@@svantepersson9735 thank you for your comment! I will try- I don’t really have a good set up for recording as I’m working but I try to make footage here and there (it’s just that that kind of video will require a ton of footage). Good to know there’s interest!
The quality of your videos is very good and i would not have i any other way, however i do understand that it would be difficult to record whilst making the barrels. Thank you for the fast answer Mr. Park. I really adore your work!
Thanks Tony, this was very helpful. I think I prefer the tone of the vintage. Both examples sounded great to me though. You play beautifully. I'm an adult beginner looking to purchase a used Buffet Crampion. I've been practicing for a couple of weeks on an old Bb clarinet that I found at a charity job. I'm using a Rico 2.5 strength reed and I sound terrible after about 15 minutes of playing. I'm looking for an upgrade.😊👍🏾❤🎼🎶
Good question- not as much as I thought. But since it is untreated, after a minute or two of playing the bore got all furry (smaller diameter) and very difficult to play. Same thing happened with oak abs walnut barrels.
@@tpark89 In my opinion there would be 2 reasons for that. First, those woods will fuzz up far more than the exotics. Secondly, that is moisture. If you sand it very fine, then moisten it with a damp cloth, dry and resand a couple times, that should stop happening. Also, most exotics have a lot more oils in the wood. Perhaps a couple of coats of oil on the inside will help. Have you tried woods like jatoba or ipe?
@@jamescranefinecarpentry7146 you’re absolutely right, I did both of of those things. Sanded it many times and also oiled it- seems to play much more stably now.
@@tpark89 With guitar building, there is a lot of lore around wood species. In reality, the options are a lot wider than most would admit. Look into Ken Parker. He is an unknown legend in guitar innovation, and I love watching his videos. I would love to play one of his archtops someday if I had the 25K + for a used one. He has such interesting perspectives on wood and how to get tone from it. I know it doesn't correlate directly, but I am sure you would find him fascinating.
I really appreciate this video. I love repairing instruments, especially clarinet and flute. I don’t really have much access to a school to learn the task. I think my best option is to intern at my nearest Instrument repair store. I am recently graduated from High school and new to figuring stuff like this out, but I hope I’ll get there eventually
That's great! NAPBIRT is also a great resource to check out if you can afford the yearly membership. Their facebook page is super resourceful and supportive and they have regular classes/ meetings. But yes I agree, try to meet the people at your local music store and see if you can talk to the owner about your situation. Best wishes!
Thank you Tony for your video. I bought 2 Bonade ligatures here in the UK. But have found they don’t fit very well. They tend to slide tend to slide off the mouthpiece. I have not tried the other one. God bless you. Bill. Ut
at 3:25 the scooping was probably from pulling a swab through the whole clarinet with mouthpiece. I saw a mouthpiece a few weeks ago where the string cut into the inside of the mouthpiece.
Do you think it is possible to get hired or intern at a local music shop to then become a instrument repair technician? It’s because I’m still in high school but, my intended major isn’t going to be music related, but I still have a hobby and passion for instruments, enough so that I would like to become a repair technician as a side job. Please provide some of your valuable insight! Also, nice video, was very informative!
Thanks for watching and good question. The answer is yesm you can get trained at the job, but you usually have to earn your place by working other jobs before they trust you will stick around. Imagine if you were a small business owner and you rely mostly on relatively small modern sales margins, rentals, and school rental repairs. Taking in someone to train them for a month or two before they start becoming proficient at tasks takes times (money) out of my business. If you come in the beginning of summer let's say June, get trained, start making some progress through July and start doing some good work in August, in reality you've lost two months of profit and therefore lost money on someone. Unless they stick around long enough to make up for the loss and start bringing profit. Now, this is all hypothetical and everyone has different background/ skillsets/ learning curve, etc., and every store has different training programs and needs. Usually when you get paid to learn/ free education, it is the least predictable trajectory. You will learn a lot for sure, but you really have to take the initiative to try to make sure you're always learning something new and that they are toward your goals. Versus, if you pay to go to a school to learn, you will get a lot more focused and concentrated education. No repair school is cheap by any means, but you will make valuable connections and get a pretty good overview of almost every basic band instrument repair. My opinion is that it's probably best if you get all kinds of education, at least as big of a variety as you can. At a music store I learned a lot of stuff I can't really learn in school. And I'm sure there's a lot of info I missed out on by not going to school. Do what seems the most appropriate for you and your situation and go from there.
Detailed review 👍. I did not think the cheaper clarinet sounded bad. It was much simpler. No roundness to the tone. The professional, more expensive clarinet had a much fuller sound, more depth. When i heard the cheaper one first, i thought, "Not bad." When compared to the professional model, I heard the difference. It is a shame it came with the torn pad and the bent bridge. Quality control should be better. I don't expect a cheap instrument to last long, but i do not expect it to have issues right out of the box. Thanks for the review and your wonderful playing. 😊 🎶
I paid very little compared to how much they usually go for- I'll probably never get this lucky again. Kaspars expensive but depends on the type also. Chedevilles are almost impossible to find these days for most people.
Do you have any more tips for glissandos in the altissimo range? I have this solo in a band piece with a gliss that starts at around a clarion D and goes to an altissimo E.
Yes, I would say work on your scale from the starting note to the ending note of your passage with out glissando, really pay attention to what your fingers and embouchure feel like. And then keep the same embouchure, start introducing finger glissando. At the end when you feel this is as good as it can be, add finesse by manipulating your embouchure/ voicing. Have fun!
Purchased a Yinfente Bb as a backup since my main clarinet was in the shop for over 5 weeks (few years ago; play in a community band). My only beef with it is then alternative fingering low Eb to Bb keying; Eb is a bit stuffy and sharp. Other than that, it plays and sounds awesome. At first it stunk, but after bore oiling it, it really plays well. The one I got is their Rosewood model. Enjoyed the review by the way. I have the Lyrique (Ridenour) professional hard rubber clarinet and it plays awesome as well. It is around $1000 so maybe something to consider for your students as well, but hard to beat $336 for the Yinfente. lol :)
Now I wonder, since you have already made several barrels and now the end plug, have you thought about making a custom bell for your clarinet? I would love to see the process and your review on it!
