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1
Alfearless,
That is a nice early HP&Co.  Well worth your time and effort.
2
Windy--what you have done to provide for fuller, and quite frankly-better sound and projection without sacrificing intonation is extremely clever.  This is a really fun instrument with brand new relevance.

I am excited to see how my technique improves and expands, as a result of being exposed to this hidden 'realm' you've discovered.
3
My goal turned to producing more of these modified MPs based on Prototype 1, with its classical rounded chamber. I found a source for this acrylic MP. I developed a reamer to enlarge the upper bore, improving the clarion to sound more clarinet-like. I have now produced a series of 8 prototypes with 3 playing perfectly. The purpose was to "tune the tool" to tune the bore, and also to practice hand-finishing the facing for a better reed seal. All the while, I'm learning the effects of these variables.

I also make a short brass insert for the neck that extends the reduced exit bore down into the neck. It improves the throat tones and (surprise) the altissimo!  ... By lining up those upper harmonics, it improves the entire instrument. That's the magic that fulfills me.

I had to give it the only possible name:  BIGmouth piece

If you wish to try one, beware:  It will ONLY work well with a "large bore" alto clarinet measuring 18mm ID at the neck (like my Vito). If a US dime will drop through the neck, it's 18. If the dime is refused, the bore is too small (like my Bundy open-hole at 17mm).  –– I NEED BORE DATA so if you measure your Brand X, I'll appreciate if you send me your measurement or dime-result.

One of our illustrious members is the first to receive one (for his Pedler alto). He sent me his initial reaction:
" I LOVE THIS MOUTHPIECE setup!  ... You've taken a rather boring horn and given it a sonorous, gutsy personality.  The alto has never been regarded as anything but a filler horn, and now it can take center stage.  ...  Frankly, it's a whole new instrument--and a better one, at that. "  – Windsong

If you are interested, please read the attached pdf.

Thanks to ClarinetPages for all your support over the past 8 years!
4
Trading Post / Selmer Series 9 -1963 clarinet
« Last post by doctorfunk on April 10, 2024, 05:54:57 PM »
I am selling my 1963 vintage Selmer series 9 clarinet.
It is in excellent condition, with matching serial numbers (T3227), and it has been well cared for.
It was recently evaluated and adjusted by Maestro Woodwind Musical Instruments, in Brookline, MA.
I am located in the greater Boston area, but I will also ship it within the continental USA.

You can find a link to the sale either here:

https://boston.craigslist.org/gbs/msg/d/chestnut-hill-selmer-series-clarinet/7736071787.html

or here:

https://www.facebook.com/marketplace/item/397126539772945/

Thanks!
5
Harry Pedler had individual lower joint trill posts on his higher quality metal clarinets, yet never on his highest quality wooden or Hard Rubber horns.   I do not believe assigning all 6 trills a unique post took root until the late 30s.

Good to know whom I can bequeath things to. 😉  I have not gotten started on the gem yet, but I play its younger brother weekly.  I have had all manner of unexpected surprises this season, but I hope to have it buttoned up by year's end.

Many of the Martin Pedlers (MP) were often nickel or silver plated.  Some were also bare nickel silver.  Unless he did a one or two-off for advertising or royalty, HP's horns were always unplated nickel silver.  It tarnished evenly, and was easily brought back to luster.  It was delicate, too.  Martin remedied that, a bit.  It's not that HP couldn't have changed his formula.  He evidently preferred soft keys.  If one is careful, they don't bend, and if one has a mishap, it can quickly be rectified without having to take the horn in.  They were shock absorbent, forgiving.
 
I have an aversion to silver keywork, as it always looks awful, save for the 1st week after polishing. MBIC charged for, and offered a few plating options.  I have a brochure from January 1935 (using the Harry Pedler & Co moniker, still), listing prices for upgrades and replacements:
6
Good eye, that is curious.
When was the later change t individual posts for the trill keys and the Eb/Ab key? (Which technically infringed the last page of Leblanc’s 1932 patent hehe) https://patents.google.com/patent/US1926489A/en)

How is that full Boehm Pedler? I’m still hoping to eventually get one of those cool later ones but I’d like to get at the very least a seven ring model since that fork is so ingrained in my muscle memory now.  No rush… ;D
Those later ones also look nickel plated, like some Conns.

7
Harry had two early LJ sliver B pad cup arms. 

The first design, which covered the full run of the rod, before pitching up and outward, was thinner, more graceful.  It saw use until the wrap-around register key was abandoned in late 1923, or thereabouts.

The second design came directly out, away from the rod, and then pitched up.  You will note it is with these changes that the original Harry Pedler keywork became more robust.  The molecular composition remained little changed, as the keywork was still softer than most competitors.  Some keywork is theoretically interchangeable between posts.
8
A currently listed Harry Pedler has one very unusual key.  It is the first I have seen (or at least paid attention to, and I have a lot of Harry Pedler clarinets, none so equipped).

Photo #1: Traditional Harry Pedler with canary perch crow's foot.
Photo #2: seller's Harry Pedler.  It's a genuine Harry, and has a low serial #.  The grand departure from his utilitarian convention is frankly baffling.  (Historically, Harry utilized two separate pieces for the key touch actuator and the pad cup arm, and this protocol remained dominant until Martin cleaned up his keywork designs). 

This G#/A RH pinky design is much cleaner.  The key arm is tacked underneath, providing continuity.  I don't prefer it, but only because it looks completely out of place amid all other keys that do not deviate.   

I estimate this odd one to have a manufacture date of c. 1931, and I would place it earlier (1928-1929, since metal and Hard Rubber serialization began before Harry left) if it weren't for this key.  It may have been Martin's first design deviation, making it historically important.  Recall that Martin continued use of Harry's name for several years. 

Are there others of these? 
9
Make and Model lists and research / Re: Help with Donated Clarinet
« Last post by DaveLeBlanc on April 07, 2024, 10:25:46 AM »
Suuuper cool. I always liked JTL, they tended to use some really nice wood that really pops with gorgeous grain and lovely colors. Throw some oil and polish a bit and that thing's going to be beautiful.
10
Make and Model lists and research / Re: Help with Donated Clarinet
« Last post by Windsong on April 06, 2024, 09:56:33 AM »
Thank you, Ghoulcaster!  Very cool.  I grew interested in this feature in its different forms, as a result of Harry Pedler's "Appliance", and this patent date of 1904 preceeds Pedler's design.  You're correct about the adjustment at G#/A, so a better guess would be pre 1925. I've not seen an LP designation past the early 1920s, as it became assumed.

Swamplander--I think that is an excellent idea.  This is probably a very sweet horn, and is quite unusual for a number of reasons.  The general condition seems to be good, and the keywork looks fully intact.  I agree it is worth a full restoration.
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