or more!
Here's What
Some of the Satisfied Users of
Tom Ridenour’s Amazing New Method Have to Say!
"EVERY CLARINETIST AND
SAXOPHONIST OUGHT TO OWN AND USE IT. I'M RECOMMENDING IT TO ALL MY STUDENTS" "Tom's new method for finishing reeds is
fantastic. Every clarinetist and saxophonist ought to own and use it. Besides it
being effective and easy to use, it's a real bargain. The system will pay for
itself the first week of use. I'm recommending it to all my students!". Eddie Daniels
World Renowned Jazz and Classical Clarinetist
REED SYSTEM "MARVEL OF SIMPLICITY AND
INTUITIVE
UNDERSTANDING" "Tom Ridenour's Universal ATG Single-Reed
Finishing System is a marvel of
simplicity and intuitive understanding. The approach to diagnosing and
fixing reed imbalances is presented in a logical series of steps that
demystify the whole reed adjustment process. All single reed players, at
any level of expertise, will be amazed by the improvements in tone and
response they can achieve through the ATG System." Howard Klug
Professor of Clarinet, Chair, Woodwind Department
School of Music, Indiana University,
"I HAVE THREE RECITALS THIS WEEK...I
NEEDED REEDS AND NOW I HAVE THEM." ..... I finally had some time this weekend to work on the system
and really watch the video carefully. It is just tremendous!!! I have three
recitals this week... I needed reeds and now I have them. I will be sure to tell
everyone to buy this system. I am so impressed. Everyone must have the book and
video. Also congrats on the fine presentation. It is so clear and concise and
straight ahead Dr. Caroline Hartig
Associate Professor of Clarinet, Woodwind Area Chair, Ball State
University
President, National Association of College Wind & Percussion Instructors .
"MY MIND STILL DOES NOT WANT TO ACCEPT THE
REALITY....I STILL HAVE THE FEAR I AM GOING TO WAKE UP AND FIND THAT IT WAS JUST
A DREAM..." As far as the reed system goes I am truly
speechless. My mind still does not want to accept the reality. How could we all
suffer for so many years unable to break the ancient mysterious code of reed
finishing only to be liberated something so simple. Its just not right. I just
finished teaching private lessons and was able to confidently balance every reed
that a student threw at me. Anyway, "thanks" does not seem sufficient. I feel
the excitement about my clarinet that I had when I was a little kid. Can't
remember the last time I felt that. I still have the fear that I am going to
wake up to find that it was just a dream. Until then...
Sincerely, David Malek, Clarinetist,
Band of the West, USAF,
Lackland AFB, San Antonio,
Victoria Symphony Orchestra, Victoria, Texas
"....IT IS INCREDIBLE....IT MAKES
PLAYING FUN AGAIN" Tom,
I wanted to let you know I received your ATG reed surfacing system a
couple of weeks ago and it is incredible. Every reed I have adjusted
plays beautifully. It makes playing fun again. I would love for my students to
be able to purchase this system also.
Thanks again. P.S. You should sell millions of these. It is fantastic.
Sincerely, Richard Glaze
Chair Department of Music (Clarinet professor)
University of West Florida
Principal clarinet - Pensacola Symphony Orchestra
"I'VE ENJOYED PLAYING CLARINET MORE IN THE
LAST 2 OR 3 WEEKS USING YOUR REED FINISHING SYSTEM...THAN ALL THE OTHER YEARS." Dear Tom,
I've played clarinet and sax for 41 years, including 4 years with the Marine
Band in Washington, DC. I've enjoyed playing clarinet more in the last 2 or 3
weeks using your
Single Reed Finishing System to work my reeds than I have in all the other
years I've played. Every reed I finished played great with very little time
or effort! This is truly a case of it IS too good and it IS true. Thanks,
Burt Ross
"THIS IS GOING TO COMPLETELY CHANGE THE
WHOLE WORLD OF SINGLE REED PLAYERS....THIS IS TRULY A MIRACLE!" Dear Tom,
I just spent this morning fixing reed after reed for my clarinet students,
who feel completely awed by your method, and they want to order it
too! This is going to completely change the whole world of single reed
players! You need to prepare for an onslaught of orders!
Congratulations again! This is truly a miracle! Courtney Mlinar Clarinetist
freelancer Dallas-Fort Worth, Clarinet Instructor, Birdville ISD,
Castleberry ISD, Nolan Catholic HS, Formerly assistant principal
clarinet, Corpus Christi Symphony Orchestra for 12 yrs.
"THE ATG SYSTEM HELPED ME ACHIEVE
A LEVEL I DIDN'T KNOW EXISTED." ...until I used the ATG system I don't
think that I ever really experienced a balanced reed except maybe by accident.
I'm talking about a reed that responds beautifully with no embouchure bite. I
have worked hard to get rid of embouchure bite, including a commitment to
double-lip embouchure, but until now, subtle imbalance in my reeds has
prevented me from achieving anywhere near perfection even if my "balancing
act" greatly improved the reed's response.
It is amazing to me how easy it is to accept less than perfection while
convincing yourself you're there. The ATG system helped me achieve a level I
didn't know existed. Robert Chest
Instructor of Woodwinds
Bob Jones University
Greenville, SC
"IT WORKS EVERY TIME-ON BOTH CANE AND
SYNTHETIC REEDS." This is the most helpful reedworking
system I have ever used. The method is so easy to learn and apply a young
student can use it successfully, yet it meets the professional's most demanding
and exacting standards. Most importantly, it works every time - on both cane
and synthetic reeds. Daryl Coad
Clarinet Instructor, University of
North Texas
Frmly, New Orleans Symphony Orchestra
"..FRANKLY IT SURPASSED MY WILDEST
EXPECTATIONS...I MUST SAY I WAS AMAZED...." Tom,
I tried the method last night just 15 minutes before the Opera started and
demonstrated it to my 2nd clarinet - I chose 3 really stuffy reeds and frankly
it surpassed my wildest expectations - all three were playing before the
conductor brought the baton down - in fact to prove the point I played the
entire Opera on one of the reeds.
I showed the method to a guest clarinet player tonight and fixed two reeds for
him. He played on one of them and sounded great. I must say I was amazed too
because all it took to adjust that particular reed was precisely 3 movements of
the abrasive! Leslie Craven,
Principal Clarinetist, Orchestra of Welsh National Opera,
"...WITH THIS APPROACH ONE IS VIRTUALLY
GUARANTEED A GREAT MANY USEABLE REEDS...." "The ingenuity and simplicity of the ATG system makes it a "must have"
for all single reed players. With this approach one is virtually guaranteed a
great many useable reeds for practice and performance. Thanks, Tom, for
clarifying the mysteries of reed adjustment, and for making the system so
accessible and practical. Geoff Nudell
Los Angeles Studio Musician, Professor of Clarinet and Saxophone,
California State University, Northridge
11 May 2004
Henri Selmer
France has recently released a new set of Clarinet models which should be of
interest to clarinetists. In past years Selmer has produced great models such as
the 10 (Gigliotti), the 10S, the Recital, the Signature, and the Standard.
All of these Clarinets are in professional use today, and each has
characteristics geared to the requirements of the performer, whether player
jazz, solo recital or concerto, chamber music, or Orchestral. Many firms
have made improvement modifications using new technology along with their
quality handmade standards which make their instruments well respected and
played worldwide by a large venue of players. Below is information about
the new clarinets being featured by this fine firm.
ARTYS Clarinets
Today, the
Selmer Paris clarinet range is an artistically open offer. In the very heart
of this variety, "Artys", expression of the Selmer maturity and modernity,
sets the tone. The Bb and A "Artys" clarinets assert themselves as high
quality, all-purpose instruments, covering a wide range of playing options.
The profound personality of this model is built up from an amazing
playability and a deep, resonant tone. The overall sound and tuning
qualities are particularly homogeneous through all the registers and shades
; a great flexibility and a remarkable control complete the global acoustic
performances.
ODYSSEE Clarinets
"Odyssée"
constitutes the first link to the Selmer Paris professionnal clarinet range.
Designed to open on mutiple musical aspects, "Odyssée" is a wholly
accessible instrument. Respecting the Selmer Paris traditional hallmark, the
"Odyssée" Bb and A clarinets are highly multivalent instruments, based on a
balanced blend of brightness and roundness. Together with the tuning
stability and the flexibility, the homogeneity of the tone colour turns the
"Odyssée" into a very reliable instrument.
Larry Combs checking Bassettklarinette with Bernd Wurlitzer
Bassettklarinette lower joint in case
Lower joint front view
Lower joint back mechanism
Wurltzer holding Bassettklarinette with Mike Getzin and Mitchell Estrin
23 March 2004
From Neustadt a.d.
Aisch, Germany at the Herbert
Wurlitzer home of the near legendary Klarinetten used by all the major
German, Swiss, and Dutch players and Orchestras, comes to make available the
Bassettklarinette in A, used primarily to perform the Mozart Clarinet Concerto
K622, and the Mozart Clarinet Quintet K581 for the extra lower range believed to
be written by Mozart. The Basset Clarinet in A has become popular for
performance of these works in both Germany and other countries. Several
major German artists, like Sabine Meyer and Ulrich Mehlhart (solo Klarinettist
in the Radio Symphony Orchestre Frankfurt) perform with these great
instruments. These instruments have been available for over a decade but now the
push is on in performing these works with these instruments. Wurlitzer
produces these clarinets in both Oehler (Deutsche) system and in Reform Boehm
system which makes positive access to expand one's interest in performing
these works. What makes interest greater is the fact that one can order
(if he has the upper joint to either a Wurlitzer German or Reform Boehm system A
clarinet) the lower joint with extension only by sending to Wurlitzer the upper
joint of their A Clarinet to interface the instrument. One does not have
to purchase a complete instrument, which can save costs. Also of interest
to players who use French mouthpieces, it is possible to play the Reform Boehm
Clarinet with only a change of Tuning barrel by request. Those interested
should contact Wurlitzer for complete details. It has been known for many
years that these handmade limited production clarinets are the artist state of
the industry.
Hammerschmidt RS Klarinette Development Team
RS Reform Boehm Prototypes
Roger Salander Klarinette testing
14 March 2004
The Austrian clarinet makers
Otmar Hammerschmidt,
together with the renowned clarinet soloist Roger Salander, have
developed a new Boehm clarinet model for orchestra and solo use, the
"RS". This instrument sets new standards for dynamic range,
intonation, tone quality and key work in the field of clarinet making.
The new "RS" model could only be developed through a combination of
the high skill level of our master craftsmen, decades of practical
experience, constant improvements, and close contact with
Roger Salander, together with the finest and most modern product engineering
and materials.
Hammerschmidt clarinets have been produced by hand since 1873 and are
known for their quality and perfection by musicians throughout the
world who value reliability and an unequaled beauty of tone.
Hammerschmidt clarinets combine harmony and progress with a
130-year family tradition and are unique in their intonation and tone
quality.
A custom barrel isn’t news in the clarinet
world. But 21st-century custom barrels and bells made out of exotic
woods and beautifully crafted using high tech computer-numerically controlled
equipment is big news no matter how you look at it.
The man behind these innovations is Morrie
Backun (pronounced “Back-koon”), a professional clarinettist and world renowned
clarinet craftsman and technician. Out his state-of-the-art atelier in
Vancouver, Canada, Mr. Backun is attracting the attention of dozens of leading
orchestral clarinetists, soloists, chamber players and teachers.
The reason for Mr. Backun’s popularity is
simple: his unique barrels and bells really do improve the way a clarinet sounds
and responds. Whatever the player may be looking for, be it more focus, a
darker, brighter or more lifted sound, better intonation, a clearer throat
register, less difficulty in the altissimo register or in playing smoothly over
the breaks, it’s all achievable with some combination of a Backun barrel and/or
bell.
Ricardo Morales, the recently appointed
principal clarinettist of the Philadelphia Orchestra and one of today’s most
accomplished players, calls Morrie Backun’s work with barrels and bells
beautiful, “I have several Backun bells that I switch
depending on what I’m playing,” he says. “They change the colour and the way the
instrument responds and feels. And with so many woods and different styles and
tapers to choose from, the possibilities are infinite.”
Take
your pick
Choice is key to the entire Backun
initiative. It starts with materials. Most high-end clarinets are made out of
granadilla and most barrel makers restrict themselves to grenadilla as well.
Morrie Backun uses, in addition to grenadilla, rosewood, cocobolo,
kingwood, Birdseye maple, snakewood and other exotic species, every specimen
hand selected for age and quality. In terms of internal dimensions or so-called
taper, he produces an equally wide range – something for everyone.
Mr. Backun offers such choice because he believes (rightly) that no
two players have precisely the same requirements. Essentially, the process of
purchasing one of his products is a custom fitting wherein the player finds what
feels best for him or her.
“Every player is an individual,” he says.
“I can remember when there were only a few acceptable schools of clarinet
playing. Today there are dozens. And with so much cross pollination, it’s
impossible to say if a player was bred out of the French, American, German or
English school. We serve individual players who have discerning ears and
particular tastes. We therefore make the widest possible range of barrels and
bells to suit individual needs.”
The ring is in the
bell
Most clarinetists readily agree that a barrel (like a
mouthpiece) has an enormous effect on how an instrument plays. But a bell? To
many, a bell is a nothing more than a necessary add-on, an essentially
decorative and not-very-important part of the instrument.
Try playing without the bell and you will
quickly see the folly in this line of thinking. As Morrie Backun points out, the
bell actually has an enormous impact on the sound, response and intonation of a
clarinet – as much as a barrel and perhaps even more. Of course, since only a
single bell comes with the clarinet, and few if any after-market bells have ever
been available, one cannot blame oneself for not knowing this. But it’s a fact
that becomes readily apparent the moment one tries a Backun bell.
Joaquin Valdepenas, principal clarinet
player of the Toronto Symphony Orchestra, was so impressed when first tried a
Backun bell that he used it on a solo recording with orchestra that day.
Likewise, international soloist and recording artist James Cambell played the
Brahms’ Quintet with a Backun bell the same day he first tried it. Says Mr.
Campbell: “I became an instant convert to Morrie Backun’s
barrels and bells. The warmth they added to my sound and the joy of having the
flexibility to colour it as the ear dictates have made me a fan.”
The wonderful ring and other attractive
qualities the Backun bells impart to the sound of the clarinet is not solely a
function of the material used. Much is attributable to the design. Mr. Backun
says that his bells are very different from stock bells. “We don’t use a
straight taper or even a simple bell curve,” he explains. “It’s actually a
series of curves. We even sometimes put tuning and voicing grooves inside the
bell to deal with factors that affect sound, intonation and response. In our new
E-flat bells there are multiple grooves.”
Reinforced with
wood
An instantly noticeable feature of the Backun barrels
and bells is the use of a wooden as opposed to a metal reinforcing rings. The
rationale for this, according to Mr. Backun, has to do with not wanting to
inhibit vibrations, thereby ensuring better sound and response.
“Metal rings are squeezed on
in a kind of force fit,” says Mr. Backun. “Yet when a ring works loose on a
barrel or bell there’s more presence in the sound. By making the rings out of
matching or contrasting exotic woods, and applying them with a special sealant
infused with carbon fiber, the barrel or bell becomes a single vibrating unit.
This improves the sound and feel of the instrument in all registers.”
Many people – players and
audience members alike – comment that the wooden rings, along with the
beautifully finished barrels and bells, also enhance the look of the instrument,
giving it the kind of aesthetic appeal usually reserved for string instruments.
A number of Morrie Backun’s
customers are now asking him to remove the metal ring from the top of the lower
joint of their instrument and replace it with a wooden one. “We’re more than
happy to do this as it improves the overall sound,” he says.
A Backun clarinet
in your future?
If Morrie Backun can design and produce barrels and
bells of such extraordinary quality, imagine what he might be able to do with
complete instruments. Actually, we won’t have to imagine it for long as a Backun
clarinet is currently under development.
Mr. Backun’s approach,
however, will be a departure from what other custom makers have done and are
still doing. His aim is to build a clarinet with the individual player in mind.
In other words, what he and his associates think is best will be subordinated to
what the player thinks is best.
Morrie Backun’s 21st-century
clarinet will feature either sterling silver or 14-karat gold keys – no plating
whatsoever. The positioning, angle and height of the keys will be fitted for
each player. Even the basic key shapes, for so long standardized into a
one-size-fits-all mold, will be adjusted to the player’s hands and preferences.
Mr. Backun and Co. will even go so far as to put rollers on certain keys, or a
low F vent to adjust the pitch, or a throat B-flat voicing mechanism – whatever
the player deems important for his or her way of playing.
Says Mr. Backun: “We respect the major
manufacturers and other custom makers, many of whom make very fine instruments.
But we’re going a different route. Our new instrument will emulate the features
of a high-end flute, the accuracy of intonation and exceptional workmanship, but
with a sound and feel that’s completely matched to the individual player.
The
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Unique features such as a two-position stereo
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