The Eb sounds less restricted, more open, but I’m not sure I would hear that the same if I didn’t know which was being played. You sound fantastic on both!
The Eb sounds way fuller on the bottom, but that's probably bc these are near-bell notes. Otherwise both sound marvellous and you sound incredibly even between registers.
@@pukalo yes there is a vent key on the bell, but I have owned many vintage Selmer low Eb bass clarinets that did not, and they still had a broader overall sound than the low C.
Very true. I always ask if I need the low C or not before sessions and always take the low Eb if possible. I’m not sure what you mean by persnickety, but if you mean more attitude I agree 😊
Interestingly I actually prefer your sound on the Low C, especially the lowest notes- they sound denser and more even to me, while the Low Eb sounds overall more spread and less stable which isn't my cup of tea, even though I'm aware that you prefer Low Eb horns in general. To each of their own, I guess. PS I also play a Selmer 67 Low C albeit modified by Blashaus(the addition of a throat Bb vent and an enlarged Low Eb tonehole, as with the Buffet Tosca). And I play various genres from classical to jazz to experimental and many others, which may have influenced my preference for the Low C horn's sound.
I can now put a voice to the name. I wanted to hear what your voice sounded like I was trying to imagine what you sounded like during our messages the other day. Hope we can talk more soon. I'd love to see you one day
Interesting. I want to hear a distinctly different tone quality between the two and its extremely marginal if I do. By 'more open' does that mean projection, I sometimes ask? And yes, being capable to play those bottom three notes on the low C model, especially in a run or conclusion to a musical phrase surely is a strong reason to love being a bass horn musician? Suddenly jumping up an octave on a descending run grates musically, especially in a situation where you're the only bass horn in the ensemble. And I'd love to have the one-each choice! For all but the determined pro musicians its mostly the Eb for the disproportionate cost between the two models.
Depends what you'll be using it for. If you're a reed doubler, you'll see a bunch of low D, Db, and C's in musicals, studio work, and orchestral/band repertoire. Having that range comes in handy and most of the time expected. If you are just playing in a big band, you can get away with just a low Eb. I'd say 99.9% of bass clarinetist need a low C model.
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The Eb sounds less restricted, more open, but I’m not sure I would hear that the same if I didn’t know which was being played. You sound fantastic on both!
Thank you for listening :) I agree the Eb feels more open.
Michael lowenstern is my favorite bass clarinet and he played bass clarinet!
The Eb sounds way fuller on the bottom, but that's probably bc these are near-bell notes. Otherwise both sound marvellous and you sound incredibly even between registers.
Thank you for listening :) the bottom range of the Eb certainly has more sonic width than the C.
I'm pretty sure the model 65 has a vent in the bell for the low E-flat, same as buffet basses, which is probably what creates that fuller sound.
@@pukalo yes there is a vent key on the bell, but I have owned many vintage Selmer low Eb bass clarinets that did not, and they still had a broader overall sound than the low C.
Yes, most Eb’s are louder , fuller , & more persnickety… but to play the D, Db , & C is a must in a lot of situations in music ….
Very true. I always ask if I need the low C or not before sessions and always take the low Eb if possible. I’m not sure what you mean by persnickety, but if you mean more attitude I agree 😊
Interestingly I actually prefer your sound on the Low C, especially the lowest notes- they sound denser and more even to me, while the Low Eb sounds overall more spread and less stable which isn't my cup of tea, even though I'm aware that you prefer Low Eb horns in general. To each of their own, I guess.
PS I also play a Selmer 67 Low C albeit modified by Blashaus(the addition of a throat Bb vent and an enlarged Low Eb tonehole, as with the Buffet Tosca). And I play various genres from classical to jazz to experimental and many others, which may have influenced my preference for the Low C horn's sound.
I can now put a voice to the name. I wanted to hear what your voice sounded like I was trying to imagine what you sounded like during our messages the other day. Hope we can talk more soon. I'd love to see you one day
coooooool sound Mr.Landrus, How are you?
Hi!! I’m doing great, I hope you are also!!
Interesting. I want to hear a distinctly different tone quality between the two and its extremely marginal if I do. By 'more open' does that mean projection, I sometimes ask? And yes, being capable to play those bottom three notes on the low C model, especially in a run or conclusion to a musical phrase surely is a strong reason to love being a bass horn musician? Suddenly jumping up an octave on a descending run grates musically, especially in a situation where you're the only bass horn in the ensemble. And I'd love to have the one-each choice! For all but the determined pro musicians its mostly the Eb for the disproportionate cost between the two models.
Actually low C sounds better. Sounds more uniform from note to note, more focused, and perhaps the intonation seems better
bay mpcs rock!
The low Eb is lighter and it has a better intonation.
Kind of like Low A baritone sax vs Low Bb....
99.9% of bass clarinet players dont need a low c model! only once have i seen a low d written in a part .
Depends what you'll be using it for. If you're a reed doubler, you'll see a bunch of low D, Db, and C's in musicals, studio work, and orchestral/band repertoire. Having that range comes in handy and most of the time expected. If you are just playing in a big band, you can get away with just a low Eb. I'd say 99.9% of bass clarinetist need a low C model.