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Messages - windydankoff

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1
Almost 3 years have passed, but this message thread remains full of good information so I continue .... Silversorcerer David's post just above helped me to set up trill keys to be "real" notes. I took it a step further. I enlarge the B trill tone hole, then glue a bump of material near the center of the pad. That way it keeps its full travel but acts like it opens less. It balances the factors nicely, which is not easy because that key effects 3 notes. Also, I can sand the bump to final-adjust it, without removing the key. I do this as routine on my Black Hole C clarinets to dial in the B trill without de-tuning the side-key Bb.

I sell C clarinets often with a select vintage mouthpiece that matches with it especially well. The old STL name turned out to be a seller, not the maker, and is no longer relevant. To date, the quality remains high and a bit more consistent. But it still needs fine-tuning etc. to meet "concert standards". Then, I love the instrument and so does everyone I now who has one.

2
For those who are following this topic, I revised the initial post, so it explains things more clearly. Please go back to the top if you wish to read the new version. Thanks!

3
Larry, again I have to stress that tone hole sizes, undercutting, and pad heights are also critical determinants of impedance.

Airflyte gives an example above, saying that the B&H Imperial 1010 has a large bore but is NOT free-blowing.

The difference of inside diameter between a typical normal modern (medium) bore and a "large bore" is only 2-3 percent! And incidentally, the entire horn is shorter by a few percent, because a larger bore lowers the pitch.

4
All about Clarinets / Re: Repairing holes in the clarinet bodies
« on: September 03, 2020, 05:33:41 PM »
For general use, I like the Locktite products (Home Depot and elsewhere) because they have a good applicator bottle that doesn't clog (much). They have both gel and liquid. I like having both.

The BEST type of glue for making extremely strong bond to wood is "thin". It flows so easily (like a solvent) that it's rather hazardous. Therefore, it's not sold at hardware stores. I have bought it at woodworking and jeweler's supply stores. Online sources too, of course. Starbond is one good brand.

For wood, I START with thin liquid. It soaks in and penetrates the finest hairline cracks (and continues out onto your hand -- watch out! Then I add something thicker. Thick or gel CA will always distort or shrink as it hardens. Epoxy will not shrink. Epoxy WILL adhere very well to hardened CA glue, so I sometimes prime the wood with CA, then fill with epoxy.

The Starbond black rubberized CA is harder to find. I got mine from Amazon, after reading this topic. Thanks Ken. I'll try it next for repairing a chipped mouthpiece.

Also note -- ANY brand of CA accelerator spray will work on ANY CA glue. You need it, or you will run into situations where the stuff just won't set up, especially when not in a confined space.

5
All about Clarinets / Re: Repairing holes in the clarinet bodies
« on: August 31, 2020, 05:57:54 PM »
Thanks Ken for informing me of this product a few weeks ago AND for your detailed report of a well-developed process. So, I bought a bottle ...

I was fine-tuning a hard rubber C clarinets for a client, undercutting a low tonehole, and I slipped with a spinning burr. It made a chip in the valve seat. I sprayed a whiff of conventional CA activator and as that evaporated, I applied a droplet of this black stuff. In minutes (if not seconds), it was hard. With a sharp knife, I carved away the excess. It felt hard-rubbery, not glassy-brittle like normal CA. I reamed the hole, wondering if that would force it off. It did not. Nobody (but you) will ever know this happened.

I could have used epoxy putty (JB Kwik) but this was instant, and already black.


6
All about Clarinets / Re: Rare paperclip bass
« on: August 23, 2020, 09:40:38 AM »
Thanks Jason! Noting the depth of your work, I'm thrilled to have you participate in our forum.

7
I posted a Summertime demonstration of my "user-friendly" Pruefer Silver Throat and C clarinets at https://youtu.be/KLdry9KeOFc

I hope it demonstrates that a #2 reed can perform delightfully on instruments of low-impedance.

8
Airflyte, in response to your questions, I am comparing oscillating air motion to electrical alternating current ... or rather, I'm making an analogy on an intuitive basis. Impedance is resistance to oscillating energy, in whatever form it may take.

I again emphasize that "large bore" alone is a minor factor in reducing impedance. We're only talking about a diameter differences of a few percent. Impedance creates resistance (more or less) at EVERY boundary or change in the medium -- from mouth to reed to facing to chamber to barrel to main bore through tone holes, undercuts AND pad openings. So one cannot characterize an instrument from a few simple measurements.

The bore of any clarinet has near-zero resistance to "direct current". Observe by breathing through it without a reed. Add the dynamic element of oscillating (vibrating) air, and THEN impedance appears.

A mechanical example of impedance MATCHING is being in the correct gear on a vehicle. The gears alter the ratio of speed to torque using leverage. In the wrong gear, with mismatch, some energy is blocked. In a wind instrument, the ratio is air pressure to flow rate. In electric power, audio and radio circuits, it's voltage to current. Impedance is everywhere.

It's fascinating to ponder. I struggled to understand it as a radio ham in the 60's, and I'm still discovering its relevance. I was surprised at first, to see how it relates to the energy-efficiency of a clarinet. Now it makes complete sense.

9
All about Clarinets / Re: (dreaming of) Summertime, Clarinet
« on: August 09, 2020, 10:15:10 AM »
Larry and all It is very much Summertime here! I recorded this to demonstrate my Pruefer Silver Throat Bb and my Black Hole C clarinets. Enjoy!
https://youtu.be/KLdry9KeOFc

10
All about Clarinets / Re: Making new key posts
« on: August 08, 2020, 06:31:02 AM »
Thank you Ken. Keep us "posted" (sorry) ... with pictures too, if you don't mind.

11
All about Clarinets / Re: Arts and crafts projects
« on: August 04, 2020, 05:27:33 AM »
Grumpy -  On the MP rails, variations less than the width of a hair will make or break its performance. I've ruined enough to know that if you do anything without knowing exactly what you are doing, there's almost no chance it's going to play right. I hope you'll try a proper MP and let us know how she blows! May you be illuminated (not by a lamp).

12
All about Clarinets / Re: Klezmer anyone?!
« on: August 03, 2020, 08:00:31 PM »
Thanks Allen. You're a gem!

13
All about Clarinets / Re: Klezmer anyone?!
« on: August 03, 2020, 08:57:30 AM »
Many thanks Allen the marvelous resource material on your site. Your video of Klez Project - "Silberne Khasene" on your home page https://www.lutins.org/music/index.html serves well to exemplify the sound, and your playing skill.

Do you find that specific types of clarinet, mouthpiece and reed help facilitate the klezmer "voice"? Or is it ALL in the player?

14
All about Clarinets / Re: W. R. Yorke, Inc clarinet
« on: July 29, 2020, 08:57:54 AM »
It looks, by all visible details, just like the Pedler SN E20716 (circa 1950) that I had (I checked your photos against mine). Measure the length of barrel. Mine was I think a few mm shorter than normal, and the upper joint was correspondingly longer.

It's a "large-bore" horn (15mm UJ and a big bottom). I was delighted with it. Deep tone and fine intonation, and easy-blowing very much like the Pruefer Silver Throat, but not as loud.

I see German silver keywork there. It will polish up very nicely. Lucky the hard rubber stayed black. (Mine was like Army green.)

15
All about Clarinets / Re: Arts and crafts projects
« on: July 25, 2020, 08:25:22 AM »
Silvert Throat clarinets have UNPLATED German silver keys. Tripoli is a good buffing compound, as Dave says. But first, best to remove crud and corrosion, to get an even result. You can search the Pages for "electric toothbrush" and "tumbler" to find two methods we have used to make it much easier. The tumbler method is easiest, but you need to spend about $100. The electric toothbrush method (with metal polish) worked as well for me. Cleans everything really well. Of course you can brush manually too, the point is to remove crud before finishing with buffing. Then you get a lovely, even, dark luster typical of German silver, and it holds up for a long time.

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