Selmer Baritone Saxophone #, 4/1/27 . Important Dates: By Selmer was also manufacturing Alto Clarinets, Bass Clarinets, Flutes, Oboes, and.
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Enhanced Boehms normally had silver plated keywork. Upper joint top bore of So later CTs are Series 9 bores. On series 9s you can also see the large octave nut similar to the CTs. The taper being the exact same as the earlier Series 9. But both entry and exit bores of both joints were exactly the same.
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And a few measured toneholes diameters on the upper joint were exactly the same but on the lower joint the toneholes were smaller on the Series 9. In the below pictures you can see some of the keywork differences between the Centred Tone and Series 9. CT Centered Tome on top, 9 Seriese 9 on bottom. You can see the overall length difference. The upper joints are the same length of CT v 9. You may not be able to tell from the picture but the CTs toneholes on the lower joint are much wider. Selmer 10G Clarinet Z Series: The Selmer Signatures are a specially designed clarinet. All the toneholes are raised to increase the total length of each tonehole.
Tonally the instrument has a very centered tone. But one can take that a f versus a ff. The keywork is superb silver plate, and smooth as silk motion. Though when it comes to intonation this instrument seems to have a limited temperature range.
Other than the climate issue everything else on this instrument is spot on. A truly top of the line professional clarinet. The profound personality of this model is built up from an amazing playability and a deep, resonant tone. The overall sound and tuning qualities are particularly homogeneous through all the registers and shades ; a great flexibility and a remarkable control complete the global acoustic performances.
From the deep resonant tone to the flexibility and remarkable control. In other words, it plays more like a Serie 9 but with better overall flexibility and a fuller deeper tone.
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After some extensive though minute setup items the Bb simply sang from top to bottom with a consistent backpressure that provides an excellent feedback to the player. The A was also very good though the low A was slightly stuffy. If one slighlty expands the opening on the 3rd tonehole then the slight stuffiness goes away and the tone becomes more powerful and full as with the range of the instrument. Though one has to be careful as the register E is nice and clear, too much expansion can cause the mid-staff E to be unbalanced a bit. Interesting side note on measurements of these examples: This shows what Selmer has been doing lately, as in restricting air flow via the barrel for some reason unknown to me.
Interesting item about the construction. The stopper material used for the throat A key and the register key is a synthetic rubber. They come up fairly frequently on eBay. I've read that Artie Shaw no relation played a large-bore Conn http: The Shaw sound we dominantly remember was produced on a Selmer. I have tried about four of the Privilege clarinets just prior to this latest iteration and all of them were amazingly consistent in pitch and could produce a very large, focused sound very much like the Buffet top of the line.
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If all goes according to plan, I will be working with one for a while and I hope to have more to say about the Privilege later. I couldn't play it up to tune! I forget which, but either the chalumeau or clarion register was horribly out of tune. The clarinet was beautiful though, silver-plated key work, nice black grenadilla, unique bell flare. Of course it was me. I just couldn't deal with such a large bore.
Some weren't marked with the Series 9 logo on the top joint, so the only definitive way to tell is by the speaker bush which has a large hexagonal head on it. The Centered Tone also has the hexagonal speaker bush but they're usually clearly marked as being a Centered Tone. There was some overlap in production of each model in turn and the Series 10 small bore was being made while the Series 9 production was being wound down. The Series 10 doesn't have a metal tenon ring on the top joint and has a small speaker tube like that seen on Buffets and Yamahas.
You can see this by looking up the top joint bore as the undercuttings are clearly evident. Even though the more recent Selmers have narrow bores, they are very different clarinets to Buffets and should be treated as such. So there are conflicting stories. Who knows which is true? The main thing is his great playing.
But there are many, many interviews with Artie, wherein he says that he played Selmers until the final Gramercy 5 recordings. Also, in Simosko's bio-discography he details that he was a consultant and endorser of the "Connstellation", and that it worked in the studio, but not on the bandstand for him--so he stuck with Selmer in performance.
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From what I've read and heard, the instruments in his possession at the end of his life were Selmers and Buffets. Perhaps someone knows otherwise. Now, I'm not saying he never played a Conn on the bandstand, but let's face it: I play an R on a 5RV lyre and occasionally on a B Would I be satisfied with one of the present-day Selmers? I've always loved the special gleam of their sound. I've also played numerous other CTs.
For me, a CT plays easily and is mechanically superior to the R However, large-bore Selmers have what is for me a disagreeable glare in the tone, and I can't make as many different sounds on it as I can on the R Though the bores are smaller, the do handle like Selmers of old in many ways. The altissimo of a 10S and a CT are virtually indistinguishable.
I'd probably have stuck with my 10S if not for the CT being more colorful, comfortable small bores make my stomach hurt, literally , and consistent over the break, timbrally.
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Surprisingly, the 10S feels more like a CT, to me, than it does an R They have an incredibly focused and woody timbre. The intonation and the color of the horn was even throughout all its registers. This is unlike many R13s that have some anomalies throughout and requires trying out a fairly large sample to find a particularly good one though they DO exist. I am not much of a Backun fan so I wouldn't put the Selmers or the Buffets in the same category.
Perhaps the Chadash or the Rossi clarinets would be a better comparison. The ones I've tried are nothing like a large bore Selmer -- more like a hand-made Buffet Vintage or a s R13 with the intonation improved and a reverse taper barrel. Rossi makes a dizzying variety of models. I don't remember a big-bore one designed for jazz, though certainly one of them might work.
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In the second posted question he mentions Backun quite favorably. I wouldn't try to compare a Backun to a Selmer 9 either. What is the best bass clarinet Selmer or Buffet? Buffet, but they only make wood. If your in marching get a plastic Selmer.
Is a bundy selmer resonite clarinet a good instrument? It depends on your situation. If you are looking for a "professional" model then no it is not but if you are looking for a quality band instrument for a student to use in midd … le to high school and even through part of college then yes it is a very good American made instrument. As a side note the Bundy is an American made instrument and now there is only one American made company left which is Conn-Selmer and they bought out all the other brands across the country so Bundy is now a part of Conn-Selmer.
Don't overlook models from Buffet, Leblanc and Yamaha. Is a selmer cl clarinet wood or plastic? How does a noteworthy bb clarinet compare to a selmer clarinet? Noteworthy is not a reputable name in the clarinet community. It will most likely lead to playing inefficiencies that will cause the player to adapt bad habits. These habits, … once learned will be hard to shed. The Selmer company has been making clarinet for the professional clarinet community for a long time now.