Selmer Paris

1904 – clarinet launched at the Saint Louis /
USA Exhibition

1928 Ads – click on picture for full screen

• Transition during the L series
• The saxophone emblem was changed in circa 1926. The Clarinet
  emblem was changed in the 1930s

Catalog Pictures – click on each page for full
screen

L8800

M2400

Selmer 55

1945 only (?)

M6000

Emblem of sn # M70xx
Below- M 61xx. This shows the large register nut associated with 55s.
Also, inside it shows the thread and nut protruding into the bore. This
large nut gave the instrument some significant resistance – not my
favorite Selmer by a long shot.

Now if one really likes big bore clarinets then one would really like the “A”
variant of the CT. This is really one “A” model that would benefit any player.
So well controllable across the entire dynamic range with a nice full tone very
similar to the Bb. Normally an “A” can, in some words, sound duller to the
comparable Bb. But the CT “A” is a joy to play all the time. I certainly
recommend one if one can be found. But be careful. the large toneholes require
some getting used to as if you have smaller fingers they can be a problem in
covering.

LIKES: A real jazz clarinet, the “A” a great combination of flexibility and
tonal control.
DISLIKES: keywork is great if not worn out but nothing like modern Selmer
keywork.

Standard Boehm CTs normally had nickel plated keywork.
Enhanced Boehms normally had silver plated keywork.
manufacturing dates of 1952 to 1960

(click on each small
pic
for a popup larger view) The Early Centered Tones were
cylindrical bore whereas the later one were tapered bore. The taper
being the exact same as the earlier Series 9. In this example a CT P & Q
series having the same bore as an early 9 S series. The 9’s speaker
bushing is higher and smaller on the body, and the lower joint was slightly
longer. But both entry and exit bores of both joints were exactly the
same. And a few measured toneholes diameters on the upper joint were exactly the same
but on the lower joint the toneholes were smaller on the Series 9. The P series and 9 are both modified boehms but have the same
entry/exit bore dimensions top and bottom joints.

In the below pictures you can see some of the keywork differences between
the Centred Tone and Series 9. This is comparins S06xx and P and R CTs.

CT (Centered Tome) on top, 9 (Seriese 9) on bottom. Same entry/exit bores but the 9 is longer
(and the bells are the same length.

You
can see the overall length difference. The upper joints are the same
length of CT v 9

You
may not be able to tell from the picture but the CTs toneholes on the lower
joint are much
wider.

P
CT top, R CT mid, 9 bottom – keywork variations.

P
CT top, R CT mid, 9 bottom. 9 has a higher register vent.

P CT (top) v R CT (lower) trill key shape differences.

9 (top) v CT R (bottom)

T1400

v822x Series 10 A

Bb & A

The Marchi mechanism Clarinet – really interesting.
Take a look

• “G” stands for Gigliotti, a principal clarinetist in the
  Philadelphia Symphony
• Selmer made the 10G as a copy of Anthony Gigliotti’s personal
  Buffet R-13. Though being machine made they were accurate up until a
  point. Hans Moennig apparently hand tweaked the 10Gs to be more like
  AGs R13, but only in the serial number range of Z6835 through A1200
• 
  http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=199692&t=199692
• 10S followed the 10G in production

The keywork is superb silver plate, and smooth as silk motion. When properly set up the intonation on the barrel is fantastic. Though when it comes to
intonation this instrument seems to have a limited temperature range. Don’t try to use this instrument when the playing environment is cold, such as mid
60s degree fahrenheit. I could not get this instrument within 20 cents of in tune throughout the entire range even with the shorter barrel. When playing this instrument in the 70s and up there was no intonation issues. So if you live in a cold climate and most of your venues are more on the cold side I
recommend not using this instrument.

Other than the climate issue everything else on this instrument is spot on. A truly top of the line professional clarinet.

LIKES: keywork, fit/finish, tonal balance throughout the range
DISLIKES: very temperature sensitive, backpressure.

This Artys clarinet offers a wonderful tone in addition to allowing me to get the instrument to offer some exceptionally well balanced and sounding dynamics.

In other words, one could also use this in a jazz situation, in which they would have the ability of playing louder easier than with other clarinets,
assuming a moderately open mouthpiece.

The tone is very woody and full and resonant throughout the entire range. The only thing lacking is a significant “ring” which can be found in the more famous Buffet R13s. But if you are not after that certain tonal “ring” then this is a perfect clarinet for those looking for more flexibility than symphonic or chamber music.A description from Selmer states “Today, the Selmer Paris clarinet range is
an artistically open offer. In the very heart of this variety, “Artys”,
expression of the Selmer maturity and modernity, sets the tone. The Bb and A
“Artys” clarinets assert themselves as high quality, all-purpose
instruments, covering a wide range of playing options. The profound
personality of this model is built up from an amazing playability and a
deep, resonant tone. The overall sound and tuning qualities are particularly
homogeneous through all the registers and shades ; a great flexibility and a
remarkable control complete the global acoustic performances.”My lack of descriptive words would say that their own description of the
Artys is pretty accurate. From the deep resonant tone to the flexibility and
remarkable control. This clarinet is a Selmer Centered Tone with slightly
more resistance and control and the tonal flexibility of a Buffet R13,
though lacks a significant “ring” of an R13. In other words, it plays more
like a Serie 9 but with better overall flexibility and a fuller deeper tone.

After some extensive though minute setup items the Bb simply sang from top
to bottom with a consistent backpressure that provides an excellent feedback
to the player. The A was also very good though the low A was slightly
stuffy. If one slighlty expands the opening on the 3rd tonehole then the
slight stuffiness goes away and the tone becomes more powerful and full as
with the range of the instrument. Though one has to be careful as the
register E is nice and clear, too much expansion can cause the mid-staff E
to be unbalanced a bit.

Interesting side note on measurements of these examples:
Bb – 66mm barrel entry/exit bore of 14.54/14.50, 65mm 14.50/14.51
The entry /exit bore of the upper joint was 14.99 / 14.43

The A barrels: 66mm 14.49/14.34 65mm 14.45/14.34
and the upper joint was 15.03 / 14.57

This shows what Selmer has been doing lately, as in restricting air flow via
the barrel (for some reason unknown to me).

Interesting item about the construction. The stopper material used for the
throat A key and the register key is a synthetic rubber. This rubber is a
nice stopping material but very hard to adjust, ie to thin as the register
key was just a bit too closed and by thinning the stopping material one is
able to open up the register Bb. Most of the clarinets I work on for tonal
issues are mostly related to the keywork, pads, etc being too close to the
tonehole. Simply thinning the material helps open up the notes tonally and
may provide the quick solution. But in this case this rubber material is
like an anti-sanding material.

On a negative side, the middle tenon is metal. The cork on metal will slide
easily while playing and I found myself constantly realigning the joints. I
have never tried synthetic cork in this fashion but this is the same problem
I have had on some past clarinets with a metal tenon. I guess my hands move
too much.

This is a winner of a clarinet in my book and certainly on the short list
for me from Selmer Paris.

LIKES: nearly everything
DISLIKES: Why did they discontinue this model ?
This was a new model in 5/2002 until 2008 when it was discontinued