The Buffet Clarinet Range - a 2016 Overview

The Buffet Clarinet Range at 2016

 

Introduction

The Buffet (Paris) Company has a grand tradition of making woodwind instruments dating back to 1825 and in its French factory in Mantes-la-Ville since 1850. The firm has earned a worldwide recognition for fine clarinets and they have developed a range of instrument options to suit the preferences and requirements of virtually any player - from beginner to the finest professional musicians. As the Buffet range is now quite vast I thought that a short summary of the differences, as I and many customers have found them, would be useful for anyone contemplating a purchase or just interested in a more thorough understanding of these fine instruments. I do not propose an engineering review full of specifications and key work listings or a detailed history of manufacturing - the Buffet website (www.buffet-crampon.com) or this encyclopaedia entry (https://en.wikipedia.org/wiki/Buffet_Crampon) can provide such information. Rather, I would like to pass on my observations and my understanding of the intended performance characteristics and the nature of the different Buffet models while highlighting some of the subtle differences between them.

The Student Range

B12 - This model has been very popular ever since its introduction and it remains the industry standard student clarinet and for good reasons. The ABS resin body is lightweight and the tone holes are comfortable to cover for all but the smallest of fingers. The tone is resonant and sound is easily produced to be encouraging for the younger, often primary school aged beginner. Silver plated key work, fish skin pads and a wood-look finish are nice touches that link the B12 to the rest of the Buffet range.

B10 - This model has a more recent history and was introduced primarily as a production cost savings over the student B12. It has no metal bell or body rings and the key work is less refined than the B12 and it is nickel-plated. The B10 is however durable, uses synthetic pads and is easy to maintain. For longer-term satisfaction I prefer the B12.

E11 - The first wooden clarinet in the current range the E11 has a more interesting sound than the plastic bodied models and its greater weight makes is more satisfying both to hold and to blow for an improving player. The key work is nickel-plated and traditional bladder pads are used. It is manufactured in Germany. I consider this a budget value wooden instrument. The E11 has had a good reception on the Continent where it often recommended as a first clarinet for learners.

The Intermediate Range

E12F - This model is a new collaboration (first released 2012) between the French factory where the wooden body (derived from professional models) is produced and the German production facility in Markneukirchen where key work assembly takes place. This hybrid model offers exceptional performance at its price point. Some cost saving choices have been made including the lack of a bell rim ring and the use of stained and stabilised wood however good quality leather pads are used and the resonance is noticeably improved over the student range models.

E13 - For over 40 years this model has been the most often recommended of all intermediate clarinets and a great product for Buffet. Recent innovations including leather pads, a new bell (based on the RC professional bell), low F regulation screw and choice of case options have only help to confirm the desirability of the E13. It's internal taper - a unique design in the Buffet range - colourful sound, high quality finish and ease of tone production all contribute to making this an exceptional value upgrade clarinet. Manufactured entirely in France.

The Professional Range

R13 - Since its creation in 1955 (by Robert Carre, one of the greatest designers in Buffet history) the Buffet R13 has been the company's flagship professional model. Very popular in the USA for its all round qualities of projection, brilliant tone and flexibility in all idioms the R13 is the standard against which all professional clarinets are judged. It is the first instrument in the Buffet range to be offered at A440 tuning contributing to its popularity in the USA and UK markets.

RC - Robert Carre's innovative polycylindrical bore design and distinctive internal taper were introduced to create additional warmth and tonal centre to the already successful R13 clarinet for this, his namesake, model. These characteristics have made the RC a very popular choice with orchestral and chamber music performers for many decades. It continues to be preferred by many for the roundness and beauty of its tone. Supplied with two barrels for A440 or A442 pitch.

Conservatoire - Less well known in the UK this model is never the less popular on the continent in Europe and is a reliable and respected instrument recommended to many aspiring professionals.

 

The Advanced Professional Prestige Range

R13 Prestige - The performance qualities of the R13 but made from the finest natural, unstained, Blackwood for the best possible resonance and the additional features of metal-capped tenons, left hand Ab/Eb key, superior Gortex pads and a deluxe leather case.

RC Prestige - The performance qualities of the RC but made from the finest natural, unstained, Blackwood for the best possible resonance and the additional features of metal-capped tenons, left hand Ab/Eb key, superior Gortex pads and a deluxe leather case.

Festival Prestige - A distinctive model in the Prestige range the Festival originated from a collaboration of top French clarinettists, Jacques Lancelot, Guy Deplus and Michel Arrignon. It shares all the extra features of the other Prestige models but is supplied with two barrels and a distinctive repositioned register key vent for enhanced response of the upper register and improved focus for the throat Bb. A very popular professional choice on the continent. Supplied with two barrels for A440 or A442 pitch.

Tosca - Another example of recent artistic design collaboration by Buffet with Michel Arrignon the Tosca is an elegant styling based upon the R13 bore clarinet with innovations in keywork including a low F correction key and new design touch pieces. The Tosca has gained many followers since its introduction this Century. Supplied with two barrels for A440 or A442 pitch.

Divine - Designer Paul Meyer bases this most recent introduction to the top professional Buffet range, the Divine, upon the bore of the RC clarinet with acoustic and technical innovations. Uniquely the Divine upper joint incorporates Green Line technology on the lining of several tone holes and carbon wire based key work that helps to reduce weight and allow for greater vibration. The innovation extends to a most elegant glass fibre case as one might expect for this most luxurious of clarinets. Supplied with two barrels for A440 or A442 pitch.

A note on Buffet Greenline technology

The patented Buffet Greenline process is a reconstitution of the Grenadilla wood residue otherwise lost during the process of turning of the clarinet body and the boring of tone holes with a powder (resin like glue) that binds the residue once again into blocks (billets), which are then bored or drilled just like the original wood. However, crucially, these Greenline billets are without a grain and are therefore virtually cracks due to water absorption or temperature fluctuation are virtually impossible making Greenline the ideal material to use in any challenging conditions. Instruments made using this material are slightly heavier than those in natural wood and, as the Greenline material is denser, they have a slightly altered resonance. I believe Greenline material instruments sound more brilliant and slightly less warm than their wooden equivalents.

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The comments and observations above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers and speaking with colleagues and manufacturers, many of these my thoughts have been refined.

Thomas Dryer-Beers

 

Clarinet and Saxophone Playing Position, Mouthpiece Angle and Embouchure

Playing Position - Introduction

We are all different shapes and sizes and very importantly have different teeth structures and lip shapes. The holding position that works well for some may not work well at all for others. Some players are fortunate enough to be able to just 'get on with it' and never give any thought to how they address their instrument, mouthpiece and blowing angle. For many it is not a consideration - though it should be - as how the instrument is held can be a large factor in the success one experiences in obtaining the control and sound desired. Here are a couple of tips worth bearing in mind. I encourage you to try them for yourselves.

Clarinet -

Given a typical teeth structure the best results are often found if the clarinet is held at an angle of 30 degrees from the body (off the vertical) in standing position - an angle desirable to maintain when seated as well. Do avoid resting the instrument upon a knee(s) as this leads to bad habits - there are other ways to help relieve right hand tension and aches (see previous blog on the Claritie - 02/10/15).

You can demonstrate the effect that the holding angle has by sustaining a single tone and moving the instrument through an arc from very close to the body to 90 degrees perpendicular. The effect upon the sound can be dramatic. The tone is often very strangled when the instrument is held too close and becoming completely uncontrolled when too far out - with the best sound and control to be found in between - usually around the 30 degree position.

Saxophone - 

The saxophone family relies upon a sling as part of the correct playing position as well as a correct holding position from the hands and the teeth. When standing the instrument should be comfortably straight in front of the player often with the D#/Eb keyguard (in the case of the alto) gently resting on the body at the abdomen or with the sax gently pushed forward by the right hand - whichever is more comfortable. The left hand thumb first joint must exert a pressure on the thumb rest while allowing the tip freedom to engage the octave key. The mouthpiece should then enter the mouth at a 'flatter' angle than the clarinet - something approaching 25 - 45 degrees off the horizontal. With a firm contact downward from upper teeth to mouthpiece (use of a mouthpiece patch is advised) a triangulation is achieved between the teeth, the left hand thumb and the sling. In this position the sax is secure, the embouchure is able to control the reed and mouthpiece properly and the fingers are able to move with complete freedom as required.

When seated the alto, tenor and baritone must (for all but the tallest of players) move to the side but achieving the same triangulation is desirable. What is most often overlooked is the crucial role played by the left hand thumb in maintaining a constant, reliable pressure on the thumb rest so that, in conjunction with teeth and sling, the player does not resort to tightening the embouchure in order to keep the instrument in position or find that finger tension increases in order to 'hold on' to the instrument. Be sure to appropriately adjust the angle of rotation of both crook and mouthpiece when changing from a standing to a seated position.

 

 

General embouchure comment - 

 The lower lip should make contact with the reed at or near the 'control' or 'friction point'. This is where the reed leaves contact with the mouthpiece and begins vibrating freely. Below this point the reed will vibrate in an uncontrolled manner and too far above this point the lip will effectively 'shut off' the vibration entirely. This 'correct' lower lip position is often determined and discussed by noting how much of the mouthpiece is taken in relative to the top teeth and this does vary bearing in mind the chosen playing angle, an individual's own natural individual overbite and teeth structure, as well as the concept of tone desired. This position is very personal but it is fair to say that it is almost impossible to support well and obtain the best possible performance without finding ones 'optimal' teeth position and returning to this position consistently.

A further note -

A simple way to describe the very real differences between the embouchure shape and firmness between the clarinet and all the saxophones is worth remembering. The clarinet plays best at the 'top' of its available pitch range with no firmer embouchure than is required to produce the entire range accurately. The saxophone family performs best when played well 'down' into its available pitch range using air support to centre the tone and stabilise the pitch. When this is clearly understood and achieved both families sound their best and many other 'problems' of all sort become manageable.

For both instruments it is wise to choose your reed strength to match your degree of air support rather than your willingness to squeeze your lips.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers

Reed Strength Advice and Reed Blog

The question of what strength of reed to play and whether to change reed brands is well known to players and teachers at all levels. The following guide was originally prepared for Reeds Direct Cambridge (www.reeds-direct.co.uk) and has served as staff training guidance. I have altered it slightly for inclusion in this blog and I hope that it might be found useful. Thomas

Reed Strength Advice and Reed Blog

Starting at the beginning:

Welcome to playing your instrument. We recommend that beginner clarinettists and saxophonists start by using softer reeds, such as strength 1.5 reeds (or strength 1 for some), that are intended to be free blowing for ease of sound production. These reeds work well in the middle to lower registers and are ideal for initial learning. However, as a consequence of such reeds being thin in profile, the tone produced is often thin and “buzzy”, so moving up in strength is advised when players become more experienced.

Softer reeds work best on medium open and open tip mouthpieces – the type usually supplied by manufactures with their student level instruments – where the reed has a fair distance to travel before it closes upon the mouthpiece facing and must therefore be quite flexible. If the reed were stronger the effort required to produce a sound might be uncomfortable for the player when she/he starts. If the mouthpiece tip were closer/narrower the typical starter reeds would feel too soft. We feel that this is the best approach for the first year or two of playing (Exam Board Grade 1-3 approximately), though each player and every situation is different and other approaches can also be successful.

Take a moment to look at the RDC Strength Banding Selection to find recommendations (available from Wood, Wind & Reed, Cambridge). Do not be afraid to experiment with alternatives – this is all part of learning.

Then as one gets better:

As players learn more they will gain experience and confidence, develop their breathing and embouchure control and wish to sound better and to play into their instrument’s upper register. This means that the set-up that once worked well is actually likely to hold them back from making progress. It is time to move up in strength of reed! This is important to recognise as the need to change strengths is often overlooked and can cause such frustration that it can be a major factor in a player giving up their studies.

A step-up strength of reed (strength 2 or 2.5), used on the same starting-level mouthpiece, should help the meet the needs of the player trying for control of the higher register and wishing to improve the overall sound particularly when articulating (tonguing). To test if you are ready for this change try placing your present reed ‘too high’ on the mouthpiece (leaving a visible 1mm or so extending over the tip when viewed from the ‘back’ or 'top') and secure with your ligature as usual. Then try blowing a legato (slurred) passage into the register(s) notes that concern you and see if you notice an improvement in the sound quality and in the way the reed feels to blow. You can also try some tonguing and see how the instrument speaks (though this may be a bit tough on the tip of your tongue – take it easy). If you like the results and can hear an improvement in tone quality then you are ready to change! Reed strengths at this level are usually satisfactory for the next year or so while progress is continuing and commitment grows. (Exam Board Grade 4-5 approximately).

Take a moment to look at the RDC Strength Banding Selection to find recommendations (available from Wood, Wind & Reed, Cambridge). Do not be afraid to experiment with alternatives – this is all part of learning.

Further refinement:

By the time a number of years of learning have passed you should no longer consider yourself a beginner (of course this point could arrive sooner with lots of good practice) but certainly by the equivalent of Grade 5 level of achievement several important changes are likely to be desirable.

Clarinet players will, in many cases, have outgrown their starter mouthpiece and possibly their instrument as well. They are by now ready to be rewarded with a greater depth of sound, a more interesting and personal sound quality and the greater musical reward available from an upgrade to a quality ebonite mouthpiece and wooden clarinet. When changing such fundamental elements the reed match will also need to be examined. Most players will find that a newly selected mouthpiece will now have a medium or medium close tip opening and will perform best with strength 2.5 or 3 reeds. Congratulations – this is where many players correctly stay for a lifetime of playing. (Exam board Grade 5–8+ approximately).

Saxophone players have another level of consideration as they progress upwards as they may well wish to play both classical and jazz styles of music and it is time to discover what a great help and inspiration can be found in an appropriate choice of mouthpiece suited to these different styles. Not surprisingly the reeds that will work best on two such different concept mouthpieces are rarely the same.

Reeds suitable for classical playing (strengths 2.5 or 3 usually) are designed to offer stability, consistency of attack, roundness of tone colour and subtle control of dynamics on the medium close and close tip opening mouthpieces most often preferred. Many jazz players find themselves competing for volume and will choose medium open or quite open tip openings to allow for aggressive blowing, exciting tone colours and flexibility of attack. Reeds suitable for jazz playing (could be anywhere from strength 2, 2.5, 3 or 3.5) need to offer a suitable resistance match to the mouthpiece and provide an attractive sparkle and ‘edge’ for presence in an ensemble or small group setting. Reeds described as ‘Jazz’ will generally offer these characteristics and one must experiment to find just the right match for their choice of mouthpiece.

Take a moment to examine the RDC Strength Banding Selection to discover popular reeds from around the world. You are now ready to make the most of your musicianship and discover the musical pleasure a well-selected reed can provide. For further background on available jazz reeds see the RDC Reed Category Guide. Remember - do not be afraid to experiment – it is part of learning and becoming the best you can be.

Advanced and Professional considerations:

By now you know the type of sound you are looking for and how you wish your instrument to play in the practice studio, in the pit, on the stage and in the concert hall. Hopefully you have a clear understanding of what has worked well in the past and what may still be missing. You may be engaged in the search for ‘the perfect reed’ and perhaps becoming frustrated that what you have been playing seems to have ‘changed’ or is simply no longer good enough. In that case you may wish to explore what some of the ‘boutique options' available from smaller and more custom reed makers. Their businesses are founded on satisfying the needs of the most discerning customers and they pride themselves on  product consistency and the ability to provide what the mass manufactures do not. Make sure that you understand the subtle differences between a reed manufacturer’s ranges of offerings. Many designs have been introduced to offer genuine performance differences even at the same strength. Alternatively you may wish to take more responsibility for adjusting your reeds and sympathetically ‘breaking in’ reeds over time so that you are in greater control of the ‘settling in’ process. You may also wish to review reed options that you may have overlooked in the past, i.e. filed or unfiled profile reeds, thick blank reeds and even synthetic reeds, to find just the right combination for your requirements. (Exam board Grade 8+ and beyond).

Take a moment to see the RDC Strength Banding Selection to find a number of options that might be of interest. Remember - do not be afraid to experiment – it is now a vital part of your music making and your satisfaction as a performing musician. If you are teaching as well it is important that you know what is available so that you can knowledgeably and sympathetically advise your own pupils.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers Consultant to Reeds Direct Cambridge
Compiler of the Reeds Direct Cambridge Reed Strength Comparison Chart
www.reeds-direct.co.uk