I remember in high school this one asst. director was a sax performance major. He said they play their Selmer mk VI until they are "blown out" where the keys move too much between the posts/pivot screws, and other issues. They had tools back then to elongate rod screws, etc (from seeing old tech books). But the players back then would go to a new horn one the existing one gets worn out. I know currently I think Buffet likes players to buy a new instrument every 3-5 years in one of their statements (though this is years ago now). But I think of that more as a "lease" than "ownership" for players.

Oh, I really like what Tom Ridenour did at Leblanc with his designs. The Concertos / Opus are fantastic instruments near the top of my lists at their current used prices. And everything he's done afterwards. He has a good informative KZbin channel too.

Brevete SGDB was just a type of Patent .. en.wikipedia.org/wiki/Brevet%C3%A9_SGDG#:~:text=Brevet%C3%A9%20SGDG%20was%20a%20French%20type%20of%20patent,maintained%20a%20system%20of%20simple%20registration%20of%20patents. The SGDB era are fine clarinets. You have to just remember they are old technology, keywork is more delicate (thin), cylindrical bore, intonation not as accurate, etc. I used to have a collection going back to the mid 1800s but sold most of them except modern ones. I also used to play in a period correct baroque quintet but got rid of that a long time ago too. I like the 1950-55 Master Bore Buffet, or even the Selmer Paris Series 9 (I liked the Centered Tone too but I could stick my finger into the tonehole so it was very precise finger placement to play those). So it really depends upon what you are looking for. On pre 1970s clarinets I seal each tonehole bore (have a video I think about that) as the chimneys would get porous and one can feel the response issues.

listed on my website No 2* More open than OB* which is about 1.08mm www.woodwindforum.com/clarinetperfection/obrien/

If you have additional links, the process is about the same. As you have to break the bracelet (pushing out a pin), then add additional links then push the pin back in from where it pushed out.

One is an R13 the other is a Malerne.

For some reason I can’t open it, it so weird

I'm in the camp of using a different neck too. I have silver, gold plated, 2xlacquer necks for my Selmers. I have a 62 alto with 2 necks too and if I can start playing again I'll probably try a couple more. I want to get an 875 sooner or later - probably an alto. I had one briefly at the same time I got a Cannonball BigBell tenor when it first came out that came with two necks. One neck they used a spinning metal wire brush to etch the inside of a neck, definitely affected the higher partials bouncing off the walls. That is the first time when I realized how much the design of a neck can affect the sound and how texture can also do that as all my selmers have an internal texture on the necks - the old hand hammered on a mandrel days. . And old 1930s White (Conn stencil) has it's neck opening opened a bit further. That got me into looking at how the neck opening, even a little can affect backpressure and other tonal aspects. There is so much to neck design. . How do you like your 875 compared to other horns ? I've always been a Yamaha fan since my high school days when a buddy got a 62 alto purple logo and I had my Selmer mk 7 and Couf Superba 1.

@@gottalovetheknowledge4749 I have loved my Yamaha saxes better than any Selmer that I've played. I was in the Marine Band for 4 years and the Army band for 16 years, so I had the opportunity to play on many Selmer saxes that the miIitary provided. I've always preferred my personal Yamaha saxes over the Selmers that the military provided. I played on my personal Mark VI alto and I preferred my Yamaha 62. I played on Selmer Super Action 80 altos that the military provided and I much preferred my Yamaha 855 alto that I purchased in 1995. I have played Selmer Super Action 80 Tenors and I prefer my Yamaha 875 tenor. I have felt like I hit the jackpot with every Yamaha sax I've owned. I hear a better balanced tone from the lowest note to the highest notes on my Yamahas compared to the Selmers and also bettter intonation on every Yamaha. I am very good at repairing saxes and getting out all of the leaks, so I know it wasn't a setup problem with the Selmers. My latest alto is the 875 EXII. If you purchase the 875 EX new, it will be the II model... Yamaha doesn't put II on the sax, they just put EX over the serial number and on the bell. This II model has been out for some years now, so even if you get a used one, it could be the II model. If it comes with a V1 neck, then it should be the II model unless the owner upgraded the neck. The 875 EXII alto comes with the V1 neck, which is great for dark sounding mouthpieces and/or reeds. I suggest using the E1 neck with this alto for bright sounding mouthpieces and/or bright sounding reeds. This 875 EXII alto is the most in-tune sax I've ever played. I am still playing my 875 tenor that I purchased in 1995. The new necks make this tenor sound amazing. I used to play a Yamaha 62 soprano sax. Now, I prefer playing the P Mauriat System 76 version II soprano sax (definitely don't bother with the first version they produced). I play the gold lacquer version of this soprano. I thought the matte lacquer sounded too dark and muffled (they put the matte lacquer on too thick). In the 80's and 90's I played top of the line Yanagisawa bari saxes and a Selmer Super action 80 bari. I liked the Yanagisawa bari's more than the Selmer. I now play a Yanagisawa-copy bari sax... it's the Kessler Solist bari. I only spent $3000 on this bari and it plays just as good and in tune as the Yanagisawas I used to play. It's not as good as the newest baris that Yanagisawa makes now, but I sure love this bari I have anyway. I'm starting to make some recordings with all of my saxes and I can share them with you soon if you are interested. There is definitely an art to matching up sax equipment. One mouthpiece that sounds great on one sax or one neck will not necessarily sound great on another sax or neck. So, always take your time when trying new equipment. I now have learned to switch my necks depending on which reeds I am using. I realize that just about all of the comparison videos you see on KZbin really don't mean much when it comes to saxes because the demonstrator usually uses the same mouthpiece and reed to demo the different saxes... but the same mouthpiece and reed combination on different saxes and different necks doesn't necessarily match up and usually doesn't match up.

would you be interested in a YT video about how you view lacquer/plating thickness, necks and how it affects tone, etc. You can email me at [email protected]

12 volt plugs are not standardized very well. If you try a short 12v extension from Amazon or other places then that may work.

@@gottalovetheknowledge4749 Thank you, I actually went ahead and bought one off of Amazon but I noticed some reviews said it got hot and actually melted in the BLUETTI port so I’ll have to keep an eye out for that lol

The mouthpiece glass gauge: 1 - check ebay 2 - From Music Medic (Theo Wanne) - www.musicmedic.com/products/repair-tools/mouthpiece-facing.html#:~:text=The%20Theo%20Wanne%20All%20in%20One%20Feeler%20Gauge%20Set%20includes 3 - Theo Wanna traditional glass gauge - theowanne.com/products/glass-gauge#:~:text=This%20is%20the%20standard%20glass%20gauge%20used%20with%20a%20feeler The brand I use hasn't been available for over a decade so eBay is the best but it's a rarity.

I don't know. I'm in the US so B&H are not common to begin with. Those were intermediate clarinets that came in Bb and A. I have never seen one in my area.

I don't think your sound is affecting either from the thumb rest/hook but I found it interesting information from Yamaha.

I was thinking the same but if they said that maybe they tested it with a number of players and variables but I doubt it can be heard by the human ear even on a really developed musical ear.

silver mylar is actually a good material to use. I was looking at large sheets of .0005" to get instead of paying such a premium (I was looking at McMaster-Carr and similar stuff on Amazon). I know old recommendations was to use the mylar around cigarette packs in the 80s/90s. But any super thin material is good to use. I have a couple videos that talk about floating and there is at least 1 or 2 more videos where I'm replacing that one pad in the video coming soon.

that was late 2023, so a few months after my stroke. My spelling and especially my speech was greatly affected. I had to take many retakes of segments through early 2024 until my speech became better - not as good as it was but better.

1 - For the Date, pull out the crown one step, and rotate. As it rotates past 31 (top numbers) it changes the Month (right side) 2 - To do day of week (left side) Pull the crown out to 2nd step. Then start rotating the time, you'll have to rotate twice for each day of week that will then change. 3 - Also, for month change only there is a small button on the top right side of the case which when pushed should changes the month only. Hope that helps

I had my Spinergy's on my los dos mtb tandem too at one time and I used a Burley Kazoo on it for a short time. I tried SPIN wheels too, but those SPIN wheels would flex a lot between the trispokes so much that it felt like I was riding triangles. After that I became more attentive to the flex of the Rev-X - nothing like the SPIN but didn't want to damage my Rev-X as they were my MTB race wheels. I'll probably be putting my Rev-Xs back on my Y bike as I'm tiring of the Aerospokes a bit. :)

Put my Rev-Xs back one. Yeah, they look cooler and are lighter and faster to get rolling. Think they'll stay on for a while. Maybe use the Aerospokes if I ride in the snow, or mud .. which probably won't happen anytime soon.

What kind of brakes were you running on your los dos? I have the magura blues with an extra lever for the stoker.

Stratos fr-4 fork

Is the clarinet an Eb or C or is it a Bb/A clarinet ? If yours has a stamp "Carl Fischer" that went away in the 1930s (ish) I believe, although they were still the distributor through the 1950s. Back then the catalog model numbers were R13, R13 ½, R14, R14 ½, R16, R16 ¾, which was relevant to the type of keywork (Standard Boehm, variations of Enhanced Boehm to the Full Boehm). The 3 posts and flat trill key guide are identifiers of "pre-R13" but that can go back to the late 1800s too. Many of the single body clarinets were up to the 1930s. Of course you could have a newer model with an old model bell if it has Carl Fischer stamped on it. Of course, some people confuse the Evette (student) and Evette and Schaeffer (intermediate) clarinets for a Buffet Crampon clarinet too. . Can you send pictures to the email address: [email protected] so I can have a better understanding of what you have.

@@gottalovetheknowledge4749 Thank you for the reply! I am unsure of what key of clarinet it is, since I am a flute and oboe player and I know little about clarinets. But to my eye, it seems larger than an E flat clarinet. I haven't been able to test it out because it does need some work. I'll be sending the photos promptly. Once again, thank you!

Thanks for the pictures via email. I replied with this: The pictures definitely help. 1922 the serial numbers were 1O194 -1O999 and 2O1 - 692O1 So the SN of 57601 fits with in that. here are some of the old clarinet keywork identifiers. - 3 posts shared for throat keys (pre 1955) - no throat key adjustment screw (pre 1930) - large sheet metal trill key guide (pre 1955) - C# right hand pinky key has a flat spring on it (RH pinky lower left key) (pre -1930) - RH thumb - 1 screw on top / 1 screw on bottom (vs two screws next to each other) - pre 1928ish - Carl Fischer stamp - pre 1930 So 1922 fits in the SN chart and fits with the keywork design. Steve

@@gottalovetheknowledge4749 Wow, thank you so much! That really helps me out!

you could try. I found a dremel size to be a bit too much to handle and it may spit polishing compound all over the clarinet. Plus you still have to follow up to clean it up anyway with a clean cloth. . My polishing routine is usually a large buffing wheel but all the keys are taken off and pads would get replaced. I found manually polishing keeps everything nice and shiny over time without affecting the pads.

@@gottalovetheknowledge4749 great advice. Thank you! Got my sisters clarinet for my daughter. It hasn’t been played in 30 years and needs a good cleaning/reconditioning.

You are welcome. There's many devices out there to add a neckstrap and some of them are really expensive. When you can easily and inexpensively use a neckstrap.

Glad it helps. Just make sure you use just a dab and don't let it clog in to the post area. It's nice to have nice and shiny keywork all the time.

I still use it and it functions well getting a good % to 100watts total on a good day. It is nice and thin and a good substitute for folding panels but you do not want to scratch up the surface. I'll probably put a 200w flexible one on the top of my truck.

I bought my alto VII new in 1982 (not engraved and bright yellow lacquer) ... a few years after production ended. I bought it mailorder from NEMC. It's still my main horn and has 98% lacquer remaining. I'm lucky as my skin oil doesn't adversely affect the lacquer. It's heavier (weight) than my VI but I like the way it responds just a bit better and keywork being heavier sprung I like the way it feels under the fingers. Nothing wrong with the VI either. The SA80 Series I is the VII just without the big table keys. I recently sold my 1984ish Couf Superba I. I'll be selling my Yamaha purple logo 62 alto sooner or later too. Just keep my two Selmers.

Loved it, even the road equipment. So much smoother than Campagnolo at the time, and even smoother Shimano.

The one tool I show in that video is this one www.ferreestoolsinc.com/collections/woodwind-supplies/products/g56-bore-measuring-tool?_pos=1&_sid=3b8ddaf49&_ss=r I also use T shaped telescoping gage sets, and also a micrometer digital measuring tool - you want a good one as the cheaper one's flex. I used to use a shotgun bore measuring tool in the distant past too to measure the entire bore.

Don't forget about the modern Omega line of instruments. kzbin.info/www/bejne/nJu1iJKDqZdmj6s

If you play well on your B12 or other plastic clarinet and you use the same mouthpiece on your E12 and you squeak, I'm going to guess you have a leak somewhere. I thought I had a video about how to check for leaks at home, but I never finished it a couple years ago. If you take just the upper joint (of you plastic one first), use your right hand to close the ring keys, and your other hand to "plug" the bottom. Lightly blow in to it. The clarinet should stop your breath pressure (keep it light). If you increase your pressure you should be able to overcome a spring or two and the clarinet key(s) will leak. You can then compare this to your e12 and it should feel the same. Otherwise there is a leak somewhere. I'm going to have to finish or redo that one video I have of that. Though you'll be kinda doing the same thing in this video just without the machine. You'll have to pay close attention to how the pressure in your mouth is as you compare back and forth between the two clarinets. kzbin.info/www/bejne/iWiqlHlorpeGr7M

@@gottalovetheknowledge4749 alright, thank you, and I have a feeling I might have a leak, but I’m not entirely sure, so I’ll make sure to check, but the thing that got me very suspicious of this was because it was always the same notes that will squeak, such as Eb in the staff and C# in the staff, sometimes A, Ab, and G but those were mostly fixed with fixing my voicing and stuff

The Tosca is based on an improved R13 bore. The Divine is based on an RC bore. So the first question is whether you want the R13 bore (more ping/sweetness) design vs RC (more open flexibility). Then you'll have your answer. I play an RC Prestige and R13s. If I play in larger groups I'll play the R13 more. As a soloist I'll play the RC more, but that's my preference. I know some people would be the opposite. Mouthpiece selection can also adverse affects one results.

The B&H 1010, 926, etc are awesome clarinets. Of course, like the Selmer CT, Series 9, and Leblanc Dynamic variations are very good. I haven't played a B&H recently but I thought not only were they easy to play for large dynamics but they were a smoother tonal quality IMHO.

Thanks. Yes, it can be a struggle and various watches have various methods for adjustment. My HydroConquest now has a Longines blue leather band with push deployment on it, since for me it's not a dive watch. This band reduces the weight a lot and makes it more comfortable for wearing all day long without the weight.

The Dual Pivot really was a gigantic step up in braking. Shimano really reinvented everything about cycling and knocked Campagnolo off the top tier perch they were on for decades. My favorite single caliper though is the hidden spring Suntour Superbe (wish I kept), although I have a set of Campagnolo Cobaltos on one bike.

Wrap around register keys were very common for a short period of time in the late 1800 to early 1900s. The long register key caused issues as it would flex (and bend) and the register vent wouldn't get closed all the way. Thick leather pads were the best option for it for sealing properly.

any addition to this area is going to decrease the volume of air going through here, and probably dramatically increase the backpressure. If one sculps out material, it may make the instrument sound tubby (refer to sax mpcs for examples). Ralph Morgan "classical" clarinet mpcs have this type of scoop at the throat but this was in the total design. If one adds material this may help the reed vibrate but affect the player negatively. Additionally, there are points in a manufacturers design mapping of areas that can affect intonation. I'm sure it would affect intonation and probably increase higher partials (brighter sounding) depending upon how much additional material is here. If you obtain some hobby clay you can make small temporary inserts in to the mpc cavity and see how it affects everything. If it breaks off it will just go down the instrument (hopefully) to the floor. If you want to test scooping out material get a cheap mpc, get it working well but adjusting it then test away. I never venture too far away from factory specifications. I used to test sax mpc with hobby clay but it depends on the end result you are trying to attain. Clarinet mpcs are much more sensitive to design changes.

@@gottalovetheknowledge4749 thanks. I should have been more specific. My sax mouthpiece where the square is cut out at the end of the throat has a bit of material leftover at the edge so instead of it being a perfect right angle drop off, there is a bit of a wing or even a damn. So the air would hit that small piece of leftover material, maneuvering around it before it can enter the bore. I this a design feature? Or not considered ideal?

sorry for the late reply. It sounds like quality control did not catch that. This of how it would create air turbulence in that area under the wing. But if you want to send some pictures to [email protected]

I really do not have an answer for you but I don't think the ac70 could handle it. I would first worry about the surge. Looking at the Bluetti website it states the ac70 surge can cover 1500 watts, and 1000 watts total AC draw. 120x15 = 1800 watts. That 1800 is above the specs of the ac70, even that is only about 20 minutes if it could run. Half that amps would be 996 watts. I don't think the draw would be enough to get a dryer to work at drying but I'm no means an expert in that situation. I'd also be worried about the electric dryer with only getting partial voltage - I don't know if it would get damaged. I've been curiously looking at the ventless dryers as they are 120v (mine is 240v) but have not as of yet. But I'll probably go back to a gas dryer as those pull small watts and offload the heating part to using gas. Making a better sustainable solution for me. Hope that helps. You may want to join the facebook Bluetti page as there are many experts there and other people who have tried a variety of things. facebook.com/groups/1479447962226741 . My 200max now has 2xB230s so I'm holding a 6kw storage system now . I do have an EB3A (sold the EB70S) and replaced it with Pecron e1000pro (1,000 wh), e1500pro (1450wh), and S1500F (1450wh) all for portability and camping due to size and weight (enough power for a 200w DC or AC heater which is enough to increase the temp during 30s to the mid 60s slowly but it works well for an entire night.

@@gottalovetheknowledge4749 well I just did a quick test to determine if it was possible. Using the ac70 on power lifting mode and fully charged I got 38 minutes of runtime and sustained 1030w at 100, 115, 120A with 10.2, 8.8, 8.5A respectively. if I had run those wet clothes on highest spin setting instead of a quick wash cycle, they might have fully dried. It was 4 shirts, 1 pant, 1 blue jeans. The heater did heat up and work and nearly got them done. Not bad, adding that extra 100ah battery should solve the problem.

just be careful of devices that have electronics in them (computer chips, etc) as the lower voltage could damage them

Yes I have a set with those T handles. But I used to measure a lot of clarinets to build up my spreadsheet. The hole gauges just made it painfully slow for me as no one was/is paying me for my time to calc out various clarinets including the bore (using a shotgun bore gauge).

@@gottalovetheknowledge4749 no...not thise T shaped ones. Google split ball gauge Super fast and easy!

Yes, I had a short version that I should finish and publish.

I've only seen a handful over the years of his clarinets. I can't recall anything specific about them though.

Yes, not much fun. Luckily I have not had the issue since then, but then I do not use grid charging. That was my FIRST charge on it. PV charging 100% of the time. I've added a couple D050S to the system too as I have 3 arrays. The D050S one is connected to the 200max via the grid charge port and the other a B230 battery.

Thanks for the insight. I know when I went to school @ UM, Dr Sinta and his 2nd did not like the VII. They didn't like my VIIs either. I ran across #2 (I just can't recall his name) about 15 years ago at a music store near here and he remembered and still didn't like the 7. Although if I recall they adopted playing it at some point. I have a couple videos of technical differences of the 6 v 7. I know the 7 was their attempt to automate more processes. I figured the square chamber was from the mortice from mpc production especially watching some old videos.

Yes you are correct. I normally play an RC Prestige or R13 sets. The cylindrical design of the Leblancs is quite a bit different. The tapered Buffet bore from the Master Bore through the polycylindrical bore design provides a more consistent blowing experience down the instrument, whereas the player has to accommodate that more with the cylindrical bored instruments. I have a videe R13 v LL I think ... I'll look for it. . I went from the LLs to the R13. Easy transition. But after years of not using my LL I tried them again ... wow, what a difference and the transition back to playing the LLs was more difficult than I imagined. . I also did a mouthpiece review of various mpcs on an R13, LL and CenteredTone. All varying in various ways back in 2008 ==> www.woodwindforum.com/forum/index.php?threads/the-mouthpiece-review-reviewing-a-wide-variety-of-mpcs.21009/

found that video kzbin.info/www/bejne/m367hKyIZZh-fKs

Thank you for the info! I gonna check the video! Mouthpiece was another thing with the LL. I had some difficulties to find a mouthpiece that was easy to play. The best i found was an old SML Marigaux mp it seems to fit to the bore quite ok. I also tried an Zinner/Richard Hawkings which was ok, but difficult in the upper register. Unfortunately i don’t know the technical specs of both of them… But they sound good. My Chedeville SAV 3 wasn’t working at all. It is one of my favorites on my Buffet. I imagine switching from LL to R13 is easier. Do you think it is worth it going through all that efforts to play the LL? I was just curious and the price was good….😊