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Topics - philpedler

Pages: [1] 2 3 ... 12
1
Thanks to Ken Ewald, I was able to review a Jean Aubert clarinet. In Penzel-Mueller's later years, they made several partnerships, and I think one of them was with Malerne in France.

See the review and pictures here: https://sites.google.com/clarinetpages.net/clarinetpages/composite/vintage-plastic-composite-clarinets/penzel-mueller-dyna-tone/aubert-jean-late-penzel-mueller?authuser=0

Ken is doing a great job with his retirement hobby! Take a look at his Etsy page here: https://www.etsy.com/shop/KennyWhosKlarinettes
See his video to view what a real clarinet workshop looks like!

2
    For those that don't know me, I am the absentee landlord of ClarinetPages. Greetings to you all!

    Some of you old-timers here may remember that I play many Sunday's in the worship team at my church. When I go to Indonesia, I have instruments there that I play in churches also. This is really fun for me. At 71, I am always the oldest member of the music team, so I count it a great privilege to play along. I play clarinet, Irish folk flute, soprano sax, penny whistles and recorders.

    I have always valued playing real acoustical instruments. But these days, I may be the only one playing a non-electric instrument. So, I get 'miked', (or, er, 'microphoned'). Somehow it never seemed to bother me that my beautiful acoustic tone was now plasticized by amplification. Meanwhile, the sound booth people have always had headaches with me, because it's hard to mix my sound with the rest of the team. If I play the soprano saxophone or even the alto recorder in the high range, it can easily over-power other instruments and the singers. On the other hand, if I listen to the results in a recording, I am disappointed that no one would have heard lovely musical lines that I played in the lower register of any of the instruments listed above.

    So, recently, I suggested to our worship leader that I could solve that persistent problem with an electric instrument, the Yamaha YDS-150 Digital Saxophone. Evidently he liked the idea of solving "the problem with Phil's playing," because he found funds to buy it for me! I have played it for three Sundays now, so it's time for me review it here. Even though this is not a sax forum, I know some of you will be interested.

    If you really are interested, you will want to check out reviews by Jim at Sax.co.uk on YouTube. He has two reviews that were very helpful to me.

    Here are the things that appeal to me in the YDS-150:
    • It is shaped like a soprano saxophone, with a low A key on the lower part of the button for the left thumb. Play any of the 70-some sounds with sax fingerings. Wonderful!
    • It allows you to set fingerings for the altissimo range of the saxophone. This is the first time I have learned how to play a high F# and G on a soprano sax.
    • You can set any of the four saxophone sounds to play in the key of C. This works best for the soprano and tenor sax sounds, because Bb is, of course, a close neighbor of C. I have prided myself at being able to transpose and play C parts on my Bb, A, and G clarinets, but I can definitely see that I do better when I don't have to transpose. It eliminates one stress factor for me. Using C fingerings for the alto and bari sax sounds sounds strange in some registers, because the sound makers didn't envision people trying stretch them that far.
    • You can modify and save 20 favorite sounds using the phone app for this instrument. The app is also useful for changing between your favorites.
    • Use a head set with the YDS and enjoy practicing a saxophone while never making a sound that will be heard by neighbors.
    • Saving the best for last: I didn't realize how my playing style on 'real' acoustical instruments was restricted because of avoiding certain inherent problems on those instruments! For instance, I avoid playing the lowest and the extreme highest notes on my soprano sax. I simply can't play those notes in those registers at a pianissimo level (and admittedly have not spent the time needed to master those notes). I only get to use the extremes of my instrument in the contexts where it makes sense to play at a medium or loud volume. Now with the YDS, it has been delightful to end some songs with an impossibly pianissimo high or low note! And guess what! The note is perfectly in tune.

    About the Yamaha YDS-150 app:
    It shows that it is a first version. I would hope that Yamaha will update it soon. The feature for naming the favorite sounds/voices did not work for me on the Android app. And it sure would be nice if they could add some more controls and settings for voices.

    Voices/Sounds:
    The weakness of this saxophone is that Yamaha did not seriously attempt to make the instrument sound like any of the 4 acoustic saxophones, specifically in the subtle changes when one hears in different registers. The sound definitely seems artificial to me. That criticism must be balanced by the fact that the playing experience is so different from playing a real sax. When I play my soprano sax, I hear not just the sound, but overtones sent through my bone structure. I miss that sensation! There are 13 soprano sax sounds in the YDS. These start with Jazzy, Straight, Bright Pop, Classic, Rich Classic, and Smooth, plus things like Distortion Effect and Phaser Effect. One thing I dislike it that MOST YDS sounds contain automatic vibrato. The sound intensity is solely controlled by wind pressure. There is no lip pressure sensor as in many wind synthesizers. Note in the list of soprano voices above that the second one is 'Straight', which in this case means 'no vibrato'. (Well actually, I detect a tiny rather rapid vibrato. But the sound is straight enough.)

    In addition there are just a few other interesting sounds. The best two, in my opinion are the harmonica and pan pipes sound. How I wish there were more! Why didn't they include a flute and a bassoon?! (Given what they did with saxophone, it is better that they didn't try to add the clarinet.)

    Don't judge any sound on the YDS by the tiny built-in speaker. Plug in headphones or get an amplifier. Plugging into a bluetooth speaker with a cable, works well.

    From the 70-some YDS voice/sound choices, I came up with around 9 that I thought I could use, and four favorites. Settings from the app for my favorites are attached to this post. Two more pictures will be in a reply post below.
    • 1 Straight, electric-sounding, oboe d'amore'
    • 2 sweet oboe d'amore
    • 3 straight soprano sax
    • 3 straight soprano sax
    • 4 soprano sax with vibrato
    • 9 tenor sax ballad (straight) LPF (dark)
    • 10 tenor sax HPF (bright)

    Of course the YDS does not have a sound named 'oboe d'amore'. But that is the name I gave to a modified sound. In the lower register, it reminds me of an English Horn. Both the oboe-like sounds and the soprano sax sound have the delightful quality of being able to cut through the mix of other instruments, just like oboes normally do. It has been such a pleasure to softly play alto range harmony parts with worshipful songs, yet to have the notes so subtly make their presence heard in the mix.

    I hate to admit one more advantage of the YDS. I expected criticism from my wife (formerly and oboe player) about the artificial sound. Instead she said, "I liked that you were perfectly in tune." (Ouch!) Well if one plays lots of instruments, and is getting old and not practicing enough, guess what happens!

    Here's something I learned: Playing the YDS with other electronic instruments, of course one will play with headphones on. I found that the trick was to set the mix for my channel so that my sound was somewhat soft in my headset, so as to encourage me to play a bit louder than I normally would on low notes. When playing in the higher range, I had to be conscious to not play as loud as I want to.

    I love the advantages of playing the YDS, so I'm going to miss it! I am sending it back. On Tuesday I will be receiving a Rolland AE-30 Aerophone Pro.

    Expect another review. The Aerophone Pro has literally thousands of sounds, and hundreds that emulate real acoustical instruments.

3
All about Clarinets / Please help me check the clarinetpages.xxx site
« on: February 08, 2021, 05:53:33 PM »
There have been problems in forwarding the three domain names I set up for clarinetpages. Please, if you have a little time, try these two addresses to make sure they work for you:
clarinetpages.net
clarinetpages.com

You should be able to put www. in front of those, if you want. But just the naked address should work.

If one or both of the addresses don't work, please Reply to this thread tell me which browser you are using and what error you got. It would be great if you can attach a screenshot of the error message.

If the addresses work, please respond. If I get 5 responses that are saying they work, I will consider the problem solved.

Thanks so much!
Phil

4
All about Clarinets / Klezmer anyone?!
« on: August 02, 2020, 05:09:00 PM »
Recently Allen L contacted me about a clarinet question at the clarinetpages.net, and he mentioned that he plays Klezmer. I don't often come in contact with Klezmer players, so I asked him these questions:
  • How would one go about learning to play in the Klezmer style?
  • Do you play a C clarinet for that?
  • Do you prefer an Albert system clarinet for that?
  • What are the standard pieces that all Klezmer players should know?
  • Please include Youtubes of you and your group.
Allen did a fantastic job answering me. And maybe if you respond to this he might even add more.

First off, I'd like to provide some clarification regarding what exactly
"klezmer music" encompasses - but it's regrettably not straightforward.
Klezmer originally arose in medieval eastern European Jewish communities
to perform at "simkhas" (holidays and celebratory events, especially
weddings). When brought to the United States by Jewish immigrants in the
20th century, it was further influenced by early theater music and early
jazz. To some performers, this is the repertoire that is considered to
be "klezmer music" proper. However, klezmorim (the plural of klezmer;
the term "klezmer" originally referred to a musician - but the genre
didn't have a common name until its revival in the 1970's, when "klezmer
music", or music made by klezmorim, was shortened) have always borrowed
from the cultures around them - for example, incorporating the folk
tunes of Roma, Ukranians, Romanians, and others into their repertoire
early on - and beginning in the mid-20th century, the repertoire has
been augmented by Yiddish melodies, Israeli folk music, tunes from early
20th-century American Yiddish theater productions, and modern
compositions in the traditional style. Some performers would also
consider these latter borrowings to constitute "klezmer music", while
others make a distinction between these and the older, more
"traditional" repertoire.

As far as how to learn: As with all ethnic music, ornamentation and feel
are of utmost importance, and cannot be learned from sheet music alone.
It is critical to listen to a lot of music (especially older recordings,
but also contemporary artists who carry on the tradition faithfully).
Tons of vintage klezmer recordings are available on the YouTube channel
Classic Klezmer (www.youtube.com/user/classicklezmer). In addition,
Robin Seletsky has a very helpful YouTube page dedicated to klezmer
clarinet tutorials
(www.youtube.com/playlist?list=PLcngoxzwXCGmyrutyvP6a7aKbkCSouytA).

This is not to say that sheet music doesn't have its place. There are a
number of fine collections to serve as an aid to learning the basic
melodies. I recommend the Mel Bay "Klezmer Collection" book (available
in C and Bb) as a great starter - it has a lot of tunes commonly played
by klezmer bands, as well as good notes on the source recordings from
which the transcriptions were made. One must be aware, however, that
these melodies are only a starting point. A significant portion of the
older klezmer repertoire consists of dance tunes, and like most ethnic
dance traditions, improvisation is essential so as not to bore the
dancers (nor musicians) to tears as the tune is played repeatedly. There
are traditional styles of improvisation (as opposed to "anything goes"),
and again I have to stress the importance of listening to the experts
perform in order to learn the established traditions. Bear in mind,
however, that established performers have stretched the bounds of the
genre quite far, including fusion efforts that stray far from the tradition.

Regarding the instruments: Thanks to a number of historic trends
(predominantly in the early to mid 20th century), the clarinet is now
often considered to be "the prince of klezmer". Historically, both C and
Bb clarinets have been played by klezmorim. I utilize both instruments
in my playing, not for specific historic or authenticity reasons, but
rather because of the ease that a C clarinet lends to playing in certain
keys, and reading concert scores without having to transpose on the fly.
I play Boehm instruments because I don't have the bandwidth to learn yet
another instrument (I also perform frequently on guitar and Irish
whistles - or at least i did, until the pandemic hit). My music page,
which includes a few choice videos (with links to more on YouTube), is
www.lutins.org/music.

And as far as "standard pieces that all klezmer players should know":
Hmmm. I'm reluctant to name any particular pieces, because some of them
seem to be played to death these days. I think it's best to start
listening, and decide which pieces strike your fancy. I maintain a
comprehensive guide at www.klezmerguide.com that may prove helpful for
finding online recordings and sheet music sources for a tune that you
come across.

5
Dave and I thought that this was an interesting clarinet when Janie contacted us. So if any of you are interested, here's the link:

http://ebay.us/9FUOZq?cmpnId=5338273189

6
Can anyone help Eloise with this question? She is in the UK. That would probably affect the answer to the value question.

Hi Phil, I have a Boosey & Hawkes Regent clarinet, serial number 477723, made in England. I'd like to know the value of this and the age if you can! Thanks a lot!
Eloise

Thanks!

7
All about Clarinets / Mystery clarinet logo. Who can identify it?
« on: March 01, 2020, 03:04:17 PM »
Let's help Frank in Denmark. What maker used this Lyre-like logo with a capital A middle part without its crossbar?

This is a hard rubber clarinet. I kind of think it would be Czechoslovakian. Boosey & Hawkes didn't have a logo like that, I think. Note that the only logo stamp is on the side of the right hand joint, at the bottom.

Thanks for your help!
Phil

8
All about Clarinets / MOVED: Penzel Mueller Serial Time line
« on: August 31, 2019, 09:13:15 AM »
This topic has been moved to the Make and Model board.

http://clarinetpages.info/smf/index.php?topic=867.0

11
All about Clarinets / Please identify this mysterious tenon ring
« on: July 25, 2019, 01:47:00 PM »
I know that I have fixed plural clarinets with tenon rings like this. Please tell me and Paul what clarinet this pictured tenon ring is from.
This was spliced onto a Bruno clarinet.
Thanks!

12
Greetings All,

I hope that you will still be able to access THIS forum and the ClarinetPages.net site.

I was shocked to find today that an Internet search took me to the OLD ClarinetPages.net site, not the new one.
I have added a redirect to the NEW site, so that more traffic will go there.
BUT Unfortunately, I am further saddened by how poorly the new site is working. It is so hard to navigate the new menu, and many pages in the new site have missing pictures or broken links.
If any of you have time to help me, it would be very much appreciated.

Dave and others, I changed a redirect that I didn't understand that seemingly went from clarinetpages.net to this forum.
SO some people may have trouble accessing this site.
Sorry!

If the site is broken, I will try to fix it.

13
Buford has asked me about the value of this interesting metal clarinet. The construction is single walled, but the bore diameter is a whopping .585 inch. The outer diameter at the top below the tenon is about .62 inch. Note that the bell also is removable.

Because of these characteristics, I think that there would be interest in this clarinet at auction. Can anyone on the forum give an idea of what this clarinet would sell for at auction?

14
Enjoy this entertaining radio program. Very well done. And you hear the British perspective on things.
https://www.bbc.co.uk/programmes/p03m0srq

15
All about Clarinets / Woah! Look at the new clarinetpages.net site!
« on: December 17, 2018, 02:48:39 PM »
Clarinetpages.net now takes you to our new site, with a slicker, more-modern interface! The old site is linked at the top of the new site.

Clarinetpages.xyz and clarinetpages.com also take you to the NEW clarinetpages.net site.

The old site will no longer be updated. My grandson is almost finished getting the pictures all posted at the new site. All the picture galleries that stopped working are now displayed as thumbnails, which can be clicked to see the pictures larger.

Please use this thread to tell me about any mistakes that need fixing! Thanks!

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