Author Topic: G Clarinet Boehm (French) system, new from China (!)  (Read 219 times)

Offline windydankoff

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Re: G Clarinet Boehm (French) system, new from China (!)
« Reply #15 on: April 30, 2019, 06:21:47 AM »
Enjoy some SOUNDS of G clarinet ...

The heart of the G tradition is in Turkey:
Here's a G clarinet summit and instrument review
Isa Pini & Hüsnü Senlendirici
https://www.youtube.com/watch?v=pIuqM9sSq4Y

Pericle Odierna plays G clarinet as only an Italian film composer can!
https://www.youtube.com/watch?v=vIloDcZ0JeU

Moses played a G clarinet!
"Le clarinettiste se penche sur le mythique exode du peuple juif, guidé par Moïse à sa sortie d’Egypte."
https://www.youtube.com/watch?v=22DgqNtWuxs
Boehm system G!

-----------
Here is a Turkish supplier link.
https://muziksel.com/urunler/2/
Note that SOL is their designation for key-of-G. See all the SOL clarinets listed! All are German/Albert system. Few traditional musicians use Boehm G, but it will become a trend.

G Wiz!
« Last Edit: April 30, 2019, 07:55:00 AM by windydankoff »
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Offline philpedler

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Re: G Clarinet Boehm (French) system, new from China (!)
« Reply #16 on: April 30, 2019, 06:43:31 PM »
Can't wait for mine to come in two days!

Offline philpedler

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Re: G Clarinet Boehm (French) system, new from China (!)
« Reply #17 on: May 06, 2019, 05:34:19 PM »
I got my G clarinet, and I am quite pleased with it. It is a little distressing that I find that it will take more getting used to than I anticipated. This is mainly in the effort that it takes and the stretch for the fingers. The stretch is not really uncomfortable for my hands, just really unfamiliar.

I feel like mine might be a bit better than Windy's. Jaren Di Leon's YouTube's give correct information. On the RH joint, I did not need to expand the tone hole for the low G/clarion D, but I undercut it DRASTICALLY. I undercut the second resonance tone hole somewhat, hoping that would also help. Just like Leon's, the F/C also needed undercutting, but not as much. That G/D is the MAJOR problem with this horn. The three open holes on the RH joint needed to be opened up and somewhat undercut where the excess glue for the tone hole inserts was protruding out into the holes.

Also, just like Windy said, the bell needs to be pulled out as far as possible. I covered the whole tenon with black Valentino cloth, and wrapped the short part where I wanted to attach the bell with Teflon tape, to make a good seal.

I use the longer of the two barrels supplied. And I hardly need to pull out at all. On the left hand joint, I flattened tiny 'snakes' of Poster Tack in the tone holes that were too sharp here and there. The low C# tone hole on the left hand joint needed major undercutting. For some reason, most of the holes needing Poster Tack were the open holes that you put your fingers on, especially the thumb hole and the 2nd and 3rd finger holes on the LH joint. 

I am using the same mouthpiece that I use for my Bb and A. It is the Van Doren BD5, which is more open at the tip than I previously used. (I have enjoyed that mouthpiece for its darker tone, while not giving me a throat tone E that was too flat.) On the Bb I use a Legere Signature 3 3/4 reed. On the A I use a 3 1/2 strength. And on the G clarinet, I find that I am quite happy with a 3 1/4 strength. But something kind of funny happened. Some time ago I ordered a European cut 3 1/4 reed by mistake. It was too soft and completely unusable on my A clarinet, which is the instrument I was wanting it for. But when I was trying out the G clarinet with my BD5 mouthpiece, I grabbed the European cut reed by mistake. It happens that the combination of that reed and my mouthpiece plays very freely on the G clarinet. My BD5 mouthpiece is not optimal for the European cut reed, which is just a hair over 1mm wider at the tip than the regular American style Signature reeds. The European cut reed really fills out the whole width of the flat part of the beak of my mouthpiece. But maybe that extra width is helpful when playing such a low clarinet. I will be trying a 3.0 strength American style Signature reed soon, and maybe I will like that better than the 3 1/4 of either style.

One thing that will definitely take getting used to is transposing music written in C up a fourth. But I will learn.

I was surprised that the throat tones are so robust on the G clarinet. The G is great, the A and Bb don't really need resonance fingerings. They are great as they are (once the tone holes were tweaked a bit. They needed minor undercutting. The normal resonance fingerings DON'T work. I rather like LH 2 and 3 for the Bb, and 1, 2, and 3 on the right hand down for the A. The upper register notes from A to high C are way sharp. While the high D above that C is unacceptably flat. The high D can be played with no fingers and no thumb, and then it can be lipped down to be in tune with some practice. But that's about as high as I intend to go with this G clarinet. I removed the cork that regulates the bridge key so that depressing the right hand rings does not completely close the left hand rings. In this way, I can add a finger or two on the right hand in order to lower the too sharp high C.

My LH extra Ab/Eb key worked great out of the box. It wasn't binding. But I think that the connection to the right hand key may be too loose, allowing it to slip out of place. So I might take it off, as Windy has done.

The pads on the G clarinet are good quality. They are bladder pads. But they are not making as tight of a seal as I like, so I will be repadding the whole horn eventually with Valentino greenback pads.

So all in all: I will enjoy playing this clarinet in our church services. A lot of time people like it when I can sound like a cello, and the extra lower register notes plus the gutsy dark sound of this instrument are very cool for that purpose. Also our music team here seems to always play in F, C, D, and G. The G clarinet is perfect for those keys (if I can just get used to the transposition). So I can recommend this as a great purchase for anyone willing to spend the time tweaking it.


Offline Airflyte

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Re: G Clarinet Boehm (French) system, new from China (!)
« Reply #18 on: May 06, 2019, 06:43:25 PM »
Ugh, you guys have me this close [------] (very close) to getting one of these.

Do not need, do not need, do not need . . . .
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Offline jordan.1210

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Re: G Clarinet Boehm (French) system, new from China (!)
« Reply #19 on: May 07, 2019, 02:28:40 AM »
I definitely want one, I just don't know if I can make the modifications myself (or if I trust myself). Instrument repair has always been an interest but I don't know if this is how I want to start
I spend way too much time looking at instruments I probably shouldn't be buying.

Offline windydankoff

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Re: G Clarinet Boehm (French) system, new from China (!)
« Reply #20 on: May 07, 2019, 01:52:20 PM »
This is much more than a repair project, because there are design and construction flaws to be navigated. It will probably pay to wait. The same maker improved their C clarinets a lot over a 2 year period. This one is starting out worse.

Tuning holes often involves removing interlinked keywork ... sometimes 2 or 3 times. And, adjacent holes effect each other, AND they may differ between registers.

And those R4 bottom keys! I would be unable to play mine with any satisfaction if I hadn't altered the 4 keys with grinding and epoxy-rebuilding. Unless you are quite tall and have very long fingers (glove-size XL), you will need this work done as well.  I also "moved the hole" for R3 finger upward and outward (within the tonehole insert).

For those who really want one, I suggest to wait for production to evolve. Whoever reads this and buys one – PLEASE report your findings so we can watch the progress.

I have fine-tuned 7 of the C clarinets. I sell them for $600. I would do a similar offering for this G but with the work currently involved, I would need about $1200  ... if I have the time.

Again, refer to Jared De Leon's youtube videos. After seeing my project log, he told me he did a similar over-all tuning job. That means he did a lot more work than he shows in his video.
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Offline windydankoff

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Re: G Clarinet Boehm (French) system, new from China (!)
« Reply #21 on: May 08, 2019, 02:37:06 PM »
It's time to report my overall satisfaction with my "G Wiz".

The performance fell into place after I fixed a pinhole pad leak in the UJ (located with my cut-off stethoscope). My last ergonomic tweak was to offset the R3 hole upward and toward the hand. My R3 finger now lands comfortably and consistently. I moved the hole well within the bounds of the plastic tonehole insert, by filling and side-cutting, retaining good tuning in 2 registers. I also contoured the rings and risers of both R3 and L3. Now I can play as nimbly as I can on my Bb.

I use a neck strap. I don't need it just to pick it up and blow a note, but eventually I feel the strain around the base of my thumb.

Phil wrote: "I was surprised that the throat tones are so robust on the G clarinet. The G is great, the A and Bb don't really need resonance fingerings."

I'm not surprised. Compared to a Bb, the toneholes are all shifted downward, out of the upper throat, where there is better acoustical behavior. The transition over the break is surprisingly uniform in tone and response. Same with altissimo! I was surprised that the standard fingerings take me to G6 with ease, and better uniformity than a Bb.

Since I fixed that tiny leak, it's been responding well to several classical MPs. I get the best control and expression by using the same MP as I use on my Bb, or one that's nearly identical.

It has its own beautiful tone, less edgy or more mellow than a Bb. The tone and feel is surprisingly consistent from bottom to top! I'm happy with the whole range of intonation, too. I quickly adjusted to reading C music in the low register. Going up, I'm going by ear, but that works for me.

I feel that both the C and the G Wiz are great discoveries for players who are not locked into conventions ... IF they are fine-tuned with patience and skill.
Windy / BLACK • HOLE Clarinets
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Offline windydankoff

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Re: G Clarinet Boehm (French) system, new from China (!)
« Reply #22 on: May 23, 2019, 02:58:42 PM »
NEW ERGONOMIC SOLUTION – A CURVED BARREL

The difficult reach of the R4 finger bottom keys is a serious problem, as stated above. I found a second solution, an alternative to the radical key modifications shown in my first photos. It's easier, and avoids permanent changes.

I made a "curved" barrel. It's position is skewed to bring it about half-way to the position of an alto-sax. The whole horn is raised about 1 inch AND angled to the right. These two factors bring the R4 keys into normal reach, and R3 as well. It's comfortable to play and doesn't alter the sound.

I made the curved barrel from two standard Bb barrels of hard rubber (rather than sacrificing an original). I used one for the bottom and the other to form the top. Each piece is cut 10° from normal, then glued together to form a 20° bend, then smoothed over with filler. The bore is trimmed first, to round off the sharp bend inside. Before gluing, I enlarged the bore to 15mm, which I think helps a bit. It doesn't seem to be critical.

I think this is an important step to making this instrument practical for people who are of medium height and don't have very large hands.

I can supply curved barrels for this instrument. I suggest getting familiar with it, then determine which original barrel is best while holding it out at a moderate angle. Then I would then produce a new barrel to order.
« Last Edit: May 23, 2019, 04:30:16 PM by windydankoff »
Windy / BLACK • HOLE Clarinets
C & G CLARINETS refined to concert standards
Thanks to The Clarinet Pages