Speaking of the alto, I recently watched this video by Bret Newton: "Who's Afraid of the Alto Clarinet"

This is a live recording from the 2019 Clarinet Colloquium at Texas A&M University at Commerce where Matthew Banks and I try to dispel some of the myths and rumors about the Alto Clarinet.

https://www.youtube.com/watch?v=mxsSJcty4MM

30 minutes.

Unlike myself, most professionals use a harder reed.

As near as I can tell, it's a (gender-free) machismo thing — or rather, that's half the reason people do it.  The other half is that you do tend to get more consistent vibration out of it, once it starts vibrating.

On my bass, I've found:

• Fibercell definitely gives me a more sax-like sound - raw and edgy
• Bari reeds don't work for me (on any instrument)
• Legere blue-label (regular) play nicely, but are missing a wooden reed tone
• Legere black-label (Signature) are closer to the real thing

That said, I normally play Van Dorens, prefer V21, but will slide down to V.12, or blue box, depending on what's available for the clarinet I'm playing.  (eefer, beefer, alto, bass, contra alto) 

However, for outdoors use, it's Legere all the way.  A Legere 2.5 for our community band's performance of the anthem at the Royals (vs. Twins) game on the 13th. 

A bit spendy, but with "wriggle room", and with a forked Eb and articulated C#/G#.  Interesting.
What do you suppose is going on with that wood?  Extremely dry?  Water damage?

https://www.ebay.co.uk/itm/1940s-L-Hamel-Clarinet-w-Case-Extras-Made-in-France-Mystery-Maker-/132446240198?clk_rvr_id=1403635750137&rmvSB=true&ul_ref=http%253A%252F%252Frover.ebay.com%252Frover%252F1%252F710-53481-19255-0%252F1%253Ficep_ff3%253D2%2526pub%253D5574933636%2526toolid%253D10001%2526campid%253D5336728181%2526customid%253D%2526mpre%253Dhttps%25253A%25252F%25252Fwww%25252Eebay%25252Eco%25252Euk%25252Fitm%25252F1940s-L-Hamel-Clarinet-w-Case-Extras-Made-in-France-Mystery-Maker-%25252F132446240198%2526srcrot%253D710-53481-19255-0%2526rvr_id%253D1403635750137&ul_noapp=true

Quite a bit of wiggle room, as time has shown.  The white stuff was indeed stinky mold.  It's received its first treatment with white thyme oil.  The thyme oil nearly brought out the serial at the bottom of the bottom joint, and it brought out "HP" over "B♭" on its barrel. 

So, a friend who works at the Kansas City Museum asked about getting the fungus off of an old clarinet.  She's in contact with the Musical Instrument Museum, but in the meantime, here's some science-supported evidence for oil of Thyme that she dug up:

https://naldc.nal.usda.gov/download/26998/PDF

Ok, a plastic Bundy.  Nothing precious.   

Tape over the tone holes as well as one end of the joint and put your de-scaling solution inside. 

The vinegar is done when it has finished bubbling.  It may bubble very slowly, though.  I wouldn't bother diluting household vinegar, assuming that the electrical tape remains water-tight.  (Heck, packing tape should do and would give you ways to throw light in there and look.)

From there, I'd be tempted to run a brush through to dislodge any leftover crud and repeat the process.

I held one once.  Man, it was tiny! 

Vinegar.