The ClarinetPages Forum

I was thinking that, and I suspect it would not be too difficult to dismantle a triple stack from an abandoned electronic device.  The old cabinets (even the small ones) are quite spacious internally.

This also seems like a potentially viable option:

Quote from: Windsong on July 27, 2026, 04:22:26 PMI can see you really know what you are talking about.  My father was big into radios and had been part of the Signal Corps in the Army.  He always had a hi-fi system with a reel-to-reel, and myriad radios (tube AM, AM/FM/SW, hybrids, transistors, etc.). 

He wasn't especially handy, mechanically, but he could solder, and trace faults, and he taught me the basics.  Most of his knowledge was wasted on me at the time when I might have paid better attention, but I have recently gotten onto researching and timidly collecting tabletop tube radios.  As long as one can still get tubes, and knows the basics, these old things will literally run forever.  Now, if I can just figure out a good modern replacement for these 1920s 4.5 volt Ever-Ready batteries.

3 standard batteries, AA, AAA, C, D wired in series will give you 4.5 volts.  Which would work depends on the size of the space you have to fill.

I can see you really know what you are talking about.  My father was big into radios and had been part of the Signal Corps in the Army.  He always had a hi-fi system with a reel-to-reel, and myriad radios (tube AM, AM/FM/SW, hybrids, transistors, etc.). 

He wasn't especially handy, mechanically, but he could solder, and trace faults, and he taught me the basics.  Most of his knowledge was wasted on me at the time when I might have paid better attention, but I have recently gotten onto researching and timidly collecting tabletop tube radios.  As long as one can still get tubes, and knows the basics, these old things will literally run forever.  Now, if I can just figure out a good modern replacement for these 1920s 4.5 volt Ever-Ready batteries.

Hey, that is nice.  That is my kinda jazz.  I do love those harmonizing saxes!

Quote from: Windsong on February 04, 2026, 09:28:29 AMI aspire to learn and play his part in Django Reinhardt's recording of Rhythm Futur, released in 1940.  I can already play its rudiments, but as it crosses the break in the most uncomfortable of places and with such ferocity, it is a real hang-up at present.  I do love a challenge, though.

This is the first time that I have heard of Hubert Rostaing, thanks for sharing.

I listened to it just now. Yes, the speed of those notes would provide a bit of a challenge. I still struggle with Woodie Herman's Four Brothers up to tempo.


It is in my Hal Leonard Jazz Play Along Volume 28, The Big Band Era. It has parts in C, Bb, Eb and Bass clefs, giving flexibility in instruments to play. At times I have found it a riot to bring out my humble Venus (China) student model Eb sopranino clarinet (bought it over a decade ago, think I paid $79 for it, seller said it's gold colored keys may flake off but hasn't happened) and give it a shot with the other tunes in the book.

The comment that this video was produced by A.I. is probably not too far from the truth.

Nothing is new under the sun. CD's are digitized media, not analogue. So, the video comment about dusting off old CD's has no merit. If it mentioned an old 1/4 inch wide reel to reel, 8 track or cassette would be closer to the truth.

Back in the 1960's and 1970's, I listened on inexpensive 6 to 8 transistor AM and later AM-FM battery operated radios. Their monoraul sound was tinny on those 2 to 3 inch diameter speakers, plus considerable white noise hiss by the transistor electronics. Even then they "companded" the sound (automatic gain control on radios and stereo equipment, even radio stations), so nothing is new.

File sharing in high school meant borrowing a friend's 45 RPM record stack and me loaning him/her my 45 RPM record stack.

I bought on clearance around 1971 a quality Radio Shack monoraul 4-inch reel to reel battery/AC true capstan recorder on sale from their store in Honolulu. 4-inch reels were an odd size, 5-inch? were next size up, so I bought the most common, I think they were 3.25 or 3.5 inch reels.

I found by wiring a special adapter cable from the speaker outputs of our monoraul tube record player to the recorder inputs (mike or aux. input) with a potentiometer to limit input gain from the record player to not overdrive the recorder's pre-amp, could make decent tape copies.

The size of modern undercounter radio was my high school "mp3 player". It used 6 D batteries, so was portable.

If the digitization is high resolution enough, reproduction IMO will be of good quality and indestiguishable from analogue.

60 years ago, accoustic suspension speakers had not yet been developed, hence why larger paper speakers were used to produce the same volume. The old stereo systems then still produced decent audio output with a certain warmth to the sound, deep booming bass was pleasant to listen to.

The old adage is, "You get what you pay for." Good equipment with good speakers even new today sounds good. Nothing is new under the sun.

Quote from: ghostler on July 24, 2026, 11:03:07 AM

Quote from: LarryS on July 13, 2026, 03:38:35 PM

Quote from: lydian on July 13, 2026, 01:07:53 PMGlad to hear you're feeling well enough to play again. Reeds are only a click and a few more days away.

I wouldn't have believed it, but I honestly can't help but think the chemo is working.

Hang in there. When I herniated a disk in my back years ago, the orthopedic doc told me that healing takes time. Day to day one may not notice change. But if one looks back a month ago, two months ago and can say, today I feel better now than I did back then. Healing has taken place.

I've noticed there are good days, and there are bad days. Not long after the above mentioned day, there was a string of bad days.
Thankfully today was a good day and I got some piano playing in.

Quote from: Windsong on July 27, 2026, 05:02:05 AMHere 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. 😂

Quote from: Windsong on July 27, 2026, 05:02:05 AMNow-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.

Quote from: Windsong on July 27, 2026, 05:14:05 AMI 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?

Quote from: Windsong on July 27, 2026, 05:02:05 AMIf 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.

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,
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!