From: Matthew Clay Hanson
Date: Thu, 5 May 2005 20:40:02 EDT
Subject: [CB] 350 to 340 comparison - what to look for
I apologize in advance for the crude manner of response to
Patrick's post. He pointed out some really good things to look
for in the differences between the 340 and 350, but I do have a
few things to add below, directly after his original comments in
<>.
<whereas all of the 350's and low
C 340's
seem to have either bright or
black nickelplate originally.>
There are indeed still at least a few old 350s with the satin
silver finish hanging around. Most of them I've seen have had a
combination of mirror and satin throughout the body, which is
very striking. Often, the posts, joints between the tubing,
guards, and braces are mirror in addition to the keywork and
inner bell. These are indeed more rare, but are out
there. Anyone wanting to see a photo of one, email me
privately.
<Differentiating the 350 from a
low C 340 -- at a distance and from
photographs -- is best accomplished
by looking for the RH side trill keys.
The model 340, to the dismay of
generations of contra players, has only one
of the four trills found on the
"junior" clarinets, but the model 350 has
three (alternate trill fingerings
obviate the need for the B-C trill). >
I wouldn't say "best" distinguished. While most 340s do
not in fact have the three upper trill keys, there are
instruments still out there which have them... yes, 340s.
They are harder to find, but they very much exist. Not that
many were made due to the added complexity of the
instrument. Anyone wanting to see a photo of one, email me
privately. Would like to also note that these instruments were
made with two pad cups for F/C and have tone holes on opposite
sides in the bottom bow for alt. Ab/Eb. And you thought
your modern 340s were complicated! This is essentially all
the keywork that made repair techs originally refer to them as a
"plumber's nightmare".
Personally, I would say that one of the easiest ways to
distinguish a 350 from a 340 at quick glance would be to look at the
placement of the register key directly above the neck tuning pipe
tenon. On the 350, it is immediately above the tenon which
the neck goes into, while it is significantly higher and much
closer to the top bow on the 340 (on almost all except a few
early and experimental instruments). Note that the bows
along with the bore size are the same size on both instruments.
As a result, the 350 has a much more overall "round" or compact shape
than the 340, which is more oblong due to the difference in
length. Additionally, I would suggest looking for a neck
brace on the instrument to help distinguish between 340 and
350. Almost no 350s
originally had neck braces connecting the first pipe to the body,
where all three others, the 352, 340 and 342 do. This is
the easiest way to determine if an instrument is a 350 or
340.
Off topic slightly, but I would like to point out that anyone in
the market for a 342 may want to be cautious of the instruments
that were produced during the use of the temporary register
mechanism which excludes the first register vent (the one on the
first pipe). The one (tiny)vent for everything above throat
Bb is placed in the middle of the top bow (practically smack dab
in the middle of where the two vents should be) and these
instruments can be very frustrating in regard to the attack or
response of long B up to D and then again up toward A and upward.
It was a neat idea, but it didn't really work. Leblanc did a lot
of experimentation with the contras and thankfully, this register
system was not in use for long. I mention this mainly
because there are many folks buying contras on eBay and may not
be aware of this system, in addition to the manual double
register key mechanism, which does
have its benefits. Hope this helps!
Happy hunting,
Matthew Clay Hanson
---------------------------------------------------------
From: "Sung Hwang Wang"
Date: Thu, 05 May 2005 18:16:30 -0700
Subject: [CB]
Hello Bruce, I am glad to help out in any way I can.
Unfortunately I haven't been successful recruting this low clarinet
quartet of 2 bass, a contra alto and a contrabass. If anyone out
there in Vancouver is reading this, and is interested, please let me
know : )
I dearly love my Vito Bb contra. It's got a gorgeous
timber, thick, warm, and dark sound. I can play it loud or quiet
without much effort, it's that flexible. In fact, I don't
consider it a "student" model, it has the true potential for
professional work. If the horn is set up right, it would play
effortlessly for you. The keywork is straightforward, and quite
ergonomical, except the throat A key is slightly far out. Leather
resonator pads, and automatic double register keys similar to other
Leblanc contras.
I use the stock Woodwind mouthpiece, Rover ligature, and Legere
reeds #2.5 and 2.75. Legere works great, I must say. It
completely eliminated any worries about warping and drying. I
have since stopped using Vandorens.
After lugging it to rehearsals and concerts for 6 months, I
decided it's time to have an option. My car is simply too small
to lug it. Not to mention I am always the first to arrive and
last to leave due to "setup and teardown" times. An opportunity
came across for me to own a low D 340, and I am glad to bit the bullet
and got it (not cheaply, mind you).
The horn arrived in fairly good shape. My repair tech did
some usual adjustments and it now plays great. I still haven't
play both contras side by side for a good evaluation, but my personal
impression to date is that:
340 is definitely more transportation and handling friendly, but
Vito seems to draw more attention at concerts due to its sheer
size. The 340 sits in my car trunk comfortaby, whereas the Vito
lies on the passenger side seat fully declined.
Vito has a really thick warm dark sound as I mentioned earlier,
very bass clarinet-like, whereas the 340 has a more reedy sound
throughout, almost like a bass sax, it can also produce a more powerful
buzzing sound down low, it rattles the floor, it's great for special
effects, etc.
Vito requires less effort to make it sound good. The 340
is more challenging to make it sing, it asks for more
concentration. You can play the Vito a bit sloppily and get away
with it, you can't do that with the 340. But in term, the 340 is
more rewarding as a solo voice, it has more character and room for
expression. Whereas the Vito is perfect in supporting a wind band
or clarinet choir, it doesn't draw aural attention to itself, but is
perfect for blending and support.
---------------------------------------------------------
From: "Sung Hwang Wang"
Date: Fri, 06 May 2005 10:52:32 -0700
Subject: [CB]
Hello Patrick, great to hear from you. I learned a lot
from your old posting about contras, and they were the reasons why I am
so hooked on them!
So you have 4 paperclips. That’s impressive; you are a
true contra lover!
How would you characterize the sounds between 340 and 350?
I am not quite getting your description about the plating
differences, are you saying the old 340 have a more silver look than
the 350?
On my low D 340, the touch of only the low D key closes all the
notes above it. Is this the case with 350? What about the
low C and C# key? Do I need to press more than the right hand
thumb key to sound the note?
In contra we trust!
Willy
***End of Contrabass Digest***