Don't be Scared of No-Name Clarinets

Recently, in a fit of bravery, I've been purchasing some no-name clarinets, mostly Albert systems. These golden-oldies have gotten harder to find, lately, and the big names are commanding big prices: a $1000 or more for a Buffet in good, un-restored condition, which puts it out of my 'can-risk' range! 


 I don't buy blind, of course: I look at wood, key-work, and condition and I ask questions. And you would be surprised at some of the nice old horns that I come across! There are a number of reasons: most no-names were made by reputable manufacturers for stores, catalogs and big distributors. If it says 'made in France' and its from the 20's-50's, chances are good that it was a Buffet, Thibouville Freres, Couesnon, Malerne, or SML. If it was 'made in Italy', a Rampone or Orsi. If 'made in Germany', a Gebr. Moennig or one of a host of excellent (if lesser known) makers from Markneukirchen - not a bad pedigree! 


 Also, this was the Era of the Clarinet and a poor make didn't stand much of a chance against the flood of reasonably priced, quality instruments on the market. Compare this to today's spate of First Act, Borg, and other marginal junk instruments - they wouldn't have stood a chance 80 years ago! Even some of the old French and American stencil hard rubber or metal instruments play surprisingly well, with a good overhaul and decent mouthpiece. 


 So, don't be scared of an inexpensive old no-name for personal use. Compare key-work for similarities to known brands (hint: the shape of the lower stack bridge key is a giveaway to at least 3 makers), look for dark wood with a tight grain and pro features (like post lock-downs) and ask Ask ASK  questions : are there cracks, ugly repairs, frozen/rusted keys, etc. With practice and a little luck, you can have a fine horn for practically the cost of the overhaul and save another piece of craftsmanship from the junk-pile....

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