I recently tried professional level clarinets by all the major and custom makers at a international clarinet symposium in Austin. For me, the instruments which I strongly preferred in terms of beauty of sound, evenness, tuning, and flexibility were by Luis Rossi, a custom maker in Santiago. I recorded myself in a large room playing different makes of instruments back to back and had other professional musicians listen, both confirming my impressions. Although his instruments are used in many orchestras, such as the entire Israel Phil section, they are much less common than the major mass produced brands like Buffet and Selmer, partly due to traditions of sound, and partly due less availibity.

Although I'm strongly considering commissioning a set of Rossi instruments because they seem like the best match for me, I'm concerned that it could hold me back in orchestral auditions by having a different (IMHO, better) sound than the rest of the section. I know top level string instruments are all handmade, and it would be ridiculous to think every cellist within a section would use instruments from the same maker, or sound the same, but there are strong traditions of instrument makers in use for clarinets that seem to be changing slowly. Most instances I know where a well known orchestral player switched to something less mainstream was after they had recieved tenure.

What is this like with other instruments? I know there are many custom options for flutes, horn, trumpet, etc., but I don't know if players using them have felt restistance at auditions or after winning a job and playing in a section. Further, it seems ironic that a wind player's job is more soloistic than a section string player but they often feel more pressure to conform to a certain make of instrument.

Off-the-cuff response:

If you're a section wind player (or auditioning to become one), a significant part of your job is to be able to match sonorities with your principal. If you have an instrument (and, more importantly, an ear) that's flexible enough to make the adjustment, then owning an unusual brand shouldn't be a problem.

If you're a principal wind player (or auditioning to become one), your job is to sound like yourself and hope the committee likes it.

In both situations, it can be a total crapshoot. Even being familiar with the old person's playing is no guarantee: Are they looking for someone who sounds just like the person being replaced, or are they incredibly glad s/he's gone and looking for something completely different? Either way, IMHO the best bet in an audition is to play the way you play. If you pretend to be somebody else and you win the job, you could be sentencing yourself to a lifetime of playing in a way you hate.

There is no easy answer to this. I switched from a Heckel to a Fox instrument in 1998. I encountered some serious resistance from my section. They seemed to change their mind after they heard me play, but I was never totally sure that they were totally on board with the change, even though MANY great players have made the same switch. I think the European scene is more tolerant of these differences as they prize individuallity in a Principal Player more....I forgot to mention I was Principal. Go for it. Someone out there is bound to like someone that sounds like themselves, rather than another clone of a typical North American generic clarinet player !!!