Penzel Mueller Serial Time line

[ghostler]

This is my Pacemaker in its case:
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Stenciling on the upper joint and bell:
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Lower joint back side showing thumb rest:
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The case is a bit unusual but of high quality labeled "Prestini". Doing a search I didn't know such cases were available and very reasonably priced at $40.00 US from a company in Arizona. Certainly better than a few budget cases from the Orient that I purchased in the past.
CA-105 Bb Clarinet ABS Plastic Case

My case exterior:
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[ghostler]

Some of you already know just how incredibly good P-M grenadilla is.  It is the glossiest, tightest gained grenadilla I have ever seen, and in my experience, it is rivaled only by Selmer.  If you have seen a P-M and assumed it was plastic or Rubber, you are forgiven.  It is nearly impossible to find the grain sometimes. I even wonder if after turning and drilling the blanks and then stamping them, whether they heat treat them, to seal the finish, like burnishing.  I would love to know.

@Windsong , I looked at my 1940's Penzel (Mueller) Pacemaker intermediate and you are correct. The Grenadilla selected is so fine grained that only upon close examination in a good light source, I can make out its grain. My 3 Boosey & Hawkes Edgware intermediates,  2 - 1955's and one 1954 (based on serial numbers) the Grenadilla is very grainy, very noticeable.

The one downside to their nearly flawless finish is that if you let them get too dry, they will "spall" around the tone holes. They will also crack, quite readily, if oil treatments are not attended to.  The easy solution, of course, is to oil them liberally at the time of a resto, and then at least once annually.  While they often look like they could not possibly take any oil, do it anyway. 

Thanks for the tip, will do.

I do not know what type of care this one received, but it was so dry that it consumed each daily oiling and has requested more for 10 days straight now (edit: today is the 17th of March, and I have been oiling every day for over 3 weeks, and it is still drinking heartily). When this happens, keep feeding the oil until it rejects it.

Noted.

Look at the beautiful, prominent stamps.  Again--nobody stamps a clarinet better than P-M did.  They are crisp and deep with no distortion.  You can read them from 10 feet away.

My Pacemaker wood displays this nice quality. Should take to a gilding crayon or wax well.

Also, the lower and upper joints (as well as the keys) are all numbers matching.  Do you want to know just how original your Artist, Brilliante or Super Brilliante is?  Look at the underside of the register key and the F# LH pinky key, and you should find a 3-digit number which corresponds with the last three digits of the serial number.

The upper joint backside bottom above the tenon has "H31xx" impressed into the Grenadilla but the lower, under to and left of the RH C# pinky paddle has "H22xxB" aligned vertically pressed into the Grenadilla. So, the serials do not match. The quality of the tenon replacement corks are not as precisely fit as I would like (edges have gaps (tech was in a hurry?), not trimmed to its full width with uneven gaps along tenon edges) and key cork bumpers show edges trimmed rough. Tech workmanship could be better.

There is a history to this clarinet. lower D# pinky key pad has a small chunk missing inside but not crossing the camferred key hole contact area, needs replace. Appears overhauled but little use as other pads show little wear. Since I purchased this for only $53.63 and it came in a new quality case, I can forgive discrepancies.

Yes, I know...I vowed I would never again use white leather pads, and I intended not to, but I have so many of them, and finding quality, affordable pads in colors other than white or black is problematic at present.  I had wanted to use lipstick red pads, quite frankly, just as it came to me with, (and laugh if you will, but I sincerely tried to save the old ones) but I could not find any.

All my clarinets use traditional pads.

Recently I bought a set of white leather pads for my French made René Dumont metal clarinet, thinking this would be a nice touch. It needs a complete overhaul, but considering its age is in remarkably good shape except its nickel plating needs polishing and a general cleaning. I purchased it complete with neck, mouthpiece and its case is in extremely clean condition considering its age for $65.58 this past January. Appears to have little wear and tear.

This René would look cute in red leather pads. ;)

[Windsong]

Ghostler,
I have always been intrigued by the G. Penzel Pacemakers, curious why the Mueller name did not also adorn them.  I believe they were all made in Germany for P-M. 

Walter W. Mueller also made a line of metal clarinets without the Penzel name, called "The Empire State", rather than "Empire", as the wooden ones were stamped. 

Perhaps they were all into side projects, but that seems antithetical to good business acumen.

If you ever do find lipstick red leather pads, please let me know!

[Windsong]

Here are two (three, counting the A. LeCompte) very nice, very rare Penzel & Bro. Clarinets.  These are known to have been made between 1882-1898, before Müller was made partner--although a tighter window is not currently available.

I find the seller's price highly optimistic, and believe $2500.00-$2700.00 to be a more appropriate price for three unrestored clarinets of this vintage and pedigree in an equally unusual triple case.  All look complete, and in good, restorable sort.

I have not seen, from any competing manufacturer of the time (not JTL, Couesnon or Buffet) the level of finishing and precise key work engineering and clever articulation displayed by Penzels of the late 19th and early 20th century.  I firmly believe they were sans rival.  I have an 1899-1906ish Penzel in HP which I marvel at frequently, as both an engineering feat and an example of extraordinary precision.

Now-keep in mind that all three of these are almost certainly in High Pitch (probably 454Hz), and therefore while historically significant, not worth a hill of beans to anyone wishing to play with others, which as we all know affects value significantly.

[ghostler]

Here are two (three, counting the A. LeCompte) very nice, very rare Penzel & Bro. Clarinets.  These are known to have been made between 1882-1898, before Müller was made partner--although a tighter window is not currently available. I find the seller's price highly optimistic, and believe $2500.00-$2700.00 to be a more appropriate price for three unrestored clarinets of this vintage and pedigree in an equally unusual triple case.  All look complete, and in good, restorable sort.

Good question. Apparently he or she thinks they can find a buyer. Maybe they will, maybe not. For me they would be more of a curiosity. I am interested more in playing than collecting although I now have my share of G.A.S. (gear acquisition syndrome). My players both sax and clarinet are student to intermediate. I've learned over time that the play is in the instrumentalist, the instrument is only a tool, a brush to paint the musical canvas.

I play my somewhat rustic looking student model Le Blanc 7133T Vito (late 1980's/early 1990's?; KHS Jupiter JTS689 in disguise) tenor saxophone in the community band. Seated next to me is a player with a Selmer Paris Super Action 80 pro tenor. Yet I can produce that nice soft subtone in the lower register to back the clarinets as a harmonized choir.  The Selmer sounds brighter even in its lower register. As Mark Twain said, "It's not the size of the dog in the fight, it's the size of the fight in the dog.".

A few years ago I did my own overhaul on the tenor. Didn't have a leak light but did the best I could. Also installed missing cork bumpers. Because of leaks I was using my Venus tenor that I bought around 2016.

Sent it Tarpley Music Store here locally. Their tech in Lubbock called me and said, "Someone overhauled this sax but it has leaks!" 😆 I thanked him, didn't tell him who overhauled it, said if additional work was needed, call me and I'll auhorize them. Servicing cost me $151.12. I paid around $80 for pads with metal resonators and a few other things. Essentially I got an overhaul for under $250. 😂

Now-keep in mind that all three of these are almost certainly in High Pitch (probably 454Hz), and therefore while historically significant, not worth a hill of beans to anyone wishing to play with others, which as we all know affects value significantly.

I think in solo mode with an accompianist would work for say a recital or concert insertion. The nice thing about an electronic piano or keyboard is that many can be tuned to the solo instrumentalist's pitch.

Recently I discovered that although wider bore clarinets were preferred for jazz, Benny Goodman, Artie Shaw, etc. played Buffets some time in their professional career. Then I came to the conclusion that the best jazz clarinet was one that was playing jazz. With amplification equipment IMO, bore size is of a lesser issue. A good soloist whether with a slightly dark or bright tone still sounds good.

I have always been intrigued by the G. Penzel Pacemakers, curious why the Mueller name did not also adorn them.  I believe they were all made in Germany for P-M.

I have noticed on all my stencil brands that the original manufacturer isn't mentioned on the instrument. I have 2 KHS Jupiter saxes stenciled as Le Blanc Vito's. The 7133T tenor has no country of origin stamp. I gather possibility that Le Blanc (or contracted other for Le Blanc) assembled these in US. My alto, a Vito 7133 has "Taiwan" stamped on the back near the serial number. All Vito saxes no matter the maker (Beaugnier France - purchased by Le Blanc, Yanasigawa, Yamaha, KHS Jupiter) were sold with the same Le Blanc rectangular sheet plastic covered rectangular plywood case with sewn edge strips. My 1952 Beaugnier Vito 37 alto sax (high serial no. indicating perhaps early 1960's - they continued selling and making these a while) came in a nice true brown leather covered Le Blanc case.

My Pacemaker has Germany stamped on the upper back of the upper joint. The Pacemaker was most likely targeted for the progressing student or the starving professional musician, better afforded over a pro model. Also these were purchased wholesale so Penzel could make a profit. Perhaps Mueller made them, then disassembled them shipped out as parts, then Penzel, New York reassembled them to avoid import tariff costs? Packaged in a Penzel case? Lack of additional embellishments were to keep prices down to improve sales quotients?

Today, many of the makers are "in bed with other makers" and there seems fewer brands, so there is less competition. I recall reading a scanned pre-WW2 paper written by the US Commerce Department some time ago. It stated that when there were at least 10 competitors in a market, then one was assured a fair cost. Today on many products we no longer have that competition. Perhaps this explains the higher cost of new instruments these days?

If you ever do find lipstick red leather pads, please let me know!

It would make a nice statement, but I not have yet been able to find these even from Chinese sources.

[PigSquealer]

Aah yes, PigSquealer; that is the 2nd generation logo. It started at some point after the war, and while I don't know specifically when they made the switch, I know it was by 1948.  I have a poster from April 1945, and they were still using the eagle.

Regarding bass photos, here you are:

Thank you, much appreciated!
I recently received a bit of information from the original owner.
His memory is not so good at 96. "Think I bought it in my early 20's, can't remember where." Doing the math would place the bass's date 1950-55. Not much to go on but something.
FWIW I still haven't found another bass of any year around. Very odd.