Would you be interested in trying a 3D printed wood composite neck? I make them in any angle for the Buffet Prestige or Kessler. Happy to send you one to get your opinion.
This was a really great comparison. I play on a Tosca Bass and was considering getting an Icon neck but couldn’t find any good audio samples. Your video was fantastic and glad you have a return policy on the necks.
Just received my silver Blashaus neck for my Selmer 67 Bass Clarinet. I couldn't believe the response in just the first rehearsal. Range is effortless! Tone is dark and smooth! Thank you for the recommendation!
That Tosca sounds really nice for concert music. Maybe it is because of recording differences, but I like the sound here better than the Selmer examples you have.
Thank you so much for a very interesting test! I prefer the sound of the Icon in every sample, with the Blashaus on a second place. I had my Icon neck 24K gold plated, because the lacquer got ugly. It has even more of the silkyness/timbre now than before. That is the best value for money I ever have done to tha Tosca, and I actually did it only to get rid of the corrosion and "coppery" smell. Next to that, it draws everyones' attention, nobody has ever seen anything similar before.
Michael…. as always, your videos are informative and enjoyable. I appreciate them a lot. Two questions I hope you may choose to answer: 1. I had hoped to hear you play also with the “Chinese” lower weight neck on this video, but other than the weight difference, it was ignored. Might you write a bit about your impressions of it in comparison to the other three? 2. I have looked in your comments before, but never saw any discussion of it (sorry if I have simply not found the discussion), but I have always been curious about the history of the bass clarinet you have hanging on your decorative wall (the wall that also appears to have decorative LP albums on it with the blue background. Would you be willing to tell us about this “art piece” bass clarinet? Was it your first bass clarinet? Was it a rummage sale find of an “odd” brand bass clarinet? Is it a bass clarinet from a mentor or historical player you admire? Or what? I anticipate that there MUST be an interesting story behind it being displayed on your wall. Thank you for any consideration you may give in responding to my comments!!!!
I wanted to play the Blashaus - S-neck because I had read very many positive reports, I have a colleague in the orchestra who uses one himself for his Selmer and is enthusiastic. I myself play a BC, Tosca with Concept mouthpiece, built 2018. In the orchestra and chamber music I play H. Wurlitzer, of course German System, (for about 50 years, as an amateur). Tonally I am trained to the dark tone of the Berlin school (Leister, Seyfarth, S&W Meyer), but also taken with the flexible French tonal ideal. I tested the Blshaus neck alone, in a blind test together with fellow musicians and in an orchestra - that meant Hollywood film music, a lot of staccati unisono with bassoons etc., but also with Bach's cello and violin suites +++: Response: response improves, minimally but noticeably across all registers. +: the wind volume seems to increase, I have the feeling: more air goes in and therefore more sound comes out. The latter effect is subjective and not shared by listeners. 0: tone colors: In the chalumeau register there is the more direct response, the instrument has more boom, but the tonal shine is lost. Audible in the classical pieces or solo. In general, the loss or - the more appropriate formulation: the weakening of the overtones across all registers is a lasting and almost the universal impression. Tone colors In terms of color: Standard BC neck: from light blue to dark blue velvet, through reed variations also orange and red, all both pastel and oily. Blashaus bows: deep register: blue to dark purple, with reed variants also into dark green, otherwise oil-colored into chalky. Speculation: my Selmer colleague (and Michael's earlier test on his Selmer with subsequent hymnal unambiguous recommendation for the Blashaus bow) and I believe that this has to do with the tonal "superiority", balance of the Tosca: in fact I have nothing to criticize about the Tosca, rather, the designation as Clari Cello which the BC developers used somewhere, is a perfect transcription I like to use - after solo performances when people come to praise the sound oft he instrument. This Clari-Cello would be considered with the Blashaus neck genuinely tuned, pimped (😊 but at (little expense of color) and overall balance. (I also feel no desire to test BC's copper S-neck ICON). In fact Michael has also become more reserved, I think it has to do with the instrument, his first test were just with his Selmer, the most recent with a Tosca. The Tosca's cup has a side opening, the Selmer (*2012) does not. The Selmer got a very clear tone gain across all registers due to the Blashaus bow. Another unusual comparison (in praise of the Tosca's perfection): If you were driving a Citroen DS 21 (La Déesse), would you lower it and tune the exhaust? Thanks Michael for your outstanding posts ... It has to be said again and again ... w
so it looks like the trend of replacing the neck is hitting the clarinet world as well (I play the tenor sax mainly and already changed 3 times my neck)
I've bought a new crook for my bassoon (same thing as the neck on other low woodwinds) that I'm waiting for to arrive in the mail. I've not been able to find anyone that stock these in my country, so I've ordered it from London. I *really* hope it'll be worth it, as it costs more than a good beginner's clarinet (more than half of what I paid for my R13). I have read reviews from people playing the same model of bassoon that I have that describe the crook as getting a much better instrument, but buying anything this expensive without test playing it first still feels like a huge gamble.
Excellent video! Since you have much more experience playing various necks on Selmer horns, how would you say these necks stack up to your previous experiences, subjectively speaking?
Hello Earspasm! My son will be attending the University of Kentucky School of Music this fall (full ride) as a highly talented clarinet player,with bass clarinet as his specialty. He has ordered sheet music from you, and says your the best bass clarinetist. I want to play the song "Come What May" from the Moulan Rouge soundtrack as a piano, bass clarinet duet with him before he goes off into the world. I can't transcribe the music for him. Do you know where I can find the sheet music for that song for bass clarinet? Thank you.
The history of bass clarinet notation is confusing. French composers were known for using treble clef. German composers - Wagner as an example - used mainly bass clef and sometimes treble in the same piece. And another nationality used only bass clef - I guess, the Russians. Bass clef for a bass instrument would be logic, but treble now is preferred. I assume it is because bass players often start with soprano first and can use their knowledge of the first instrument. Somehow your French piece is not in treble, but it could be a transposition of the original.
@@earspasm I was just trying both as well as a new Ruthenium-plated version at the Blashaus workshop last week on my Selmer Privilege bass, and while I do notice some differences with each plating, it was relatively subtle(Brightness: Silver>Ruthenium>Gold). I personally favored the ruthenium version, but really I could be quite happy with any of the 3. However my money was ultimately spent a completely different Blashaus contraption, so no necks for me for now!
I’m a 9th grade bass clarinet never thought about upgrading and can’t find much on TH-cam. Can anyone tell me if necks can transverse instruments like different brands of bass clarinet
I am tired of breaking down my clarinet every time after I play and then putting it back together. By the time I get it put together I feel like not playing. I just leave my clarinet on a stand all together. I heard it's not the best for it though but it makes it so much easier to just grab n play on the fly.
Would you be interested in trying a 3D printed wood composite neck? I make them in any angle for the Buffet Prestige or Kessler. Happy to send you one to get your opinion.
Was going to ask his thoughts on your neck lol I'm intrigued by it myself
No way, it's Jared the octocontrabass man. Good to see you here!
This was a really great comparison. I play on a Tosca Bass and was considering getting an Icon neck but couldn’t find any good audio samples. Your video was fantastic and glad you have a return policy on the necks.
Just received my silver Blashaus neck for my Selmer 67 Bass Clarinet. I couldn't believe the response in just the first rehearsal. Range is effortless! Tone is dark and smooth!
Thank you for the recommendation!
Is it possible to do a direct comparison of tone between the selmer, prestige, and tosca bass clarinets?
Hey! Love your work, your advice, and your enthusiasm. 👍😊
That Tosca sounds really nice for concert music. Maybe it is because of recording differences, but I like the sound here better than the Selmer examples you have.
off topic but i love the background lighting in this video
Thank you so much for a very interesting test!
I prefer the sound of the Icon in every sample, with the Blashaus on a second place.
I had my Icon neck 24K gold plated, because the lacquer got ugly. It has even more of the silkyness/timbre now than before. That is the best value for money I ever have done to tha Tosca, and I actually did it only to get rid of the corrosion and "coppery" smell. Next to that, it draws everyones' attention, nobody has ever seen anything similar before.
Michael…. as always, your videos are informative and enjoyable. I appreciate them a lot. Two questions I hope you may choose to answer:
1. I had hoped to hear you play also with the “Chinese” lower weight neck on this video, but other than the weight difference, it was ignored. Might you write a bit about your impressions of it in comparison to the other three?
2. I have looked in your comments before, but never saw any discussion of it (sorry if I have simply not found the discussion), but I have always been curious about the history of the bass clarinet you have hanging on your decorative wall (the wall that also appears to have decorative LP albums on it with the blue background. Would you be willing to tell us about this “art piece” bass clarinet? Was it your first bass clarinet? Was it a rummage sale find of an “odd” brand bass clarinet? Is it a bass clarinet from a mentor or historical player you admire? Or what? I anticipate that there MUST be an interesting story behind it being displayed on your wall.
Thank you for any consideration you may give in responding to my comments!!!!
I wanted to play the Blashaus - S-neck because I had read very many positive reports, I have a colleague in the orchestra who uses one himself for his Selmer and is enthusiastic.
I myself play a BC, Tosca with Concept mouthpiece, built 2018.
In the orchestra and chamber music I play H. Wurlitzer, of course German System, (for about 50 years, as an amateur). Tonally I am trained to the dark tone of the Berlin school (Leister, Seyfarth, S&W Meyer), but also taken with the flexible French tonal ideal.
I tested the Blshaus neck alone, in a blind test together with fellow musicians and in an orchestra - that meant Hollywood film music, a lot of staccati unisono with bassoons etc., but also with Bach's cello and violin suites
+++: Response: response improves, minimally but noticeably across all registers.
+: the wind volume seems to increase, I have the feeling: more air goes in and therefore more sound comes out. The latter effect is subjective and not shared by listeners.
0: tone colors: In the chalumeau register there is the more direct response, the instrument has more boom, but the tonal shine is lost. Audible in the classical pieces or solo.
In general, the loss or - the more appropriate formulation: the weakening of the overtones across all registers is a lasting and almost the universal impression.
Tone colors In terms of color:
Standard BC neck: from light blue to dark blue velvet, through reed variations also orange and red, all both pastel and oily.
Blashaus bows: deep register: blue to dark purple, with reed variants also into dark green, otherwise oil-colored into chalky.
Speculation: my Selmer colleague (and Michael's earlier test on his Selmer with subsequent hymnal unambiguous recommendation for the Blashaus bow) and I believe that this has to do with the tonal "superiority", balance of the Tosca: in fact I have nothing to criticize about the Tosca, rather, the designation as Clari Cello which the BC developers used somewhere, is a perfect transcription I like to use - after solo performances when people come to praise the sound oft he instrument.
This Clari-Cello would be considered with the Blashaus neck genuinely tuned, pimped (😊 but at (little expense of color) and overall balance. (I also feel no desire to test BC's copper S-neck ICON).
In fact Michael has also become more reserved, I think it has to do with the instrument, his first test were just with his Selmer, the most recent with a Tosca. The Tosca's cup has a side opening, the Selmer (*2012) does not. The Selmer got a very clear tone gain across all registers due to the Blashaus bow.
Another unusual comparison (in praise of the Tosca's perfection): If you were driving a Citroen DS 21 (La Déesse), would you lower it and tune the exhaust?
Thanks Michael for your outstanding posts ... It has to be said again and again ... w
i finally found a bay neck for my leblanc. its completely transformed it!
Been waiting for a video like this! Thank you for the content:)
Would you ever consider reviewing the Royal max low c bass and how it compairs to the Kessler and the Polaris bass?
so it looks like the trend of replacing the neck is hitting the clarinet world as well (I play the tenor sax mainly and already changed 3 times my neck)
I've bought a new crook for my bassoon (same thing as the neck on other low woodwinds) that I'm waiting for to arrive in the mail. I've not been able to find anyone that stock these in my country, so I've ordered it from London. I *really* hope it'll be worth it, as it costs more than a good beginner's clarinet (more than half of what I paid for my R13). I have read reviews from people playing the same model of bassoon that I have that describe the crook as getting a much better instrument, but buying anything this expensive without test playing it first still feels like a huge gamble.
based on an internet video - that's a rich and SO true line!
The Icon sounded much closer to the Selmer when pushed with volume.
You're close to trying Seggelke bass clarinet, really close!
Excellent video! Since you have much more experience playing various necks on Selmer horns, how would you say these necks stack up to your previous experiences, subjectively speaking?
Love the shirt
I own a chinese made bass clarinet. Neither intonation and emission is good. What do you suggest me?
Hello Earspasm! My son will be attending the University of Kentucky School of Music this fall (full ride) as a highly talented clarinet player,with bass clarinet as his specialty. He has ordered sheet music from you, and says your the best bass clarinetist. I want to play the song "Come What May" from the Moulan Rouge soundtrack as a piano, bass clarinet duet with him before he goes off into the world. I can't transcribe the music for him. Do you know where I can find the sheet music for that song for bass clarinet? Thank you.
Thanks!
I like the copper. Gold not so much. With what you pay, I expect it to make breakfast too. Expected more from the gold.
Out of curiosity, why does the bass clarinet sometimes read bass clef in symphony orchestra music? For example, the Saint-Saens Organ Symphony?
The history of bass clarinet notation is confusing. French composers were known for using treble clef. German composers - Wagner as an example - used mainly bass clef and sometimes treble in the same piece. And another nationality used only bass clef - I guess, the Russians.
Bass clef for a bass instrument would be logic, but treble now is preferred. I assume it is because bass players often start with soprano first and can use their knowledge of the first instrument.
Somehow your French piece is not in treble, but it could be a transposition of the original.
Thanx for that testing. Do you believe or experienced a difference playing a Silver blashaus instead of a Gold plated?
I don’t, to be honest.
@@earspasm I was just trying both as well as a new Ruthenium-plated version at the Blashaus workshop last week on my Selmer Privilege bass, and while I do notice some differences with each plating, it was relatively subtle(Brightness: Silver>Ruthenium>Gold). I personally favored the ruthenium version, but really I could be quite happy with any of the 3. However my money was ultimately spent a completely different Blashaus contraption, so no necks for me for now!
Curious if the Buffet necks fit the Polaris horns....
do any of these fit a kessler bass clarinet
No
Icon !
I’m a 9th grade bass clarinet never thought about upgrading and can’t find much on TH-cam. Can anyone tell me if necks can transverse instruments like different brands of bass clarinet
I am tired of breaking down my clarinet every time after I play and then putting it back together. By the time I get it put together I feel like not playing. I just leave my clarinet on a stand all together. I heard it's not the best for it though but it makes it so much easier to just grab n play on the fly.