Basically, this is the standard cylindrical inner bore of a clarinet. Microscopically, however, you can see that it is not parallel-cylindrical, but has a slight parabolic course of +/- 0.2 mm over the entire length of the inner bore.
This innovation combines the intonational advantages of a somewhat narrower inner bore (Ø 14.8mm) with the full and dark sound characteristics of a very wide inner bore (Ø 15.2mm).
This micro-parabolic inner bore gives the oscillating air column in the clarinet more suppleness.
It facilitates the switching between the registers and allows a soft and smooth, flowing legato.
Due to the micro-parabolic inner bore, the sound waves are reflected into an infinite number of facets.
This results in an acoustic fullness, a unique harmonious richness, and a warm, supple and deeply touching tone color.
Flat, customized and secure. The grenadilla wood thumb plate "Flaty"can be positioned exactly where it is most comfortable for you. It gives you security and stability and helps you to find a relaxed, ergonomic hand position. Especially clarinettists who play the basset horn or bass clarinet from time will really appreciate this somewhat wider, more static hand position.
The ideal arrangement for your personal tip.
GEROLD CLARINETS are known for their mellow, malleable tone, rich in harmonics.
The logical way to complement this acoustic pattern is to perfectly design the clarinet mouthpiece also on the inside.
With the aid of a special tool the inner bore of this hard rubber mouthpiece-blank is adjusted to the specific tonal standards of quality and intonation of a GEROLD CLARINET.
The fine-stream blasting process for the interior of the satined mouthpiece is an absolute novelty.
This micro-fine surface optimises the airflow and produces a distinctive, velvety, mellow clarinet tone.
As an exclusive service for all GEROLD CLARINET customers, the Maxton Company will mill-cut your personal mouthpiece tip or any mouthpiece tip sold by Maxton on to this hard rubber mouthpiece-blank.
DESIGN 3 – See the Smoothness
Flowing, rolling lines… homogeneous, tapering shapes... drop-like keys melting into the keywork... round rather than straight lines... no corners or edges... all curves.
DESIGN 3 – Feel the Flow
Soft, round and harmonious keys... shapes and fingers melting into one... shapes that create a feeling of connection, stability and reliability... flattering forms to love and cherish.
DESIGN 3 – Hear the Unheard
Just like sound waves... round, flowing, never straight... a continuous flow of concave and convex lines... naturally perfect... perfectly natural.
Density, hardness, grain - every tonewood is a natural product. Its growth as an individual, unique tree is reflected in its quite personal sound characteristics.
Just as in violin making, tonewoods are selected by tapping and knocking, a combination which forms the basis for the well-balanced, harmonious acoustic pattern of an AMADEUS de luxe and a VIENNA STYLE.
Of course, we also take the positioning of the tone holes and the aligning of the corpus parts to the design into account, as well as the direction of the wood grain.
Tonal refinements, which can be achieved only when the instrument is individually made to order, form the heart of a true master instrument. Achievements, which are transformed into the AMADEUS de luxe and VIENNA STYLE.
An ergonomic aid is only of use when you are not aware that anything has been changed - and that is exactly what we have tried to achieve with the new Flexi-Rest thumb rest.
Each person is an individual and each individual places his or her thumb differently.
Some players place the thumb straight, others at an angle, more to the right than the left - Flexi-Rest adjusts to your comfort - as though it were the most natural thing in the world.
And if this were not enough, it also makes little "micro movements" as you move your thumb, for there is no clarinet-player, who really keeps the thumb absolutely still.
If you oscillate an air column, this causes nodes or nodal points at given positions. Naturally, these nodes have a significant influence on the tone and intonation of a wind instrument. If the inner diameter of the inner bore is altered, in other words, if you alter the thickness of the air column, these nodal points are displaced to another position. In the clarinet this displacement has a considerable effect on "overblowing" in the twelfth. Chalumeau improvement is thus nothing other than the art of modifying the inner bore to the correct positions, so that the intonation of the twelfth becomes either lower or higher.
Specially developed tools, combined with delight in experimenting made it possible to design the inner bore to given nodal points in such a way that the limitations in intonation in our very wide Viennese bore can be reduced to a minimum. As the name implies, the intonation of the chalumeau register, G3 to D4 in particular has been improved by this innovation. This improvement also has a positive effect on the notes, C5 to E6.
Because it is a pure noble metal, silver is distinguished by very smooth, rounded but nonetheless splendid sound characteristics which are sustainable and rich in harmonics.
Tonal characteristics, which harmonise wonderfully especially with the Blackwood of the clarinet. It is all the more astonishing that hardly any noble metals have been used in the manufacturing of clarinets to refine the tone. All the metals on the Blackwood corpus of the clarinet naturally begin to vibrate when you play the clarinet. The property of the metal dictates which frequencies are increased or reduced. This of course means that a very hard metal will reinforce different timbres than a very soft metal, such as silver.
That is also the reason why in the “Silver-Line” design all (covered) corpus rings, tenon rings, the G4 and the duodecimal tube are made from pure silver.
This lets a total amount of more than 40 grams of noble metal resonate on the clarinet corpus.
Silver Line ... barely visible but highly audible...
What was it again? Concave, convex or the other way round? It doesn't matter since it just has to be round!
The internal hole of a clarinet is mostly cylindrical. On its upper and/or lower end, however, it is conically rejuvenating and/or conically opening.
To reproduce acoustic waves as naturally as possible, these areas will be drilled parabolically, i.e. with a slight radius, for all GEROLD CLARINETS from 2011 onwards.
For our professional models AMADEUS de luxe and VIENNA STYLE, we even go a further step ahead; all sound holes are concavely undercut and/or open convexly towards the outside. Or is it the other way round? Well, that remains our business secret!
The only important and equally fascinating aspect is the fact that these tiny radii ensure a unique softness, smoothness as well as opulence and resonance of the sound.
Due to different temperature and humidity levels, the wooden clarinet corpus shrinks or extends. Thanks to this simple structure, sticking or loosening of the keywork is prevented. With this innovation, you will no longer need to worry about “dry” concert halls or trips to countries with other climatic conditions!
The ergonomic design of GEROLD CLARINETS allows for identical haptic finger spacing on B and A clarinets.
State-of-the-art CAD construction techniques in conjunction with sophisticated hand-made key-work models have paved the way for this ground-breaking innovation in clarinet construction.
You can now change from a B to an A clarinet without altering your fingering and without upsetting the playing technique you have painstakingly been practising. This lets you effectively practice the A clarinet, which often tends to be neglected.
Without doubt, this innovation brings invaluable relief to the everyday life of a professional clarinet player.
We have been working over more than two years with the Austrian Company WESTCAM to digitise the whole clarinet mechanism and to reconstruct it with the help of a CAD program. These construction data allowed us to reproduce casting patterns in a state-of-the-art printing process, known as stereo-lithography. This unique joint project turned out to be the key to the highly complex shapes of the clarinet keys in Design 3 in 2014.
Easy sliding where it is most important. Only the key areas for the little fingers are satined very discreetly and accurately with high-quality ceramic sand in a sandblasting process. Due to this microscopic surface architecture (similar to the lotus effect), sliding between these key combinations is substantially facilitated.
This grenadilla wood thumb plate (approx. 2 mm thick) provides for a longer distance between your thumb and the fingers of your right hand and therefore ensures a pleasant and relaxed position of your wrist. Especially for smaller hands, this thumb plate has been very helpful. Also tall clarinet players are very comfortable with this grenadilla wood thumb plate. Due to its position close to an oscillation node, this grenadilla wood thumb plate also has a very positive effect on the clarinet's oscillation behaviour. With a personal signature on the thumb plate (optional), you can transform your clarinet into a unique and distinctive instrument!
This "bridge connection" makes it possible to avoid point-screws, which are prone to failure.
This construction principle means that the ring key mechanism can be attached with a stable, 2.5mm strong, continuous stainless steel screw. This ensures free movement and reliability of the ring key mechanism.
Felt cushions, discreetly integrated in the clarinet corpus, absorb the keywork impact noise.
With the help of the steplessly adjustable pressing mechanism, you can adapt the low-pitched e-f keywork individually to the ergonomical needs of your thumb.
The nickel silver respectively solid silver ring under the grenadilla wood does not only protect the tenon connections against cracks, but also leads to refined sounds. In any case, grenadilla wood body rings are an optical embellishment of your GEROLD CLARINET.
A central pressure point on the c#5 trill key avoids one-sided contact of the cushion.
Simple and precise adjustment due to +/- adjustment screws at all key connections.
A uniform surface of B4 / C#5 and C#4 / G#5, rolls on the very upper part as well as freely levelling rolls at D#5 / Eb5 and C5, in connection with an ergonomical shape, really facilitate sliding!
Ergonomical position and shape of the ring keys. A slightly shorter ring key for the fourth finger provides for a relaxed hand position during sliding between F#3 / C#5 and C#4 / G#5.
To avoid unnecessary weight and superfluous mass, without losing stability and reliability, the keys have been "hollowed out" quite deliberately. The result of this intricate key structure is a very free, lively springiness for the keys and a substantial reduction in the overall weight of the clarinet.
Elaborate, elevated grenadilla wood pad places provide for a completely flat surface for they clarinet pads. They improve the clarinet density, avoid disturbing air noises at the air output and optimize the sound quality with regard to resonance, rich harmonics and intonation.