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Most woods have a natural-oil-content, which will of course be affected when using alcohol - it will not damage the wooden fibres, but after using alcohol on the wood, you will normally wan't to substitute the natural oil, with some similar oil, wax or other, that will protectect the wood against changes in humidity - or even direct exposure to water

I said "pretty much every model" haha. The LL plateaus are extremely hard to find, and very expensive.

That will be extremely difficult to cover. It may take several dozen coats of white polish. Another option is to use a white sharpie or other pen and use that as a base coat.

I use a Krylon gold leafing pen. You can find them on Amazon here (NOT sponsored): www.amazon.com/Krylon-K09901A00-Leafing-Gold-Ounce/dp/B003ZTNENS/ref=sr_1_2?crid=3IDNVZMK0V7IA&keywords=krylon+leafing+pen&qid=1657586903&sprefix=krylon%2Caps%2C1392&sr=8-2 All you need to do is put a bunch of ink over the logo, then wipe off the excess with rubbing alcohol. Then use a needle to clean up the excess in the grain.

Boa tarde @jobb.bonfim você achou alguma tinta ou caneta parecida aqui no Brasil?

Same here. As a collector myself, I certainly have several clarinets that almost never see the light of day, and it's kind of sad that these instruments don't get to perform their duties. I sure hope the current owner utilizes this to its full potential. It's pretty nice.

I have no idea, I'm sorry.

Not available

Glad it was helpful!

Krylon gold leafing pen

Nice! I really like the Specials. I think they're pretty solid choice from beginner up to high school.

Bore oil is the equivalent to the almond oil he put on the body of clarinet. Most people choose to use almond oil because it’s more cost effective and as said in the video gets absorbed more easily. But one important factor to take into account is personal preference, although almond oil is the most preserved there are still many people who prefer using other types of oils for there instruments. Hope this helps!!

I think it was around the $600 mark. It's been a while.

This is perfectly fine and completely normal the upper and lower joint keys connect via a pair of keys called the bridge keys. You can find them right under the side keys of the upper joint (Eb/D# key more specifically). The D key gets lowered after the lower joint bridge key lifts up the upper joint bridge key.

Nobody does :(

In the interest of time I cut a lot of this out. These jobs usually take around 6 hours. These days I use an almond/thyme blend (almond to treat the bore, thyme to disinfect)

Hey! Thank you man, I thought I was going nuts! I have been looking for that video for more than a week. Wonder why it was taken down. It was a great concert.

@@SailSlayerGuardian I believe the official UCLA GME channel took down some videos. I have no idea why.

I only had the ability to record from my own music stand, unfortunately. Sorry that the official video was taken down.

@@watsonmusical232 oh, 0 problem with dat, i thougth u were the owner of the other video

preach

can't be that bad if you're seeing this FOUR YEARS AFTER IT WAS POSTED. Please like and subscribe for more shitposts

Thanks for your interest! Unfortunately, I don't have one at the moment. They're going to be pretty tough to find, but if you scour ebay once a week or so, eventually you'll find one

I suppose the Golden Age is a bit of a controversial topic. I've heard people throw around dates ranging from 1940 to 1990. I personally figure that 1960 to 1980, like you said is the best date range for that designation. Do you mind if I ask why you believe LeBlanc to be the superior one in this time frame? I personally prefer Selmer Paris products from this time. Something about the instrument really resonates with me as compared to a Buffet or LeBlanc. Anyways, thanks for watching! My refurbishments have gotten significantly better since this was posted :)

@@watsonmusical232 Simple answer: intonation. Leblanc clarinets were essentially perfectly and consistently in tune. Buffet is terribly inconsistent and almost always need work. Selmer is quite good and Privilege is probably the standard today. In general, I prefer the "characteristic" pinging, round, focused, projecting Buffet sound. I try to model my sound after ANTHONY GIGLIOTTI. But off course, it is not the clarinet that makes the sound, it is the player. Disclaimer for me: I play a Buffet R13 Prestige. It is good but the intonation is quite out of tune on some notes; I didn't have the luxury of trying many versions when I got it, which one MUST do when picking any Buffet. I also have a Selmer Series 10G, which is very good and would make it my everyday clarinet if it had the lefthand Eb/Ab key (probably a stupid reason not to make it my preferred clarinet) In the recent past I've tried Selmer 10S II, Recital, St. Louis, Concerto II, and Odysee, and Buffet S1 and RC; 10S II was by far the best (I was shocked), at least in the short hour I played it. My undergrad studio was all Buffet, save for two people, one who played a very attractive Yamaha model, and one who I believe played a Selmer of some recent model (I think). My professor (Paul Garritson) played a set of R13 Prestiges I am now a PhD student (not in music) but still play at the university level, and the studio is undoubtedly a Selmer studio. The professors (Drs. Robert Spring and Joshua Gardner) play Selmer Privilege. Some history that I learned in from pedagogy in my undergrad: During the 1940s-1960s, we know Selmer and Buffet were in a stiff competition; most every American orchestra played Buffet, except for the Boston Symphony which played Selmer. 1) I've only ever heard "golden era" applied to Buffet R13 clarinets. They were terribly inconsistent even from their introduction; ANTHONY GIGLIOTTI, I believe, stated he had to try something like over 50 R13s each year to find two he found acceptable, and of course these clarinets were heavily modified by the likes of one HANS MOENNIG. One he would keep and the other give to a student. 2) Selmer Centered Tone, like all Selmer clarinet, utilized a different bore and have, generally compared to Buffet, a brighter tone. Many people call (or called) the Centered Tone a "large bore" or "jazz" clarinet; it is neither, and there is certainly no such thing as a "jazz clarinet" or a "classical clarinet." Probably this connotation came from the fact that BENNY GOODMAN was a significant advertiser of them but in fact, all clarinetists of the Boston Symphony in the 1960s played Centered Tone, with the exception of GINO CIOFFI of the Philadelphia Symphony, who played a Model 55. Then came the Series 9, which was not as good, then the 9*, the first Selmer French-style, small bore (much smaller than CT and 9), which was a bit better than the Series 9, and then the Series 10 which was better in tune than 9*. The 10G was Selmer's attempt to copy the sound of the R13, and is the only Selmer clarinet to not have a "Selmer-like" bore; it was modeled off of GIGLIOTTI'S "Moennigized" R13, but was not as good as the original it tried to replicate. Then came the Series 10S which was as good if not superior to the Centered Tone and much, much more consistent in tuning than any Selmer clarinet preceding it (or even to-date?). Next was the Series 10S II, a smaller bore than 10S. 3) Leblanc absolutely had the best manufactured clarinet in France. Almost perfectly in tune from the factory, and CONSISTENTLY in tune across all lots and models. The L7, L27, LL (the good ones), L200, L300, Concerto, and Opus (both designed by WILLIAM (TOM) RIDENOUR. Among these models, one could choose any one of them and say "these are the best Leblancs and clarinets of any model ever made," perhaps even to this day.

@@Trenton.D Trenton, superb info. I have to say you certainly took me to school. I suppose I really need to get my hands on more of these premium instruments. My standard fare are Normandy and random French stencils. I always find the Normandy models to be excellent for the price (no coincidence that they were produced with LeBlanc tooling...) I don't have too much experience with LeBlanc - a Symphonie 2, 3, and Classic are about the only ones I've personally handled. I have, however played on several LeBlanc BASS clarinets and found those to be the best of them all. I've had excellent results with Selmer Centered Tone, and consider those to probably be my favorite. I've dealt with several R13s ranging from 1970s to 1990s, and a 1997 RC - not super impressed, and would have gladly exchanged those for a trusty Selmer CT. To be frank, however, soprano clarinet has never really been "my thing" - I played almost exclusively contra-alto clarinet in college (occasional bass) so there are certainly fewer options to explore when you start getting into the big stuff. Thanks again for your answer! Please come on over to clarinetpages.info and share your wealth of knowledge with us!

great observation. The only wood Normandy that had a NON-wood bell was the Special. Every Normandy model (original, 4, 5, 6, 7, 8, 10) had wooden bells for a wooden body. Only the Special had a composite bell on a wood body.

@@watsonmusical232 oh okay, thank you for telling me that 😊

good question. These days I tend to apply the paste and wax in more of a gradient. Here I applied the same amount of product over a designated area - creating the line. Instead, if you apply a lesser amount of product beyond the designated area it will created a more blended appearance. Good buffing and careful application of wax will help here

Watson Musical what about a neutral color wax?? Will help blend better?

LOL what a great quote huh

I charge a flat fee of $150 + shipping both ways. You can visit my website at watsonmusical.wixsite.com/watsonmusical If you want to do everything YOURSELF: you'll need several hundred dollars in basic tools, supplies, and materials. It won't be worth it unless you plan on doing it alot - otherwise your investment is pretty much wasted on a single project. Feel free to email me at daveleblanc@clarinetpages.net for easier communication

I purchased this one off of eBay for $850. You can usually find a Contra alto on eBay for that price pretty much all the time.

that's TOUGH. This would involve a pretty deep-level treatment, going down to bare leather. A good waxing can reduce the appearance of wrinkles, but removing them altogether is really, really tough.

Watson Musical check ‘real men real style’ channel ‘how to remove scuff from leather shoes’. He shows how to remove the crease using steam