The Grenadilla Myth Pt. 3

12/11/2013

To continue:

So, why grenadilla wood in the first place? I wonder about that myself, and encourage speculation from readers. Before grenadilla, boxwood and various fruitwoods were universally used for woodwind instruments but, at some point in the late 19th century, everyone switched to grenadilla. I know that it is hard, mills well, and is attractive. However, it is also slow-growing, in limited supply, and requires long seasoning for good results: according to an interview with the late Hans Moennig, when he started as a repairman in the 20's, Buffet was aging its wood blanks for over 20 years before milling. At his retirement in the early 80's, it was down to about 7 years - I don't know what it is now...

Buffet's experiment with the 'Greenline' model (or 'Greenstick', as I've heard them referred to, based on how the tenons fracture) of grenadilla dust with a binder seems a promising step in a new direction but, like First Act instruments from China, further refinement would seem to be required :)

I look forward to new materials and technologies to bring the clarinet into the 21st century; improving intonation and performance, lowering cost (anyone tried to buy an R13 lately?), and reducing our dependence on and harvesting of a slow-growing hardwood. Would love to hear other ideas and perspectives on the subject: anyone feel like guest writing a column?

2 Comments

Bruce McGarvey

5/1/2014 04:57:29 am

Although I play blackwood Rossi soprano clarinets, I bought a Ridenour Libertas a few months ago because I prefer its sound for classical and romantic chamber music. When I first played it, I was struck by the difference in how different the rubber clarinet felt when played; it vibrates differently than wood. It was a striking thing, though it only took me a few minutes to get used to it.

Taking the clarinet around for other accomplished players to try, those who spent only a minute or two playing it universally rejected it as "not sounding like wood," but those who spent five or ten minutes with it came to like it very much. And after brow-beating the original refusers into give the clarinet more time, all of them gave the rubber horn thumbs up. I didn't hear "it doesn't sound like wood" again. Once no longer confusing sound with feel, rubber was suddenly okay!

I've come to believe that hard rubber, at least, is a viable alternative to wood, but that it won't have a chance until there are no wood alternatives anymore, mainly because of the "playing feel" of non-wood clarinets, not the actual sound of them (which I'm confident can be duplicated by bore designs). Of course, blind maker and material prejudices will continue to be the main impediment to new materials until blackwood and cocobolo are no longer available unless one of the big 3 comes out with a non-wood professional-level clarinet that big shot players endorse. (I wonder how far the Greenline would have gotten had it not been made by Buffet, and how far Backun instruments would have gotten without Morales and Daniels endorsements.)

Cheers.

Bruce (in Blacksburg)

Art Gale link

3/13/2015 10:06:06 pm

Without exception every tom ridenour designed product I have tried has been exceptional. Now playing selmer recital ... buffet elite ...and r13 , I regret selling my Opus.
His student clarinets in rubber had sad...but functional...keywork....but remarkable intonation and eveness of scale...not to mention delightful timbre.
Although each of the sets I now play are excellent...I am planning on getting Toms pro set.
Too scared to sell current fleet to finance the move...but would be unsurprised if R13s and Recitals were up for sale after I got Toms best.

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The Grenadilla Myth Pt. 3

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