How to Install Nepali Font? Download the selected Nepali Font. Extract Zipped Nepali Font using RAR Software; Go to Control Panel, and open the 'Fonts' Folder. Copy the font from the extracted folder and paste it into the 'Fonts' Folder. नेपाली font कसरि install गर्ने? Kantipur Font is one of the popular Nepali Font for typing in Nepali language or in Devanagari script. It is similar to Preeti Font and has simplicity in looks. This font is popular among Nepali local newspapers which do not use Unicode and also popular in offline typing. Kantipur Font is a Nepali Font. You can Download the Kantipur Font from below link. You can download the Nepali Kantipur Font install it on your computer. Download unicode nepali font. One stop download center for all popular Nepali fonts Download Kantipur Font. Kantipur is likewise one of the popular Nepali Font for typing in Nepali language or in Devanagari script. It is much like different Nepali Fonts and has simplicity in appearance. Gauri Regular Nepali Font. Gauri Regular Nepali Font is also one of the popular Nepali Font for typing in Nepali language or in Devanagari script. It is similar to other Nepali fo.

The Clarinet BBoard. I've just come across a Selmer Low C bass clarinet serial number X6720. There doesn't seem to be a correlation between the serial numbers. Shop and save on our amazing selection of Selmer Paris Bass Clarinets at The Woodwind & Brasswind. Well I have come across a nice, used Selmer USA clarinet. However, I have no idea what model it is, or how old it actually is. Is there any kind of Selmer USA serial number list?

  1. Selmer Signet Clarinet Serial Numbers
  2. Serial Numbers Microsoft

This topic is of particular interest to me because I'm in a similar situation. I acquired a Selmer USA clarinet a few years ago and have been playing it ever since.

I would love to no what the model is but other than a model number (1052), gold-plated keys and very nice grenadilla wood there is no way for me to determine the actual model name. I tried Selmer USA directly but they were of no help.

As well I've tried to track it on other sites that carry Selmer model numbers but again, no success. My tech says the wood is better than the Selmer Signet Soloists that she works on but she can't identify the model either.

It appears that it was purchased in the early 90's, given the dates on the literature that came with the instrument. Anyone have any suggestions?

Selmer (Paris) Your browser doesn't support iframes, so you're missing our banner Selmer (Paris) > > > Selmer (Paris) This information is provided courtesy of: Ralph Morgan R. Morgan Enterprises, Inc.

Fine Woodwind Mouthpieces and Accessories 490 Forest Drive Springfield, Ohio 45505 Fax 937-324-2490 Telephone 937-322-5041 There is no definitive information available as to when particular types of instruments, such as the Model 55, the Radio Improved, Balanced Tone, etc., began insofar as serial numbers are concerned. Unlike some of the saxophone models, each clarinet is clearly marked as to its model. During the WWII years,manufacturer very sketchy, as are the records.

Selmer (Paris) Clarinets Professional clarinets since 1885 The Series: is the letter in the serial number itself and not the model Series. Example: Selmer, Series 10S, #B0478 is a B Series made in 1980. We have no information on Selmer clarinets made before the L Series Selmer Paris clarinets in various years through the 1980s had markings similar to “Sole Agents, US & Can Selmer New York – Elkhart”. Clarinets with markings similar to these can be identified as clarinets exported to the United States. European and Canadian Selmer clarinets had no markings. A fantastic writeup on the beginning of Selmer Paris from Don Makrill The Bb Boehm system clarinet was first introduced in the Selmer catalogue in 1910 per the. Harmony and Metal clarinets were serialized separately until at least 1930.

By the N series all their instruments are serialed together. Later Metal clarinets had and adjustable barrel with a highly grooved section, earlier models where not adjustable.

Date Soprano Harmony Metal 1/1/19 (14) 1000 1/1/20 (15) 2000 1/1/21 (16) 3000 1/1/22 (17) 4000 300 1/1/23 (18) 5000 (300) 1/1/24 (19) 6000 1/1/25 (20) 7000 1/1/26 (21) 8000 1/1/27 (22) 9000 1000 1/1/28 (23) K1000 1/1/29 (24) K2000 2000 1/1/30 (25) K3500 (K3000) 1/1/31 (26) K5000 (K4200) 1/1/27 K5600 1/1/28 K7000 1000 1/1/29 K8400 sn1906 courtesy of Junkdude.com 1/1/30 K9800 900 2000 1/1/31 L1000 Later Metal clarinets had an adjustable barrel with a highly grooved section, earlier models where not adjustable. –> Bb 23xx & A 29xx with adjustable barrel 1/1/32 L2100 3000 1/1/33 L3250 1/1/34 L4300 4000 1/1/35 L5500 1/1/36 L6600 5000 RI – Radio Improved started around K7000 BT – Balanced Tone started around L5000 The modern Selmer emblem starts in 1926, somewhere around K4500. There was also an earlier emblem, up to somewhere in the 4000’s, that has a winged globe over the H SELMER A PARIS oval. I have heard that the winged-globe emblem indicates the era when Henri Selmer himself still tested and finished the clarinets but that’s purely anecdotal, there’s no reason to assume it’s true, but he was primarily a clarinet player and i’m sure he tested many of the clarinets produced in his factory – why not? Wouldn’t you!! The RI model begins around K7000, the BT around L5000.

The articulated G# was not particular to the M-series, it appears in some horns of every model up to even the 10S. K Foster Year of make Serial number Emblems (click on pic to see larger view) 1885 to 1926 1904 – clarinet launched at the Saint Louis / USA Exhibition no records 1910 Catalog – click the pictures for full screen 1/1/1927 #400 1928 Ads – click on picture for full screen 150x 1/1/1929 #3070 sn#531x 1/1/1931 #9999 Emblem change. The old emblem, pictured right was similar to the Buffet Logo in that H. Selmer is on the top arch, Paris on the lower arch both in an oval.

And an emblem of HS is below the oval similar to the BC for Buffet-Crampon. Also above is a music lyre The import/bell emblem was also changed as below in the K series.

The two bells here show that the US Import stamp was done separately from the Selmer logo as they are both in different positions – notice the space or lack thereof from the Selmer Paris wreath logo between the two. L Series: Old Selmer Emblem is Buffet-like (many makers had Buffet-like emblems) • Transition during the L series • The saxophone emblem was changed in circa 1926. The Clarinet emblem was changed in the 1930s • • 12/1/1931 L1000 1932 L2100 1933 L3250 1934 L4300 1935 L5500 Manufacturing Pic – click for full page 1936 L6600 Catalog Pictures – click on each page for full screen 1937 L7750 1938 L8800 1939 L9900 M Series 2/1/39 M1000 1940 M2400 1944 M3400 1945 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. 1946 M8000 N Series – Later N series were also known as BT – Balanced Tone – both identifiable by a large domed speaker bush (the body octave hole) with two holes to remove it, and a removeable speaker tube.

10/1/46 N100 2/1/47 N1000 1948 N2800 1949 N4900 1950 N6600 1951 N8100 P Series – Centered Tone series – identifiable by a large hexagonal speaker bush (the body octave hole). Benny Goodman made these instruments famous. The Centered Tone bore changed through the years. Initially it was a cylindrical bore of 15.00mm to 15.10mm. The barrel was 66mm long and had a slightly wider 15.15 bore.After the Q series the bore changed and continued on through the Series 9.

The Q series brought along the change of longer upper and lower joints of approximately 5mm. If you click on the brochure for a full page view you will notice the options you had with these clarinets.

And another interesting note – the mouthpiece in the picture is a lower emblem mouthpiece – not the oval table (which has a middle body crest emblem – see the Mouthpiece gallery for pictures of these). One would assume the Ovals came AFTER the introduction of the CTs.

Selmer Centered ToneI’ve had the opportunity to play and setup a nice Selmer Centered Tone “A”, and respectifully compare it to my Bb variant. The Centered Tone clarinets were pinnacle of Selmer’s “Jazz” clarinet. Not that it is a jazz clarinet only, as I believe the entire clarinet section in the Boston Symphony also used them back in the day, but Benny Goodman was used extensively in marketing/sales of this clarinet. And Benny Goodman is known as a jazz player, thus the CT was known as a jazz clarinet.But there are two versions of the CT. Earlier versions had a cylindrical upper joint, where as later versions had a tapered upper joint which continued on with the Series 9 model.One can go here for pictures and a quick comparison of a late CT and an early Serie 9 by For me, a tapered instrument provides a bit more balance by providing a more consistent backpressure through the entire instrument especially with this “large bore” clarinet.

With cylindrical clarinets I feel as though the resistance lessens as one plays down the instrument. With the tapered bore it becomes more consistent and controlled. The CT also has large toneholes. The large bore and large toneholes allows the player to blow as much as they want with the mouthpiece reed combination really being the point of resistance.

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In other words, if you need to be as loud as possible, the CT was the clarinet to have especially if you don’t have a mic. But of course, on the other end of the spectrum one is able to control the instrument to the finest pianissimos. My CT I actually overblew once in a (practice) concert setting above the trumpets right behind me trying to make sure we were balanced oops. Tonally the CTs are fantastic. Full sounding, and a full deep woody tone. Not as deep sounding as say an Artys but pretty good.

The upper register sings clear all the way through altissimo. The large toneholes don’t restrict the tone at all and all notes become clear from top to bottom. 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.

Selmer Signet Clarinet Serial Numbers

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 1952 P1200 1953 P4200 1954 P7400 Q Series: 1955 Q1100 1956 Q4350 1957 Q7290 R Series: 1958 R1200 CT R series. Upper joint top bore of 15.23 and lower bore of 14.85. So later CTs are Series 9 bores. On series 9s you can also see the large octave nut similar to the CTs.

1959 – Mazzeo system () R6100 (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) S Series – 1960 – Series 9 started production (large diameter tone holes with no undercutting) and 9* 1960 S1150 Selmer 9* emblem 1961 S4160 1962 S7390 T Series: 1963 T1400 1964 T5800 U Series: 1965 U1100 1966 U5700 V Series: Selmer made some refinements to improve intonation. 1967 V1000 1968 V4800 v789x Series 10 – 1969 V7900 v822x Series 10 A W Series: 1970 W1700 1971 – Series 10 is launched (per Selmer) W5900 X Series: 1972 X1500 1973 X6400 Y Series: 1974 Y1200 1975 Y6300 The Marchi mechanism Clarinet – really interesting. Take a look Selmer 10G Clarinet Z Series: 1976 Z1100 1977 – model 10 SII is launched Z5200 Selmer 10G • “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 • • 10S followed the 10G in production A Series: 1978 A1000 B Series: 1980 & 1981 1984 – Recital series launches Selmer A clarinet Signature SELMER SIGNATURE Recently I had the opportunity to setup a set of Selmer Signature clarinets, both the Bb and A version of these instruments.

They both had wonderful accoustics and playing capabilities. Their projection seems wonderful, and the overall balance from top to the bottom of the clarinet was very smooth and very tonally centered.The Selmer Signatures are a specially designed clarinet. All the toneholes are raised to increase the total length of each tonehole. The barrel, to a lot of modern Selmers have a smaller bore than the upperjoint.

This barrel seems to provide a level of centered and resistance to make the clarinet a very balanced instrument preventing the player from “overblowing” in a sense. Though to someone like myself that prefers excessive dynamics, ie being able to go from not only very soft pianissimmos but to loud but balanced fortissimmos, the Signature is a bit too reserved to my liking. This in no way means there is a problem with the clarinet in any regards but that it is more of a symphonic or chamber players clarinet. For me, I really enjoy my Leblanc LLs for chamber music as it can mix very well tonally with other select woodwinds and string instruments but then I don’t play them often for the same reason.Other players have commented that the Signatures are “stuffy”. But I like the term “reserved”. If one prefers a high airflow and/or larger tip mouthpieces they will feel held back by these instruments, or in their term, it seems “stuffy”.

But in all other scenarios, such as small ensemble playing this instrument is fantastic. This is in no means saying one cannot use it for any setting, but with so many other great clarinets out there this one seems to fit into only certain categories for me.

Serial Numbers Microsoft

Tonally the instrument has a very centered tone. The playing balance top to bottom allows for easy emission for very nice control of the tone. On Selmer’s website it states “The tone, a right compromise between roundness and presence, is a subtle mixing of sweetness and energy. A wide dynamic range facilitates pianissimo and unsaturated fortissimo, with a perfectly homogenous tone over the various registers ” Interesting description and sounds fairly correct except for the unsaturated fortissimo. But one can take that a f versus a ff. Fortissimo isn’t a problem just that the back pressure increases significantly which can be much easily accomplished on other instruments of other design.