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Our clarinet sales and services prove that we give you more for your money at RCP:


More Clarinet quality and features, more professional services and support, and the Professional Expertise that few others have the knowledge and experience to provide––even if they were willing to.

We put the skill and experience gained from having designed and prepared many of the world's finest clarinets at your personal service. If you wish to know more about about our clarinet preparation, philosophy and design concepts, please read the following:



The past decade has seen dramatic changes in the musical instrument market. Perhaps the most remarkable of these has been the flooding of the retail market with large numbers of, what is in our analysis, poor quality student instruments. This is especially true for the clarinet. Many of these instruments are, in our opinion, acoustically execrable; we know of no better or more appropriate way to say it. Prior to these instruments entering the market the traditional makers had made some modest but notable advancements in both the level of the performance qualities in their clarinets and in the consistency of production. Far from perfect, these improvements were, none the less, encouraging.


Since this recent influx of clarinets we believe the progress that was previously made has not only been stopped. Since then, according to our analysis, there has been a dramatic regression that has brought the clarinet, acoustically speaking, not back to the level of the 50s and 60s, but to the lowest level known in modern times, especially in respect to tuning.


Many of the clarinets that are placed into the hands of young or beginning clarinetists have a tuning spread of as much as 60 cents or more. Often tones don't even produce the correct concert pitch they should but sound as much as a half step lower or higher. Such clarinets could not possibly be played in tune by even the most skilled professionals. If that is true, what, then, are the consequence of putting such instruments into the hands of young players? Higher and higher rates of attrition among those who begin school music programs. Clearly, poor equipment equals unnecessary difficulty and unnecessary difficulty consequences the increased possibility of failure and discouragement for all but those who are most talented, determined and motivated.


Giving young and beginning players poor equipment undeniably hurts everyone in the long run: parent, educator, music retailer, manufacture and, above all, the student. Why, then, would such a thing be done, since it is so ubiquitously hurtful? The answer is simple: short term profits without thought of the consequences to others and, ultimately, to one's self.


So what are the choices a clarinetist has in the purchase of a new clarinet? The choice is trying to decide between a rock and a hard place. Specifically, the clarinetist is forced to choose either to pay a little for a poorly made, poorly designed clarinet or pay a lot for a clarinet that is better, but, due to the vagaries of manufacturing, may not be all that it is cracked up to be (sorry to mention cracking in the same sentence with professional wood clarinets).

We are RCP believe that either extreme is, frankly, deplorable.


Clarinetists deserve better and we are committed to do all we can to make sure they receive better.

The fundamental concept we have at RCP is very different and very simple. First, we believe clarinet playing should be fun and as free from struggling and fighting with the instrument as possible. Our clarinet designs reflect that philosophy and we believe you'll find them to be unequaled in fluid, even response, tonal beauty and stability throughout the clarinet's full pitch and dynamic range.


Next, we seek to offer the clarinetist the best of both worlds: a high quality clarinet with acoustically professional features at a price that won't break the bank. This means that for the first time clarinets with outstanding, professional playing qualities are available to those who need them most: the young players and those who desire high quality acoustical features but cannot afford to pay the increasingly premium price that the European and other makers have come to demand.


Whether it be young players or demanding professionals, our customer's experiences repeatedly confirm what we have long maintained: Ridenour clarinets will exceed your expectations. As they used to say back home in Kentucky, the proof of the pudding is in the tasting.


We encourage you to test out the claims we have made by trying one for yourself. At the risk of being repetitious, we believe it will surpass all your expectations, for you will have not only a superior clarinet affordable by students, but one which has playing and tuning qualities worthy of the most demanding professional performers.


Each clarinet we sell at RCP is individually selected, tested, hand tuned and prepared by its designer, Tom Ridenour, and comes with any needed after point of purchase customizing provided free. The real good news is, despite the outstanding quality and the attention each one receives here at RCP, the cost is amazingly reasonable due primarily to the fact that production costs are not driven up by the astronomical expense of purchasing, seasoning and processing of Grenadilla wood and the window dressing of costly advertising and clerical overhead.


Try one and you'll see. When hard rubber is combined with excellent acoustical design and skilled preparataion the results are amazing.


The Ridenour Clarinet Acoustical Design Concept: Remarkable Playability!

In this segment we'd like to share with you the basic concepts behind the design of Ridenour clarinets , to help you know what to expect from them and get the best from them if you should decide to order one.


The heart of the Ridenour acoustical concept is one of efficiency of response, evenness of resistance and stability of pitch, color and shape in dynamic changes throughout the full range of the clarinet. The benefits of these qualities when adequately realized, dramatically improves the security of the clarinetist's performance and provides noticeably more ease and freedom in realizing the all important musical phrase. Technically speaking, this means the clarinetist can play low, high, loud and soft throughout the clarinet's range with only minimal adjustments in embouchure, air or tongue position. This permits the clarinetist to attain the widest range of pitches and dynamic effects with the least amount of effort, and that is what acoustical efficiency is all about.


In addtion to evenness and efficiency, the characteristic uniform blowing resistance of Lyrique clarinets provides the "hold" and stability that makes the clarinet's characteristic tonal focus amazingly easy to achieve and maintain. This gives the clarinetist much more endurance, since the acoustical design does not put heavy demands upon the embouchure to control a tendency towards instability, because that tendency simply isn't there. It also means, for instance, high tones can be played at higher dynamic levels than other clarinets without loss of tonal quality and pitch fidelity and/or the irritating increase in brightness and harshness so common to clarinet high tones. It also means those same higher tones can be played and controlled more easily at softer dynamics without danger of "grunts" or what clarinetists call undertones. In short, Ridenour clarinets provide better quality at higher dynamic levels as well as more ease and control at lower levels, thus widening the expressive range that can be played with confidence and security.


We believe, when compared back to back playing the same passages, you will find Ridenour clarinets help you phrase and control the sound better with less effort than any clarinet offered at virtually any price. Ridenour clarinets demand less effort from you as a player while delivering more!


Such is the result when superior acoustical material is brought together with intelligent, advanced acoustical design, experienced craftsmanship and careful, detailed preparation.