My new Channels to review Everything about Clarinets and how to Identify, Everything to know about Saxophones and how to Identify, Photography, Trick Photography, Home Defense/Security Cameras, and other Ramblings
I have an old Buffet that has a beautiful round tone. The register key curls around to the front. It's not terribly pretty----It needs resilvering. I have never seen one before and was curious how old it is.
If you are looking for quality homage watches I highly recommend SteelDive's Capt. Willard, the Pagani Mission to Mars watch and the Seestern Doxa. I have all three and could not be more satisfied.
Question at the point the throat transitions to the bore for instance the H sidewalls what happens if a 2nd baffle was inserted here. Or rather the opposite of a bevel, what if there was a ramp or a little wing that was leftover say unintentionally from the original mold. Is this an added feature or considered undesirable?
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?
do you think a bluetti ac70 can run a electric dryer that is 120V @ 15A? if it's in power lifting mode which is made to cover up to 2000w by lowering the volts for resistive heating devices? my concern is the AC outlet is 120V but 8.33A.
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.
For measureing tonehole diameter...small hole gauges are the way to go! 1. Easier..especially at various depths into the hole 2. Zero chance if nicking sealing surfaces!
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).
Thanks for the video. I just came across a Charles Bay Custom Clarinet. He seemed to make a lot of mouthpieces but whole clarinets are rare as hen's teeth. I wasn't sure what the key system is and this helped a lot! Thanks.
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.
Hola cómo estás? Excelente video muchas gracias por tus conocimientos, la primera cera que utilizas cual es? Dado que no hablo muy bien el inglés se me hace difícil entender los nombres! Saludos!
Adding on, regarding Dr. Fred Hemke’s involvement. I had spoken with Fred on the subject of the Mark VII and he emphasized that his involvement was in a very hands-off advisory capacity. Jean Selmer occasionally sent a few production samples over the course of the horn’s development. Selmer’s objective was to create a horn with more even scale and tone across the range in addition to improved projection, and to offer keywork modernizations. The controversial ergonomics were often assumed to be attributed to Fred due to his large hands - this was incorrect. Michel Nouaux was the primary testing and design consultant while Fred served more as an American liaison with Conn-Selmer. This relationship dynamic is also referenced in the Conn-Selmer marketing pamphlet for the Mark VII, entitled “Frederick Hemke Appraises the Mark VII Saxophone”. Dr. Hemke recalled cautioning Jean Selmer that the radical keywork changes may be uncomfortable for some players, funnily enough. Incidentally, Selmer also developed a new mouthpiece to accompany the horn: the now-famous Selmer S80 series. Again, Dr. Hemke is often attributed for this model but credit belongs entirely to the French team. As a matter of fact, when asked about the choice of a square chamber, Fred recalled Jean Selmer saying the choice was sonically arbitrary but allowed for the use of of a mortiser in mouthpiece chamber production, which helped with automation and reducing costs. Evidently the old horseshoe chambers required a lot of hand work and were expensive to manufacture. Dr. Hemke played his round chamber metal C* for many years but eventually adopted a metal S80 C*, which was a prototype model gifted from Selmer.
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.
hahaha..my old clarinet teacher said the "K9" was a real DOG of a mouthpiece..get it?? haha...I remember at Fullerton University I was playing a G8 and liked it alot
I just bought a Leblanc LL Bb clarinet. It has been full overhauled. I find it a little difficult to play especially in the upper register it is not as smooth as expected. Keywork is very good and wood qualitiy as well… Nice instrument but have to get used to it coming from a more modern midrange Buffet.
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/
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….😊
Great info! I have a few vintage clarinets I bought purely for the fun of trying to make them playable again. I have struggled what to value them as for insurance purposes, the values from repair techs feels way high, but this makes much more sense now.
Insurance-wise is somewhat easy. As it is either "replacement" of same make/model or "replacement" of a current level instrument. The replacement of a current level instrument is basically if you bought a 1950 Buffet clarinet, it was the "pro model". This a current level replacement would be, say a new Buffet Elite or one of the other professional models. A vast $$ difference from buying another used 1950 Buffet. Then Open Market, etc.
The drilled-out handlebars for internal brake cable routing is interesting. The bars are more aero if you run the cable right along the front of the bar under the wrap though, so not so sure if I would call what they did there an "upgrade". Now if you drill out the frame for internal cable routing that would be a different story... lol UPGRADE!
technically it's more aero if the cable is routed on the backside of the round bars as then the shape is more airfoil like with the tape covering it - I did this until I went to aero shaped bars. This is early 1980s ... They drilled chainrings, derailleurs, brake levers, et all but not the frame (from water ingress). But if you have too many holes you'll get whistling at speed such as with the Cinelli "light aero" Spinacis of the time.
only the first year did have damage, after that spinergy put a connecting "i-beam" in the middle of each of the 4 blades, thats stiffened them massively
The "X--Beam" was an after install device (except the later Heavy Duty version mentioend below). It had two sided tape on each flat part that you can install on to the inside of each set of blades. But you may also recall that Spinergy also then started making Three Versions of the Rev-X. The "light" version that had yellow stickers, the "normal" version was blue (?), and the "Heavy Duty" version with red stickers which came with the X-Beam pre-installed if I recall correctly. description of X-Beams www.google.com/imgres?q=spinergy%20Rev-X%20X-beam%20stiffeners&imgurl=https%3A%2F%2Fi0.wp.com%2Fbikesnobnyc.com%2Fwp-content%2Fuploads%2F2024%2F04%2FScreenshot-2024-04-23-195449.png%3Fresize%3D716%252C821%26ssl%3D1&imgrefurl=https%3A%2F%2Fbikesnobnyc.com%2F2024%2F04%2F24%2Fyou-spin-me-round-like-a-spinergy%2F&docid=FU5ClSSwCjF4WM&tbnid=c7HALdG6mpH5tM&vet=12ahUKEwix16X9iqKGAxUAmIkEHR35BmwQM3oECG8QAA..i&w=716&h=821&hcb=2&ved=2ahUKEwix16X9iqKGAxUAmIkEHR35BmwQM3oECG8QAA
@@gottalovetheknowledge4749 wow!!!! ❤️❤️❤️❤️!!!!you know ALOT!!!, i have 8 on ROAD BIKES , none broke, 2 with alot of chips and dings from rocks, im 170lbs, never a crack or fracture...only heard of 2 in my entire life, some tour de france rider and some random dude on the internet....2.......to be honest i really believe it was competion companies that intetionally broke them!! and FACT got them banned from the UCI!!!! they make that sick awesome sound above +15mph...clinchers at under 110psi..on mine the x-beam are carbon fiber and are literally epoxied and are part of the rim, it does make them alot stiffer!!
I still use the 26" MTB version on my old Trek Y-Bike. I loved them on the road bike but back then there was a lot of complaints of them breaking (I hated crosswinds); it appears those Bicycle forums are long gone from the internet now. Of Course, after the Rev-X Spinergy came out with the ROKS-XE 6 blade wheel. There are two basic Rev-X generations which is based on the hub to spoke area. The early Rev-X where the bearings are aligned with the spokes, then the 2nd generation with the bearings further out. Since you have so many you may have both generations. If you notice the bulbous area on the inside of the spoke blade, I believe that contains a layout of fiberglass in there. The internet is not full of the problems when I search just now as it was back then, but here is an interesting read for you ==> pardo.net/bike/pic/fail-020/
I should add, I loved those Rev-Xs. They would disappear underneath you above 25mph as they cut through the wind as long as there wasn't a side wind. Great above 30mph. The only wheel I tried that surpassed them years later was the Campagnolo Bora Ultra II / Fulcrum Racing Speed XLR (full carbon rim) tubular. Those wheels are ultra light and disappear too once up to speed. I use WTOs now but still have those XLRs and love riding those too.
There's also plenty of web forum and pages out there mentioning the Spinergy's and catastrophic failures ... you just have to want to find them www.cyclingweekly.com/news/latest-news/icons-of-cycling-spinergy-rev-x-wheels-214741 www.bustedcarbon.com/search?q=rev-x you just have to search for them (especially archive.org) My only incident while riding them was when I was trying to adjust my front wheel Avocet computer pickup sensor. My hand slipped went into the spokes, My hand stopped the wheels and my bike flipped up WAY into the air, bouncing back on the ground after I came to a stop on the road. But the wheels were fine, so was my hand, although I had a slight concussion and needed a new helmet.
Hi, I have an LL , B. The A has no logo on it and therfore I don’t what modell it is. It says only Leblanc nothing more.. do you know what it can be. I also recently bought directly from Tom the Noblissima modell. It a gorgious clarinet realy and so even and a sound that carries way out in a big hall. Wood or not , doesn’t matter Thanks Joachim
I did not. I just noticed the email address in my reply yesterday was incorrect somehow (someone else's email address). my email is gottalovetheknowledge@gmail.com
I have two B-Flat Leblanc LL clarinets one I believe is from the sixties and the other from the eighties. I'm very fond of both of them because they help me get the sort of sound I want and are comfortable ergonomically. They are quite different. The later one (51000s serial number) has low E and low F that you can't blow flat - it even tends to be sharp down there.
Thanks so much. Hope things are going well in Eugene, Oregon too. Clarinets, even professional ones are like cars .. a big depreciation. But then it also depends who sells it. A pro selling an instrument may have a higher price than someone in college with the same instrument as the pro should be keeping it in tip-top condition. And a teacher to student sales usually are higher as the "support" is more direct. All that versus places like eBay where the depreciation is higher as there is normally no after sales support. I paid some pretty good money for a yamaha 62 purple label in what looked like really good condition on eBay. Checked it over and what a disaster - those are what my Yamaha 62 videos are about.
I have a lower joint that I picked up at an estate sale mismatched with an incorrect upper joint. Only says made in England 77675. I bought it along with some other Boosey &Hawkes. Looks identical to an imperial but has French style rings. I would love to confirm this some how. The backs of some of the keys have raised numbers and letters reading 926-B-32. Any help would be very much appreciated.
pictures would definitely help. email to gottalovetheknowledge@gmail.com But the stamp 926-B-32 would probably be an inventory stamp, and I'm going to guess for a 926 imperial (pure guess) as I don't know what the B-32 would be.
Great detailed video just what I’m looking for. The springy bar @2:10 is what’s broken off the long flat piece on mine. Is that solder holding the bar on do you know? I’m trying to explain to watch repairers here in London 😢
the bar goes though a small pipe shaft that is soldered on to the deployment thin flat pieces that fold. The other wide bar the spring is in a two piece pipe shaft to connect to the other half. gottalovetheknowledge@gmail.com and we can swap pictures and compare.
Do u still own the Longines? My strap has broken by the part of the bracelet that has the Longines name on the thinnest part of the bracelet, I think it was connected to a spring with a gap in the middle. Wanted to know if mines missing something of needs soldering?? Thanks if u can help.
Yes I do still own it. Although I replaced the metal bracelet with a Longines Blue padded strap with push button deployment (was going to make a video of this swap sooner or later). I still have the bracelet. One can take apart the bracelet completely as it only has those spring rods in it. If you email me gottalovetheknowledge@gmail.com I can send pictures.
I JUST received one of these as a gift! It appears that this was considered one of their “professional models” - is that correct? And to overlap with some of your other videos, what would one of these be valued at in the open market (range)? I’m wondering if an overhaul would be worth it. As is, the intonation is better than the brand new Leblanc altos.
Yes this was a professional instrument. If it's in good shape than a good overhaul would do it wonders and be a lot cheaper than a new one. On eBay these are selling from about $500 to around $1000 dependent upon condition. Altos are not highly sought after so prices vary in open auctions.
En realidad ....., las características particulares de cada modelo no las estas explicando, solo los detalles mínimos !!! Los dos modelos completamente diferentes ,tanto el 82 Z como el Custom 875 EX . Son excelentes para distinto tipo de performance, para mi gusto superan a Selmer en muchos aspectos. También los nuevos modelos de Yanagisawa me impresionan lo excelente que son. Saludos desde Argentina !
£75 converts to $94 USD (for my understanding). It's on the low end for B12 so I would be worried if it requires work. In the U.S. it looks like they sell for around $200-250 for in good playing condition, which of course would require some play testing of it. Always confirm that you can return if it's not as advertised (which of course the seller could say it was. Auctions always are difficult for condition and returns.
Don't know what a model # 1207097 is. But from your email that would be a shreiber made clarinet (probably for Buffet). But I don't know what model as I would have to see some pictures like this www.woodwindforum.com/clarinetperfection/help-identifying-my-clarinet/
I was wondering if you might have an idea of when a Classic II serial # 44733 was manufactured. I have one in excellent condition, but I find the data concerning manufacturing dates confusing. Thank you for all your valuable info on your videos!
A Classic II ? My SN lists has 1974(ish). But I'm not sure that is correct. If you send me some pictures I could check the emblem with my info to see if it fits in that date or an earlier emblem and year. gottalovetheknowledge@gmail.com
The good news is that it is an R13. But nowadays few people want an (EB) Enhanced or (FB) Full Boehm. But one would more than likely prefer a FB over EB. I used to refurb and sell EB/FB Buffets and they usually sat in inventory for a long time before lowering the prices vs Standard Boehm (SB) R13s which usually were sold before I finished them. But I would think you should be able to get $1100 +/- $150ish for it in general. If it looks excellent, no damage, etc then more on the high end as long as you are not in a hurry (at least in the US market)
Thank you for another fine video. I bought a LL bass clarinet to low c during the 1960 s which I still play. I also have a LL C clarinet which I use for Klezmer and sometimes in classical work. They are great instruments. Keep up the good work you are doing. God bless you. Bill. Uk
You'll probably be interested in the next Friday Scheduled video which is about a 1960/70s Leblanc Alto Clarinet. I show a 1968 Catalog and a 1974 price list.
Thank you so much. I should do an update as I did that 3 years ago, although polishing at home is still the same technique as it is limited with no mechanical buffers.
It appears that you make these. I would evaluate one for clarinet and alto sax if you want to send them to me, but no guarantees on anything. gottalovetheknowledge@gmail.com
The Concerto and Opus clarinets I think were the best clarinets they ever made (designed by Tom Ridenour). I wish they did that back in the 1960s because they dropped the ball in respect to the tapered bore and polycylindrical bore. Selmer Paris did the tapered bore with the later CT and Series 9. Leblanc just stuck with the cylindrical bore for several more decades. Even though I love my LLs the R13s (and Leblanc Concerto/Opus) is just so much better for player feedback and flexibility.
Hello, how would you described m30 lyre mouthpiece, how easy to take pianissimo 3rd octave on this long facings and on the whole how does long facing mouthpieces feels comparing to medium long facings for example Bd4 mouthpiece? I was playing on bd5 and now I want to get something a bit opened. I am about to choose between m30 lyre and bd4
Unfortunately, I'm not familiar with the BD mouthpieces as I've never owned nor inspected one in length. The design beyond the facing length and tip opening also impacts how it will respond such as the baffle and throat design. And of course it's very dependent upon the players playing style and overall technique (embouchure, air support, etc). A long facing curve will require the players lower lip to be a little lower (pushed straight out and not raising the jaw). With the same reed one may get more airy sound without more air support. The baffle is important in it's fast response. And a large throat will help in more dynamics. All have an impact but not knowing the BDs I can't really comment. I tried to look for detail design information but have not found any. You may want to order a few mouthpieces from places like WWBW.com or try a few at a local store that have a return policy or in-store trial policy.
Hi. Can you help me identify my Buffet. I believe it's a pre-R13 but unfortunately when doing a search using the barely visible serial number, it does not cross-reference. The serial number is S95C1. I would be happy to know what vintage it is. Any help would be greatly appreciated. BTW. It has the H. Bettoney distributor name on the bell portion.
Yes, send an email with pictures to gottalovetheknowledge@gmail.com try to make the pictures such as on this page www.woodwindforum.com/clarinetperfection/help-identifying-my-clarinet/ Make sure the lighting isn't too bright. If it's a Buffet the early ones with an "S" in the serial number I believe are 1903 and 1926 era but will be able to tell more with pictures.
Just letting you know that I sent the pictures to you with further details to the email you requested I send it to. Using a much better photo lens, the serial was more legible. The serial number is S86C1. @@gottalovetheknowledge4749
Great video! I'm going to link to this video the next time someone asks me how to identify a Malerne as you covered everything in great detail. Really appreciate all your work documenting this information!
Just keep in mind usually Malernes have a letter prefix. Martin-Freres usually does not have a letter prefix. I do not know all minor brands but I'm sure other do this as well.
Thank you so much for taking this video for us. It was beautiful. Thank you for raising such a thoughtful, loving daughter. You and your family will always hold a special place in our hearts and thank you for always including and loving my child as a member of your own family.
Thank you for this informative video. I pulled out my old Buffet Crampon--according to your serial number guide, it is from about 1952. I had it worked on some years back. I love the tone. Have trouble with intonation, esp on A and Bb, which maybe has something to do with the shared posts you mention? Or maybe it's just my embourcher--getting into a practice routine.
Are the notes flat and stuffy Many times newer pad installs use pads that had steps on them that were created for more modern clarinets (which have their keywork action designed to be more open). But if these pads are used on older instruments then the pad sticks too far out of the pad cup, thus decreasing the venting and may make the note flat, and airy and stuffy. The shared posts is simply a design and should not affect how the instrument plays.
Hi! I recently picked up a Normandy Special at a garage sale and have been using your website to try to date it and get some more information on how to restore it properly. I’ve got a serial number of 6047 which puts it in 1971, but there were many other inconsistencies with stamping and posts so I’m not sure. Any information you have would be appreciated. Hope you see this and get a chance to reach out. Many thanks for your upkeep of the website!
Email me at gottalovetheknowledge@gmail.com and send pictures such as found here www.woodwindforum.com/clarinetperfection/help-identifying-my-clarinet/ Buying and refurbing and selling clarinets for a long time I noticed inconsistencies with the Noblet/Leblancs. I'm guessing, but I would think that they would make xxxx clarinets a year. If they weren't sold then they put the surplus on the shelf. At some point in the future they would pull those old ones off the shelf, put a serial number on them and sell them as "new". But the keywork or even emblem harken back many years.
Also, I am a proud owner of a B&H Regent, and your video has further heightened my enthusiasm. Your detailed analysis of the mechanics' photos has helped me better understand the quality and precision with which my instrument was built. Despite mine being from 1958, the care in its construction makes the wood still perfect and the mechanics surprisingly simple to use. Your videos are a continuous source of interesting discoveries, and I greatly appreciate the time and effort you dedicate to sharing these gems with the community. Thank you for the work you do; I eagerly await the next video!
B&H players seem to be very passionate about their instruments. If I ever get around to it I would love to have a 1010 Symphony or 926, or even the Peter Eaton varieties. The keywork is super smooth, great tonal quality. I wasn't aware of their builds until I had to repair various B&Hs and Eatons, quite impressive design for super smooth keywork. The B&Hs are not well known in the US though and few are for sale in comparison to other brands.
Thank you for your video. It is so hard to get information on older leblanc clarinets. I have a nice old LL full Boehm bflat clarinet from 1966. ( It is even harder to get information on full Boehm clarinets! ;-)) So it is a real dinosaur with cylindrical bore, articulated g#/c#, low E flat etc. It's one issue it has for me is the all fingers on B flat is very sharp. (It is also quite a heavy instrument with a lot of extra wood but I live with that) I find it ironic that Buffet is releasing clarinets with these features (except articulated g#/C#) and promoting them as some amazing new developments in clarinet design. I look for your thoughts on those instruments one day.
Full Boehm clarinets were mostly seen in pit orchestras back in the day. They were helpful for transposing an A part or other parts. But college professors taught Standard Boehms. So that is what people bought. I stopped refurb/selling Enhanced or Full Boehms a long time ago as they would just sit and there is such a small market for them. . I checked Buffet's website quickly. I see the alt Eb LH pinky key and an add'l RH pinky speaker key but not all the other FB stuff. But I'll take a deeper look. I still have my LL Bb/A set but will be selling it sooner or later. 1963 Bb and 1967 A if I recall. Have too many clarinets and I don't play them much at all anymore. Leblanc really dropped the ball after tapered bores of Buffet and Selmer in the 1950s.
