Buying an instrument is sometimes quite a difficult and serious decision. A good instrument can be a great help to your learning and it can even be a good investment too! However, an instrument that is in poor condition (or was just badly made in the first place) can be a severe hindrance and cause you to get frustrated and disheartened.
Here are some key considerations to make when you are buying an instrument in general and towards the bottom of the page I have included some more specific advice for each instrument that I teach.
- ALWAYS try before you buy. In this internet age, it’s so easy to see a great deal and just click ‘buy’, almost on impulse.
- AVOID auction sites like eBay, where sales are somewhat unregulated. Items are often non-returnable and that is usually for a reason. There are lots of shrewd salesmen looking to take advantage of people who are new to buying instruments and who perhaps aren’t familiar with makes and models. Instruments from eBay are often in need of repair work when they arrive which will likely (when combined with postage) add up to the cost of a new one anyway! Use a trusted dealer who offers repairs and a guarantee (see below for some of my favourites for each instrument).
- SLEEP on it. Give it a night, or better, give it a week. Instruments can cost a lot of money and an impulse buy might seem great at the time, but not so great later.
- CHECK whether you qualify for a finance option. Often the cost of an instrument can be spread across a year, meaning that you can afford a good quality instrument that will go the distance. The ‘Take It Away‘ scheme is backed by the Arts Council and helps young people (or their parents) to afford a decent instrument. Be aware that you can also get instruments VAT-free if you buy them through your child’s school. When you’re talking a few hundred quid, 20% is a lot!
- Sometimes you have to be BLIND to truly see: close your eyes and ask someone to pass you the instruments your are comparing in a random order. Whichever feels and sounds best is surely the one! This can help avoid a dead heat or an aesthetic bias.
- A BETTER MOUTHPIECE DOES NOT A BETTER PLAYER MAKE. Whilst upgrading your gear can help your playing, it won’t actually make you improve as a player- only practice can do that! I know many a player who has spent more time window-shopping than playing their scales and have been surprised when they aren’t getting any better. Also, a professional level mouthpiece will only live up to its potential when played by someone with professional-level skills; buying gear that’s above your skill level can often just be a waste of money.
Clarinets
Saxophones
Flutes
Trumpets
Ukuleles
Recorders
Clarinets
Clarinets come in many shapes and sizes, so first you’d best be sure about what you want. The most popular size is the standard Bb Soprano Clarinet; this is the one that is played by adults and older children. They come in either plastic or wood: Wood sounds nicer, but the plastic ones (actually made from ABS resin) are cheaper and more lightweight and durable, making them a better choice for the young beginner. For those who are still quite small, it might be worth investing in a plastic C clarinet, like these ones made by Nuvo. They are extremely light and the key systems have been simplified for little fingers.
For those looking for a beginner’s instrument, you can get quite a reasonable and reliable Bb Clarinet from both Yamaha and Jupiter. These tend to be of good enough quality that they don’t impede progress or fall apart and they make a nice enough sound to boot. If you have a little more money to spare, you might also want to look at a Buffet E11, which is an affordable wooden instrument.
For those stepping up from a beginner’s instrument, you’ll definitely be looking at a wooden instrument. Again, I can recommend Buffet as a reliable make; they have an E12 or the slightly better E13, which are both good choices. The equivalent Yamahas are also rather good with either it’s YCL-450S or YCL-650 models.
When you reach the professional level of instruments (perhaps post Grade 8 or at diploma or conservatoire level) the market becomes more diverse, with many Buffets and Yamahas, as well as Uebels, Selmers and the coveted Peter Eatons. These instruments will all perform reliably and excellently, but you need to be sure that you pick the one that is right for you. By that I mean right for the sound you want to create and for your physiology. Trying all the various makes and models is vital at this level, as is taking your time with the decision. Most importantly, you need to have a clear idea of your desired sound and style before you can buy an instrument to enhance it.
Beyond the body of the instrument, the most important part of the clarinet is the mouthpiece, as it is the precise design of this component that (combined with an appropriate reed) will shape the sound you make. Most clarinets are supplied with a very standard unbranded mouthpiece (or none at all), so its crucial that you factor money for a mouthpiece into your budget. A reliable Yamaha 4C will set you back about £30 and provide a steady sound and free-blowing action for most beginners. Beyond this, we begin to move into the territory of the Vandoren and Selmer mouthpieces. These will be slightly more expensive, but will provide an extra bit of sparkle for the developing player. Moving from the intermediate tot he professional range and again the options open up. You should try as many as you can to see which suits your style the most.
Reeds are the next consideration. This is slightly more simple: Rico (or Rico Royals) for beginners and younger players and then moving on to one of Vandoren’s many brands as you develop (I personally favour the V21). Bear in mind that this is merely a rough guideline: a progressing player should experiment with other brands as well. The numbers on the back indicate the strength: Higher numbers take more strength to play, but provide a more stable, rich sound. Lower numbers are more free-blowing, but don’t sound as good. Also beware that every brand has a different numbering system. I.e. A Vandoren 2 is not the same as a Rico 2! Here is a chart which compares the strength of the different brands.
Finally, you will need something to hold the reed to the mouthpiece: a ligature! Beginners needn’t worry too much about this, a standard metal one will be fine, but for those moving onwards and upwards, I would recommend a Rovner or a BG, which holds the reed with even pressure across the bark; freeing it up to vibrate as best it can.
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Saxophones
Like clarinets, Saxophones come with a bedazzling number of component parts. Let’s break it down:
Size: First you need to work out what kind of sax you want to buy/learn. There are four main sizes- Soprano, Alto, Tenor and Baritone. Each is larger than the last, but the Soprano and Baritone are a bit tricky for beginners. Kids should start with the Alto until they are tall and strong enough to manage a Tenor. For smaller kids, they make an Alpha sax, which is like a stripped-down Alto, meaning that it’s lighter and less complicated from the outset; they can move onto the full Alto later on.Adults can happily start with either. The brilliant thing about the saxophone is that if you learn one, you will be able to play any of them with only a small adjustment of embouchure (face shape) and breathing.
Body: This is the main part of the instrument and is (along with the crook) the part that you will get when you set out to buy a sax. A good beginner’s sax would be something like a Jupiter, Yamaha or Trevor James. These are all reliable and have nice keywork for you to use when you play. An intermediate sax player might look to a step-up Yamaha model, a Mauriat or a Yanigasawa. Although this is quite a price jump, the ease of action on the keywork somewhat justifies it. Beware that the tenor models can be quite a lot more expensive than the alto versions.
Mouthpiece: The mouthpieces that come as standard with most instruments are usually fairly rubbish, so I’d recommend swapping it out at least for a Yamaha 4C, which provides a steady, free-blowing sound. Moving up from that, there is a fantastic range of intermediate mouthpieces to choose from, depending on what kind of sound you’d like to make. A Selmer S80 is a fairly versatile mouthpiece that provides enough stability for classical music, with a little bite for jazz. Those who want something with a little more kick should look in the direction of Otto Link or Jody Jazz. Think carefully about what kind of music you’ll likely play before you buy though; a metal Yanigasawa would be far too overpowering in a wind band, but it might be just the ticket for soloing in a jazz quartet. The size on the side of the mouthpieces corresponds to the size of the gap between the tip of the reed and the mouthpiece; a larger tip opening will give you a really rich tone, but will take a lot more strength, support and control.
Reeds: As with clarinets, I’d recommend Rico reeds for beginners or young players as they are relatively expendable. Moving upwards, you have a choice, continue with Rico/D’addario, or explore some of the Vandoren or La Voz reeds. Vandoren have a nice range of responsive reeds designed for jazz and classical and I’m an advocate of the Red JAVA. Again, think about what you are likely to play more of and try some different brands out until you find one that works for you. The numbers on the back indicate the strength: Higher numbers take more strength to play, but provide a more stable, rich sound. Lower numbers are more free-blowing, but don’t sound as good. Also beware that every brand has a different numbering system. I.e. A Vandoren 2 is not the same as a Rico 2! Here is a chart which compares the strength of the different brands.
Ligature: Finally, the ligature is the part that holds the reed onto the mouthpiece. A simple metal one can be quite cheap, but you might want to try something like a Rovner or a BG as they hold the reed with an even pressure, allowing it to vibrate more freely a provide a more responsive action. Be aware that due to the fact that sax mouthpiece shapes are not standardised, you’ll need to get a ligature to specifically fit your mouthpiece. Ask your retailer which ones are a good match.
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Flutes
Flutes are slightly simpler to shop for than their reedwind cousins, as they have fewer component parts. Most flutes will be sold as a complete instrument with the option to upgrade the headjoint (the part responsible for the sound produced) for a little extra. For total beginners, I would suggest perhaps looking at Jupiter, Yamaha or Trevor James, which are all reliable makes at the lower end of the price spectrum. For those with shorter arms (smaller children) I’d advise you to look at a curved-head model, which is specially designed for those with a shorter reach as the headjoint turns back on itself!
For those flautists who are moving on up in the world, it would be a good idea to try some mid-range Azumi, Miyazawa or Yamaha flutes and perhaps pair them with an Altus headjoint for the best possible sound in that price bracket. A trip to Just Flutes in Croydon is a must!
N.B. If possible, choose an intermediate flute with open tone-holes. These can be easily plugged if you’d prefer to play with closed holes, but at least you then have the option to play with open holes at a later date.
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Trumpets
Yamaha! Yamaha have a fantastic range of quality, reliable instruments for beginners and intermediate players alike. Whilst they are certainly not the only affordable brand on the market, they play nicely in tune and make a rather nice sound. To get that extra warmth in your playing, you could upgrade the standard Yamaha mouthpiece to something like a Denis Wick 4C or something by Vincent Bach (or just get a better Yamaha one!). Best thing to do is to go and visit Phil Parker in London; they’ll know better than me!
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Ukuleles
The difficulty with shopping for ukuleles is that there are too many out there! Over the past few years the market has been flooded with ultra-cheap models from the far east, some of which sound worse than a tissue box with an elastic band around it and aren’t built half as well (sharp edges and children should never mix)…
However, all is not lost! There are some decent brands for beginners out there and I’d recommend starting with an Octopus. These are fairly well made, don’t sound too bad and come with slightly better strings that other entry-level models. They are also quite durable, which is always a plus if your beginner is under the age of 10. For a few quid more, there are also Makala MK-SC, which are made from plastic and so are super durable (and they don’t sound bad either!). They come in some very funky colours and the bridge is also shaped like a dolphin. As a result of their construction, they can be played quite happily on the beach or in the rain, where wooden models would warp.
For those who want to take a step up, I can happily recommend quite a few brands. Snails are very good value for money and Ohana concerts have a lovely rich tone. Some of the more exciting Kala‘s are good buys, as well as the lower end Pono. The top end of the market is dominated by a larger number of bespoke luthiers, but some stand-out companies are Kanile’a, Kamaka, KoAloha and aNueNue.
However, arguably more important than the brand are the characteristics of each instrument itself and its components:
Wood: The part of the instrument that gives its warmth and resonance, the choice of wood is vital if you’re aiming for a specific sound. Ukuleles were traditionally made from a native Hawaiian wood called Koa, which is renowned for its tone quality. However, after much deforestation, its now protected and Koa instruments are hard to get hold of. Fortunately, there are lots of other woods to choose from and a result of the latest ukulele boom is that the mainstream companies have been looking elsewhere for their raw materials. Mahogany and Acacia are both said to have a tone similar to Koa, whereas Pine and Maple have a bright tone. Mango is known for its sustain (as a proud owner of a Kala baritone, I can happily testify to that) and so on and so forth. Again I’d suggest trying a variety of models in different woods to find which one you best like.
Laminate or Solid?: As well as the type of wood that is used, you must also take its ‘configuration’ into consideration. Most cheaper ukuleles are made from laminate; thin slices of wood, sandwiched and glued together, usually with a more expensive one on the top and cheaper woods underneath. Solid instruments are just that- one layer of quality wood. Whilst sound purists advocate a solid approach, laminate instruments are far more resistant to changes in temperature and humidity and can take more of a hammering. For those who like the sound of a compromise, a lot of instruments are sold as ‘solid top’. This means that the top of the instrument is from one solid sheet of wood, but the back and sides are a laminate.
Size: Ukuleles come in four main sizes; soprano, concert, tenor and baritone (basses also exist but are more like a short-scale bass guitar than a ukulele). The soprano is the smallest of the ukulele family and its size means that it produces a percussive, plinky sound characteristic of the instrument. It is the original sized ukulele and is the one best suited for younger players. The next size up is a Concert ukulele, which has a slightly larger body and a longer neck allowing for more frets (meaning that you can play higher notes). A typical Concert ukulele has slightly more projection than a soprano, but retains the traditional ukulele sound. Moving on to the Tenor, we have an even larger body and a longer neck. This size has been popularised by the rise of the ‘virtuoso’ ukulele player (like Jake Shimabukuro) who like the instrument for its guitar-like sound, greater projection and large range. Finally, we have the Baritone ukulele, which is larger again and is often set to a lower tuning, making it sound like a guitar without the muddy-sounding bottom strings. The Baritone makes a great addition to any ukulele group by bulking out the middle of the pitch-range. Beware though, one baritone can drown out at least four sopranos!
Electro-acoustic?: One of the many blessings for the modern ukulele player is the addition of on-board electronics, which mean you can just plug into any amp like a guitar. This is perfect for the performing musician, who will need a consistent sound set-up without the hassle of microphones, but some argue that it can compromise the tonal quality of the inside of the body (a bit). I’m personally a fan, but electrics do add on to the price of an instrument, so if you don’t think you’ll use them, save you money and buy a better quality non-electric instrument for a similar price!
Strings: Aquila and Worth both make some excellent strings; any cheapo instrument be instantly upgraded with a set of aquilas and on good-quality models, they are fantastic. However, don’t rule other brands out; D’addario have a great range of strings for different occasions. Again, try them out and see which you like best!
Recorders
A cheap Hornby recorder for a beginner can be picked up for only a few pounds on the internet. For players wanting an upgrade, I’d recommend a nice wooden Moeck model. Those moving on to treble, tenor or bass recorders might want to consider Aulos or Yamaha instruments if they’re on a budget. If money isn’t a problem then Moeck (Rottenburgh series) all the way. Choosing the right wood is a personal touch and its a case of going to try all the different varieties before you make a decision.
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