Couesnon Monopole Stencil Double Walled Metal Clarinet
For sale we have a very hard to find double walled Couesnon Monopole stencil metal clarinet. I call it a stencil as while it is undoubtedly a Couesnon (see the catalog in the last picture to compare) it has no logo or serial number. This instrument has been overhauled and is in excellent playing condition. For the pads I went with white leather treated with lacquer in the traditional method used by sax repair techs. Not only does this make the leather waterproof, but it also preserves the leather meaning it will be many years before the next overhaul is needed. All pads were carefully sized one at a time to ensure a perfect fit. Each pad was carefully leveled to ensure a good seal with a light touch of the fingers. Pad heights were also carefully set to ensure great response throughout the range of the instrument. Advanced materials like Teflon and tech cork were also used in key locations to improve reliability as well. Note that this is a large bore instrument so a large chamber mouthpiece is needed for best results. Fortunately I have a nice WM Lewerenz mouthpiece which works great with 3.5 reeds that I will include with the instrument. With this mouthpiece the instrument plays fairly well in tune throughout the range, the only exception being the right hand notes in the lower register which are a bit sharp like other large bore clarinets. Compared to other instruments of the era the intonation is excellent. The instrument does show dings, dents, scratches and signs of past repairs, however it is overall in good condition and there are no issues that would affect playability.
For sale we have a very hard to find double walled Couesnon Monopole stencil metal clarinet. I call it a stencil as while it is undoubtedly a Couesnon (see the catalog in the last picture to compare) it has no logo or serial number. This instrument has been overhauled and is in excellent playing condition. For the pads I went with white leather treated with lacquer in the traditional method used by sax repair techs. Not only does this make the leather waterproof, but it also preserves the leather meaning it will be many years before the next overhaul is needed. All pads were carefully sized one at a time to ensure a perfect fit. Each pad was carefully leveled to ensure a good seal with a light touch of the fingers. Pad heights were also carefully set to ensure great response throughout the range of the instrument. Advanced materials like Teflon and tech cork were also used in key locations to improve reliability as well. Note that this is a large bore instrument so a large chamber mouthpiece is needed for best results. Fortunately I have a nice WM Lewerenz mouthpiece which works great with 3.5 reeds that I will include with the instrument. With this mouthpiece the instrument plays fairly well in tune throughout the range, the only exception being the right hand notes in the lower register which are a bit sharp like other large bore clarinets. Compared to other instruments of the era the intonation is excellent. The instrument does show dings, dents, scratches and signs of past repairs, however it is overall in good condition and there are no issues that would affect playability.
For sale we have a very hard to find double walled Couesnon Monopole stencil metal clarinet. I call it a stencil as while it is undoubtedly a Couesnon (see the catalog in the last picture to compare) it has no logo or serial number. This instrument has been overhauled and is in excellent playing condition. For the pads I went with white leather treated with lacquer in the traditional method used by sax repair techs. Not only does this make the leather waterproof, but it also preserves the leather meaning it will be many years before the next overhaul is needed. All pads were carefully sized one at a time to ensure a perfect fit. Each pad was carefully leveled to ensure a good seal with a light touch of the fingers. Pad heights were also carefully set to ensure great response throughout the range of the instrument. Advanced materials like Teflon and tech cork were also used in key locations to improve reliability as well. Note that this is a large bore instrument so a large chamber mouthpiece is needed for best results. Fortunately I have a nice WM Lewerenz mouthpiece which works great with 3.5 reeds that I will include with the instrument. With this mouthpiece the instrument plays fairly well in tune throughout the range, the only exception being the right hand notes in the lower register which are a bit sharp like other large bore clarinets. Compared to other instruments of the era the intonation is excellent. The instrument does show dings, dents, scratches and signs of past repairs, however it is overall in good condition and there are no issues that would affect playability.