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Date: Tue, 22 Jan 2002 16:24:01 -0800
From: Grant Green
Subject: Re: [CB] those low pitched sounds made while necking

>"It's called Helmholtz resonance," says Elizabeth von Muggenthaler, a
>biologist who recently completed a three and a half year study of
>giraffe bioacoustics at zoos in North and South Carolina. "It's kind of
>the same principal as when you blow air across the top of a Coke bottle:
>Air circulates inside the bottle and is then released through the top."

While annotating the digest, I ran across her site, which also includes research on the rhino and tiger, both of which apparently generate a few infrasonic frequencies.



Grant Green
Sarrusophones, contrabass reeds, &
other brobdignagian acoustic exotica   

Subject: [CB] Fobes Debut Contra mpc
Date: Tue, 22 Jan 2002 16:58:29 -0800

Thanks Grant for mentioning my BBb contra mouthpiece.

This mouthpiece is acrylic and thus the lower price. However, the design is
excellent and produces a much better sound than most rubber mouthpieces. I
have used this mouthpiece myself at Skywalker Ranch and recently with the SF

I put a facing on it that is essentially an open bass clarinet facing. I use
a #3 Van Doren reed with a Rovner Contra Bass ligature.

I test them on my Low C Leblanc Contra, but it should work quite well on any
large tenon contra. (Outside diameter of the mouthpiece tenon is 1.3950" or
roughly 35.5mm)

This does not work on EEb contras.

As with all of my mouthpieces, these are individually faced and play tested.

Clark W Fobes


Date: Tue, 22 Jan 2002 21:20:30 -0500
From: jim & joyce
Subject: [CB] cork grease

Dr Slick's cork grease contains beeswax, olive oil, slippery
elm bark and (I guess) other stuff.  It smells better than
the regular stuff and is more slippery and supposedly
protects the cork better.  I know that when I first got the
stuff, I tried it on a joint I had just recorked, with the
cork a bit too thick.  With Selmer grease, I couldn't get
the joint together without the cork ripping.  I wiped it off
and then used Dr Slick and it worked.

Speculation:  If you heat it enough, perhaps enough of the
oil would breakdown and leave the wax sticky. Maybe it would
hold a pad.   I am willing to experiment next time I do some
pad changes.

I am curious if anyone on the list has strong feelings about
cork pads.  The shop just finished with my Rampone double
walled C clarinet.   (And yes, Rampone made a contra
clarinet around 1900, but this thing is a soprano.)   The
tech said that all of the pads were odd sizes and rather
than shimming and floating at odd angles, etc, he decided to
use all cork pads.  He punched them from cork a little too
thick, sanded the sides a bit to get them to fit, and then
filed the backsides to get get the heights & angles right.
The horn sounds good to me, but I am not judge on these
things.  (Most metal clarinets sound good to me.)   Since I
like fooling with old instruments, and love tools, I am
wondering if I should invest in a set of punches.



From: Louis Rugani
Date: Tue, 22 Jan 2002 20:59:45 -0600 (CST)
Subject: [CB] Renting a contrabassoon?

Have you called LeBlanc in Kenosha, 55 miles north?

~~~~~~~~~~~~~ **-=\/=-** ~~~~~~~~~~~~~

The opposite of bravery is not cowardice, but conformity.
       ~ Robert Anthony


From: "Patrick.Scully"
Subject: Re: [CB] Fobes Debut Contra mpc
Date: Tue, 22 Jan 2002 22:32:24 -0800


I'm using your San Francisco Contra mouthpiece on my Low C EEb Leblanc
contra alto clarinet (my setup is mentioned in my recent post concerning the
Leblanc Model 350) and am quite pleased with the result.  Your Debut Contra
mouthpiece should be work perfectly well with Leblanc metal EEb contras,
which afford interchangeablility of mouthpieces with the Leblanc metal
contrabass clarinets in  BBb.  Your contrabass clarinet mouthpieces will
probably not work with rosewood or plastic EEb contras, though,  and
definitely not with the Selmer Paris or Bundy instruments.



From: "John Kilpatrick"
Subject: Re: [CB] [CB Digest]
Date: Wed, 23 Jan 2002 17:51:16 -0000

> Dave Spiegelthal wrote,
> >I wasn't aware there was so much difference between brands of silicone
> > glue (aka "RTV" aka "silicone sealant"), but I've been using mainly the
> >GE brand, labelled "RTV clear household adhesive" or something to that
> >effect, with no problems.
> Thanks for the info!  I've been using stick shellac on saxophones and French
> cement on soprano clarinets.  I like shellac and French cement (which I think
> is also shellac; just a different color) because the pads don't slip around,
> but they're easy to adjust or replace.
> Someone mentioned seeing emergency repairs done with heat and cork grease. I
> don't understand how that repair worked, since the whole idea of cork grease
> is to make things slide.  Did this person put the grease into the pad cup or
> was it used some other way?  Does heating the grease change its chemistry?

Cork grease: I'm not sure how it worked but it did, and I don't think it was
just for emergency. Perhaps heating it drives off some volatiles, leaving
something that doesn't slip around. But what if it did slip just a little?
wouldn't this be a way for the pad to re-levelled itself, as it pressed on
the hole rim on every open or close?
Equally, thinking from first principles, would not candle wax be suitable?
it's known to melt at candle flame temperature, and doesn't require a
blowtorch (which someone mentioned, and sounds nasty). Has anyone tried it?
John Kilpatrick


From: "Drake Mabry"
Subject: [CB] Mardi "Graves"
Date: Wed, 23 Jan 2002 19:42:42 +0100

Hello everyone,

I just received a brochure for a new music festival in France called "Mardi Graves, Le Festival des Instruments Graves".
It runs from the 2nd to 5th of February in the town of Beziers in the south of France. They don't mention a website to visit but here are a few highlights from the brochure.

February 2nd
Workshop with Pierre-Yves Artaud, bass and octobass flutes
Double bass workshop with Bernard Cazauran
Recital by Pierre-Yves Artaud: Premieres of pieces by Eric Tanguy in memory of Jack Leff (inventor bass and octobass flutes)
February 3rd
Concert by the Henri Texier Trio ( saxophone, drums, and bass)

February 4th
Masterclass by double bassist Vincent Charbonnier
Apéritif concert by "jeunes talents graves"
Concert by the Beppe Barbera Low Project (improvised music and dance including Gianluigi Troversi, bass and contralto clarinets; Paolo Ravaglia, bass and contrabass clarinets; Beppe Barbera, piano; Paolo Franciscone, drums; and Rosita Mariani, dance
February 5th
Concert by the group Steckar-Tubapack (Marc Steckar, Christian Jous, Daniel Landreat, Philippe Legris, tubas; Pierre Tiboum Guignon, drums, and Franck Steckar, piano and arrangements.



    At the end of every evening there is something titled "Bass Bar" probably low end jam sessions.

    I can't be there myself but will try to find out how it went.

    all the best,


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