Date: Wed, 21 Apr 2010 15:28:31 +0300 From: Jo?o Pais jmmmpais@googlemail.com Subject: Re: [PD] nusmuk_audio WAS: Max Smoother Audio than Pd? Cc: pd-list pd-list@iem.at Message-ID: op.vbik1qu2vpc3oo@jmmmp-thinkpad.fritz.box Content-Type: text/plain; charset=iso-8859-15; format=flowed;        delsp=yes

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So maybe you need and want a shitty clarinet to achieve the objective you have, maybe you need a quite expensive one. Nevertheless, the point is what you do with it.

The clarinetist of one chamber orchestra I've wrote for had to use a 'C' clarinette that sounded like shit to play all the notes,  instead of her cool but expensive B flat, the result is that I don't liked the sound she had.

(If you want to compare I can send you the files)

Richard Barret has a couple of interesting pieces for C clarinet (look for a cd with Carl Rossman). these pieces wouldn't sound as good in a B or A clarinets, because it would loose the hard edge of the rhythms/melodic contours.

so, I say Richard Barret's pieces would sound "like shit" on a B clarinet. probably your's sounds "like shit" on a C clarinet. both clarinets can sound good -> only the pieces they play can make them sound "shit".

Conclusion: don't blame the clarinets, stop giving them wrong pieces. Don't assume that one clarinet is worthless because he's being given the right material to play with.

Ha ha, not to mention the proliferation of wonderful period-instrument ensembles that use 18th- and 19th-century replicas. Some of those musicians are really, really good -- the C clarinets sound just fine in the context of Beethoven and Berlioz. One would probably not want to play the Rite of Spring solo on an 18th-century bassoon, though. In music, and I think I would argue art in general, context is key.

Matt