For a few years now, I've been using tan, kidskin pads almost exclusively on my older horns. Folks ask why, from time to time, so I thought I'd take a moment and answer some of the implicit questions:

 I find that they last longer than bladder and can be oiled occasionally, further extending their useful life. As an experiment, I once oiled pads that had been in an early R-13 for 40 years and, after softening and adjustment, the instrument played fairly well! 

 I find that they take a better impression from aging toneholes. Slight warp-age, small nicks, uneven wear, can all be forgiven by a leather pad, which will take a better seat than the harder double skin felt pads in common use in modern horns. This often saves me having to reface a  tonehole made slightly uneven from wear or abuse, which is my preference when possible: the Hippocratic Law for clarinets being "First do no harm".

 I find that they give closed keys a feeling more consistent with bare fingers on open holes (especially on Albert/ simple system horns) versus hard felt. I am often distracted by the difference in feel between my fingers and hard felt or cork pads; its somewhat uneven.

 Finally, I find that the tan kidskin shows less wear and discoloration than white bladder, keeping the horn looking fresh longer.

 I hope that players and other techs will consider these pads and their advantages next time they undertake the overhaul of a vintage instrument of quality!

A customer wrote to ask : "What's a good set up for jazz on the clarinet? I've changed my embouchure a lot but I'd like to have the best set up possible also, any advice would be great! Thanks!"

 I'd like to have the best setup possible, too! So, here's my answer:

"Nice to hear from you! Well, that's a tough question...Its very individual. If you look at a list of famous players on any instrument (especially woodwind) the setups tend to be all over the place. Generally speaking, Jazz players use a more open tip and a lighter reed than classical, but a bigger part is having a 'jazz tone' in your head, and adjusting your timing, attack, phrasing, etc. to reflect a Jazz concept. Who do you listen to? Buddy DeFranco? Artie Shaw? Lots of listening and practicing with playalong tracks will help the most...

 Now that, being said, its harder to get a Jazz sound on Vandoren M13 mpc with #4 reeds - that's a pretty closed, stuffy setup. I've used Bernard Portnoy mouthpieces on my horn and with students and had good results, either the BP02 or more open BP03 facing. These can generally be found on ebay for about $40 used. Also, an older Selmer HS** (2 stars, not one) gives a nice tone and is open enough to give some flexibility.

 Also, don't forget reeds! I'd try a Fibracell 3.5 synthetic, or, if you really prefer natural reeds, look at a non-classical cut from Alexander: they make some really nice reeds cut specifically for a Jazzy sound."

 How's that for an answer?