Category: Information Sheets
It’s All In The Spring
Spring replacement: Spring replacement can be approached in many ways as springs make a massive difference to the feel and response of the mechanism. Mostly spring replacement is a repair, in that we are replacing a broken or rusted spring, this could be one or many springs. From time to time we get asked to replace all the springs on an instrument. The secret about springs is the tensile strength, the tension that can be applied to the thinnest (finest) spring. Some metals are better for feel and some better for longevity or reliability Springs are made from many metals Stainless Steel- These are the most popular for most wind instruments except oboe. Stainless steel springs need to be thicker to do the same job as other springs therefore cause the mechanism to feel slightly more spongy and heavy. They are virtually indestructible and not affected by moisture therefore particularly good for student instruments. Blue Steel Springs – Made from carbon steel that has been heat tempered until the perfect blue tinge appears then quenched in oil. They were once the only spring available, but stainless steel is starting to take over. Blue steel have a very high tensile strength and can therefore be much thinner to do the same job as other springs. The feel great and are mostly found on professional instruments and oboes these days. The only real problem is that they can snap easily and they can suffer from metal cancer (rust) White Gold Springs –White Gold Spring wire is solid gold (11 to 14ct) alloy and only found on professional flutes. Most people thing that gold is soft, and it is, however, it has incredible tensile strength. It is perfect for the feel and response of flutes. The drawback with gold is largely the price and to a lesser extent reliability, a gold spring can spit the dummy without notice. Phosphor Bronze – Another very useful material for springs it is rarely used and is perhaps the worst option for musical instruments due to its marginally better tensile strength, but is subject to easy breakage. Other metals are usually a combination of above, however there is nothing new (other than perhaps opposing magnets) that beat the above options.
Assembling your Clarinet
Your Clarinet has 6 parts: The Bell, Lower Joint, Upper Joint, Barrel, Ligature and Mouthpiece. (Plus, the reed…makes 7 parts) Important to remember: 1. Your clarinet is not a toy it is a delicate musical instrument.2. You should always make sure your case is done up before you pick it up.3. The corks joints should always have grease on them. (You won’t need to do this every time, but if it is hard to get together, it’s time to grease them. When assembling your clarinet, you need to be careful not to bend any keys 1. Sit on a chair with your case on the floor. Make sure the instrument is the right way up. (The logo is usually on the top of the case).2. Undo the case and take out a reed and place it in your mouth to wet it. (Do not chew on it)3. Start from the bottom up. Get out the bell and the bottom joint. Hold the bottom joint in your hand making sure not to hold over the rods4. Carefully twist and push the cork end of the second joint into the bell, turning it back and forth until it is all the way on. 5. Remove the top joint from the case. This is one of the most important steps.   You MUST hold the bridge key open.This key is very important and can easily be bent if you are not careful. Hold the first joint in your left hand, with your fingers over the ring holes on the front of the clarinet. This will cause the bridge key to lift up. 6. Holding the second joint close to the bell with your right hand, slowly twist and push the first joint into the second. Try to turn it back and forth in small motions, so that the keys don’t bump into each other. 7. Remove the barrel from the case and twist and push the large end onto the first joint. 8. Remove the mouthpiece from the case and take off the ligature (the ligature is the metal or sometimes plastic piece that has one or two screws in it). Twist and push the cork end of the mouthpiece into the barrel. The flat side of the mouthpiece should line up with the back of the clarinet (the part with the fewest keys). 9. Slip the ligature over the mouthpiece. Now slide the ligature up so that you are holding it with your fingers to the back of the mouthpiece. 10. Remove the reed from your mouth and slide it down between the mouthpiece and the ligature. Line it up so that the tip of the reed doesn’t extend beyond the tip of the mouthpiece. Slide the ligature down to the point where the top of the ligature is below the bark part of the reed. Do up the screws. It should be tightened securely enough to keep the reed from slipping, but not so tight that they are difficult to unfasten. Congratulations. You are ready to play!!!
Oiling the Bore of Wooden Instruments
Many clarinets and Oboes are made of a rare and very dense timber often known as Grenadilla or African Blackwood, with a botanical name of Dalbergia melanoxylon. This timber is so dense it will sink in water and has a very strong resistance to the absorption of moisture. It is very important to care for the timber, to try and replace lost oils due to the leeching by the chemicals of the human breath and environmental conditions. For hundreds of years, Almond oil has been regarded as the best conditioner for Grenadilla wood. It is all natural, doesn’t leave a residue, and it protects and conditions the wood, As moisture is the killer for woodwind instruments (especially the condensation of human breath with its chemical cocktail) it is important to oil the bore of woodwind instruments. You may read in some blogs that some people don’t recommend the bore should be oiled for various reasons, but we believe that it is better TO oil than not to oil. To help avoiding cracks extreme and rapid changes of temperature, particularly cold to hot are to be avoided. Warm your instrument up slowly! We recommend the use of a clean feather to apply the oil. Following is a description for the application of the oil for clarinets Tear of small swatches of paper (any kind of paper) and place them under each of the closed pads on the instrument Dip the TIP of the feather in the bottle of oil and then simply push it into the instrument making the bore moist (not dripping) Do this on the bore of all the parts Put a small amount on the outside of the instrument and rub it in with your hands (good for your skin) Leave the instrument for a few hours (the longer the better) Wipe the instrument out removing the remaining oil and your instrument is ready to play
D’Addario Saxophone Survival Guide
D’Addario Saxophone Survival Guide
D’Addario Clarinet Survival Guide
D’Addario Clarinet Survival Guide
Humes & Berg Catalogue
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Legere – All you need to know
Légère reeds are engineered to sound and act like moist cane but with all the advantages and benefits of a synthetic. Never need to be soaked – they instantly respond right out of the box. They are unaffected by weather, temperature, or humidity. They are consistent and reliable – they always work and sound like you expect. They are extremely cost effective – no more discarding of unplayable reeds. Long lasting – one reed should last you months. By fixing naturally occurring defects in cane, players can focus on their music instead of their reeds. The Classic comes from the first Légère prototype made in 1998 and is still beloved today! This stiffer reed produces a rich and dark sound. It is available in Standard Cut and German Cut for clarinet and Standard Cut and Studio Cut for saxophone. This reed is wonderful for students, marching bands and large ensembles but remains popular with players at all levels. The Signature is a complete reinvention of our Classic reed. It is cut from a stiffer yet thinner material which produces a warm, rich tone in all registers. It is more flexible across the tip, giving it a full spectrum of overtones while utilizing minimal effort. This reed is most commonly played by intermediate and advanced players, including professionals worldwide. It is available for both Saxophone and Clarinet. The European Cut, was introduced in 2016 and has been our best selling reed of all time! This reed is characterized by the shorter and wider vamp and an extra band of material along the spine. This provides rigidity without compromising the reed’s free blowing nature or high register stability. This reed is available for the Bb clarinet. Materials Cane is a unique material. It is has a low density yet is longitudinally very stiff. Matching these properties in a synthetic material is difficult but is essential in creating a good reed. Légère uses polypropylene to make both single and double reeds. Polypropylene is a common, non-toxic polymer with applications in food containers, packaging, rugs, and many other products. Unfortunately, ordinary polypropylene is not nearly stiff enough to make saxophone and clarinet reeds. They just wouldn’t vibrate. To make the plastic much stiffer Légère puts it through a process called orientation. This is the secret to creating Légère reeds. Polypropylene does not have to be preconditioned before playing nor does it absorb any water. It is completely non-toxic, highly durable and can be easily sanitized with warm water and a mild detergent. Design and Process Early Légère reeds were made with profiles very similar to cane reeds. Because these first reeds were an identical size to cane reeds they needed to have exactly the same stiffness and density. These first reeds were cut using a very similar process to that used for current Légère reeds. While early Légère reeds were very good synthetic reeds, they were not perfect. The next major step in synthetic-reed technology came with the advent of the Signature reeds. The difference between the Signatures and the first prototypes is in stiffness and reed size. The Signatures are roughly 80% the thickness of a good cane reed, but are made from a much stiffer material. This allows for a freer vibration which results in wonderful overtones. All Légère reeds are cut from our own unique polymer on a 3-axis, computer numerically controlled (CNC) cutting machine. Each reed is individually strength tested, delicately sanded and packaged by hand. Pre-playing To unpack the reed, remove it from the case or box carefully avoiding contact with the tip. While Légère reeds are durable, they can easily be damaged if mishandled or dropped. It is best to always handle your reed by the heel. Playing There is no need to moisten a Légère reed, it will play like a pre-moistened cane reed directly from the box. Place the reed on the mouthpiece in the same position that you would put a cane reed and secure it with a ligature. Test the reed’s response either on the instrument or alone. You should feel a quick attack that speaks instantly. If you do not feel a fast attack the reed position or strength is incorrect. Move the reed back and forth trying a variety of positions and continue testing. Once the attack feels correct play the reed for a couple minutes to warm it up. At this point, the reed is in playing condition. Depending on your playing style, the reed will need to be rotated after roughly 60 minutes. This is to extend the life of the reed, not improve your short-term tone. With proper rotation and care your reeds should last many months. Storage and Cleaning When you are finished playing on your reed, loosen the ligature and remove it from the mouthpiece. The reed can be cleaned periodically with water and a mild detergent. Légère single reeds should be stored on a flat surfaced reed case. Due to the fact that polypropylene is non-porous, it is very difficult for bacteria to build on your reed. Modifying the Reed Altering Légère reeds is not recommended. Bending stiffness is a function of elastic modulus and removing material will drastically reduce the strength of the reed. If you are interested in experimentation purchase reeds that are 0.5 to 1.0 step stronger than your appropriate strength. If desired, the reeds can be scraped with fine sandpaper or a sharp blade, held perpendicular to the reed. They should be scraped from the top of the vamp towards the tip. Never sand or scrape against the grain of the reed. Reeds that have been altered are not eligible for an exchange or refund. Clipping the reed with a conventional reed clipper is likely to cause longitudinal splits through the tip. https://youtu.be/2jzRj4Sk9jQ?list=PLhet0rWzbzYOG90Ufyn9ejktqpi1FFSvK
Basic Instrument Care Guide
General advice on maintaining your wind instrument in-between services: ALL wind instruments need some attention from time to time, so regular servicing is a great idea. About once a year to 18 months is about the right time for a general service, this would include clean, adjustments and lubrication of moving parts, and the replacement of worn parts. In the meantime, until the next service there are several things you can do to help keep the instrument in good playing condition and looking good. Moisture is a killer for instruments, ALWAYS pay particular attention to dry your instrument after playing, you can also rinse the mouthpiece and dry it after each use. Don’t put any wet cleaning cloths into the case with the instrument. Also avoid the use of so-called pad savers (a long brush that stays in the instrument) as they do the opposite to what they are advertised to do. Store damp cloths away from the instrument. Fingerprints can contain chemicals that, if left on the instrument, may eat into the finish. Remove any finger-marks or dust from the instrument with a soft (preferably mircofibre) dry cloth each time you use it. A quick wipe down should become a habit to care for any instrument. Woodwind instruments become damaged when you hold the keys during assembly and disassembly. Try as much as possible to hold the instrument in a place that doesn’t have keywork. Don’t put items on the instrument in the case! The case is usually designed to fit an instrument snuggly, so putting other items in the case (like books) can damage the instrument. Be careful with hard items like metal mouthpieces can bump against the instrument and cause damage. Make sure these are secure in their designated space or in the pocket on the outside of the case or case cover is the best place for these items. Temperature extremes should be avoided, if the instrument is very cold, let it warm naturally to room temperature before putting 37 degrees from your breath into the bore of the instrument, this applies largely to wooden instruments. Brass instrument components (Slides and valves) will seize up if they are not regularly moved as the lubricate won’t cover all the surface area while the instrument is unused.
Which BG Jazz Ligature works with your mouthpiece​?
What BG Jazz Ligature, goes with with Mouthpiece
Assembling your Flute
Your Flute has 3 parts: The Headjoint, The Body and The Footjoint. When assembling your flute, it is important to assemble the joints together in the correct way and never force the joints together. We believe that careful attention in assembling, and disassembling can reduce the damage/wear and tear that an instrument suffers thereby reducing service costs. Important to remember: Never wash your flute with Don’t apply grease or oil or any other type of lubrication on the joints thinking that it will ease the Doing so is messy and doesn’t help the situation. Always be gentle while handling the flute. Although it is made of metal, it is quite delicate, keys can be easily bent, and any knock will disrupt the regulation of the Now onto the assembly 1. Before we put the flute together, we need to make sure the joints are clean, wiping them with a microfibre cloth inside and outside will ensure that the joints ease together without any 2. Take out the headjoint and the body.It is important avoid holding the keys. Hold the body at the top where there are no keys (the tenon). 3. Gently insert the head joint into the body and twist the two together. (very little force should be applied, if you are finding it to be stiff, wipe the joint over with the microfibre cloth and try) 4. Once you have that done that it’s time to put on the foot joint. Take the foot joint out of the case and hold at the bottom where there are no keys. 5. Keeping hold of the body in the same place where there are no keys (The tenon) The footjoint slips on to the body of the flute by twisting the two joints gently together. (It is important to keep the joints parallel as you put them together, any angle other than straight can cause damage) Lining up the parts. 6. The hole in the lip plate should line up the first key on the 7. The foot joint should but slightly to the right of lining up with the body keys Congratulations. You are ready to play!!!
Cork grease ain’t cork grease!
La Tromba Cork Grease (3g or 15g) The lip stick style cork grease is always a popular (but not good) option for greasing the cork/tenon joints of the clarinet, oboe, or neck cork on a saxophone.This ‘grease’ is a no fuss and clean way to grease the joints, however the compound used has very poor lubricating qualities and can do 2 things: 1/ Destroy the glue holding the cork in place 2/ Not soak into the cork, instead sitting on top For many years, La Tromba have made the leading cork grease, its lubricating quality is far superior. It soaks into the cork and doesn’t destroy the glue.It protects the corks from moisture, remains smooth and all this by ideal lubricating properties. La Tromba Cork & Slide Grease is a hight tech product among lubricants. It is very temperature-stable, ageing resistant and prevents jamming of the slides and corks. These outstanding qualities make it the ultimate grease for music instruments. Unfortunately, it doesn’t come in the lip stick style dispenser, but we feel this is a small compromise considering it actually works!