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I have had one of these for almost 12 years, it was the first instrument I learned to play before picking up the alto sax and remains in my possession today. I have one that was made around 1977 or so and was actually a wedding present from my father to my mother, so it holds a large sentimental value to me more then anything. But I love it, and while I am not the best clarinet player, I keep this because of it's value to my family and the amazing sound it has. One thing I never was fond of was student clarinet models as well as the small bore models on the market today which are just whiny sounding by comparison, must be a symphony player thing to like squeaky sounding clarinets. I find it's incredible for dixieland types of music and I still feel like it resembles more of that Benny Goodman type of sound. I did not start playing the horn until after I started learning on a student horn at school, but quickly convinced my parents that the school horns were terrible to play in both tonality and build quality. I would assume my dad bought it second hand as my parents have only been married for about 26 years, and my mother was pregnant with me on their honeymoon and I am 25. My mother used to play in a symphony before I was born.

My understanding was the Series 9 models were large bore and I have always noticed it has a much more robust sound and a less shrill upper register. I use a crystal mouthpiece with mine out of preference, it keeps the high end smoother then a hard rubber that I used for quite some time. The only real wear was a chip on a sound hole cover which was filled in and it plays just fine so it's nice and sealed, otherwise it's in incredible shape for an instrument that was made some 34 years ago or so. For what it's worth, I would always recommend one of these even if it is second hand, they generally don't sell super high compared to other Selmer products, but they sound amazing and play great if you got a good condition one. My understanding is their resale value isn't very high, but I have no plans on selling mine as it's been passed onto me from my parents and will no doubt get passed down to whichever kid I have that wants to play music.
 

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My first serious clarinet was a Series 9* and I have to agree it's a big sound, particularly when compared with the Series 10 which I got next. The serious problem I had with both horns was their intonation when cold. I'm mainly a tenor player and when I pick up the clarinet I need it to be in tune straight away, not after 5 minutes of warming up. I switched first to Yamaha C100 clarinets and now play a Vito Resotone 3 - both great sounding and terrific value clarinets with virtually no temperature related intonation problems.

I sold my Series 9* last year on eBay to a guy in Spain and I don't regret it. Better out there being played than sitting in my cupboard.
 

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I'm just getting a Series 9 now. I've had the same Buffet R13 since 1988. The Buffet was 25 years old when I got it, but now it's blown out. Old Selmers are good values, particularly the CT and Series 9.
 

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Clarinet 'blow out'? I've yet to experience that. Played a Buffet Evette Master Model almost daily for 30 years and it's no where near being 'blown out'. The 100+ year old Buffet Albert system clarinet that I noodle around with isn't blown out yet. Neither are my 1930s vintage Selmer full boehm clarinets. My clarinet teacher still plays the 1961 R13 that he got when he entered MSU as a clarinet performance major. Not blown out...
I'm hoping the Selmer Signature that I've had for roughly 10 years lasts as long.
I don't know what other clarinetists do to thier instruments to cause 'blow out'. Swab the bore with sandpaper?
 

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I don't know what other clarinetists do to thier instruments to cause 'blow out'. Swab the bore with sandpaper?
I think it's a myth. Or just a sorry excuse to indulge in GAS.
Or it's not the instrument but rather the player who is 'blown out'. :twisted:
 

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So do I!
When I can take a clarinet that is older than twice my age and play it in tune, or as in tune as was possible for it's time, I have to believe 'blow out' is hype. Even the ones that have been played so much that the tone holes are slightly 'cupped' from finger wear don't suffer from any issues.

Some guy must have used it as an excuse to keep his wife from getting angry over the purchase of a new clarinet. Word got around, and now it's 'everymans' excuse. ;)
 

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Some guy must have used it as an excuse to keep his wife from getting angry over the purchase of a new clarinet.
I must ask The Missus if there is a handbag equivalent of "blown out". 'Cause the argumentation sounds vaguely familiar. :whistle:
 

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What, no new shoes to go with the new handbag?
 

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What, no new shoes to go with the new handbag?
Actually, the new shoes were the excuse for the handbag.

I guess it's a hen-egg problem. I never know which comes first, but according to my beloved wife, I'm nearly always wrong.
 

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I believe you are correct. not always wrong. Clarinets made of wood can change over time. a lot can be corrected by a good tech.
 

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Another note: The 9 and 9* were very different horns. The 9* had a small bore and some undercutting. A big improvement, some say. (Me included.)
 

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I read somehere that one of the top classical clarinetists (Stoltzman maybe) "blows out" his clarinets in about two years and then gets a new one.
 

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For what it's worth, when my teacher and I do some jazz playing at my lessons, he uses his Series 9.
 

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Want a 1960 Buffet R13 "blown out"? How about $1k?
An R13 cost a little more than HALF that brand new in 1960.
My old teacher still has his original bill of sale for his 1961 R13. $650 and it has silver keys.
 

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Here's an interesting article written by an oboe collector and seller: http://www.oboes.us/resources/buying.html It says Laubin, one of the top oboe makers, hasn't yet found one of their oboes returned for repair, to have a measurable difference in its bore. An oboe bore is a fraction the size of a clarinet's and WAY more sensitive to bore changes, so I think we're safe from the evils of blowout. More likely an instrument that's supposedly "blown out" is the victim of some tech or owner trying to "improve" an instrument bore with power tools, or many years of forcing an oversize swab through the bore. So, Stoltzman swaps out his horn every couple of years? Still trying to find one that will make him sound like Robert Marcellus?
 

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Maybe some players are so sensitive to sound that they can actually hear a difference in a clarinet after a couple of years, where 99.99% of players would not be able to detect any difference. Sort of like the story of the princess and the pea: the princess could feel a pea under ten mattresses and wouldn't be able to sleep a wink. But personally I think "blow out" is a fairy tale (Stoltzman notwithstanding).
 
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