We recommend using only almond oil, a natural and edible product that is easily available in grocery stores.

Naturally, it is recommended to oil only the inner bore, particularly the upper joint of both the oboe and the clarinet. For the clarinet, oiling the barrel is also recommended.

This procedure is recommended during periods of higher humidity, to help the condensation that naturally forms inside the bore of the upper joint flow out correctly.

Do not use oil on external parts.

Proceed as follows:

Hold the joints at the connection point between the upper and lower joints, keep them horizontal, and place 3–4 drops of almond oil at the entrance of the bore. Then tilt the piece downward so that the oil reaches approximately halfway down the inner bore.

At this point, insert the pull-through swab. Do not use bird feathers or any swab larger than the one specifically designed for your instrument. Turn it slowly a few times so that the oil is spread evenly across the entire internal surface.

We recommend carrying out this procedure in the evening, after playing, and not placing the instrument back in its case—obviously to avoid staining it. This allows air to circulate inside and lets the instrument dry until the following day, creating a protective film.

If carried out consistently throughout the life of the instrument, at least twice a year, this procedure helps reduce condensation during colder periods and, over time, protects the inside of the wood from the acidity of saliva.

Pads
The original padding consists of natural leather pads with a double skin layer. This gives the instrument a distinctive sound and allows the pads to last up to 10–15 years.

If some or all pads are replaced, please be aware that the tonal response of the clarinet will certainly change.

How to maintain the keywork
In most clarinets and oboes, the keywork is silver-plated. In our case, we use pure silver; silver can therefore be subject to oxidation.

On instruments with fully gold-plated keywork, this issue is virtually nonexistent. However, the following instructions should still be observed.

The first thing to consider is that the perspiration from our hands is highly acidic. This varies from person to person and can also change at different stages of life; for example, it is often significantly greater during adolescence.

Therefore, first of all, always keep your hands clean, preferably by simply washing them with water. Do not use pre-moistened wipes, which are normally alcohol-based.

Do not clean the keywork and/or wood with cloths soaked in chemical products, especially alcohol-based products, as these may accelerate oxidation of the silver plating and, if used on the wood, may damage it.

Preferably use a soft microfiber cloth such as the one supplied with the instrument. When it becomes dirty, wash it in cold water with natural soap, use plenty of fabric softener, rinse thoroughly, and finally allow it to air-dry away from direct sunlight.

Condensation and warming up the instrument
At certain times of the year, condensation can become a more frequent issue for three main reasons:

Seasonal temperature changes or rainy weather where you live or where you are playing.

Individual physical factors that vary from person to person.

The humidity level of the air you breathe.

These three factors increase the likelihood of natural condensation forming inside the upper section of any wind instrument. This is common to both wooden and metal instruments, and we should not forget that we ourselves contribute to creating this issue.

When discussing clarinets and oboes, it is enough to consider how a reed changes in response to the three factors described above to understand their effect.

What can we do to reduce this issue? There are two simple solutions:

Reduce the temperature difference between the inside and outside.

As occurs naturally, condensation forms when there is a temperature difference between two connected areas—in this case, between the inside and outside of a musical instrument, into which we normally blow warm air at around 36°C.

Therefore, the main thing to avoid is trying to warm up the instrument by blowing warm, humid air into it, as this will already cause condensation to form inside.

The recommended method is to hold the upper joint between your hands—or, even better, under your armpit—for a few minutes. This warms the exterior through simple thermal transfer and reduces the temperature difference between the outside and inside, making condensation less likely to form. This will not eliminate the problem entirely, but it helps significantly.

For the clarinet, the section to warm extends from the barrel to the middle of the upper joint. For the oboe, it is the first half of the upper joint.

This simple method will result in less condensation in the first section of the instrument. As noted, condensation forms because of a temperature difference between the inside and outside. In addition, and no less importantly, this practice further reduces the likelihood of cracks forming in the wood.

Oil the inside as described above.

Oiling the internal bore helps condensation flow out of the chamber more quickly, since water naturally slides off oil.

Important warning
During periods of low temperatures, it is not recommended to play an instrument immediately after receiving it following shipment or after travelling with it. Instead, wait at least 24 hours after shipping—or a couple of hours after a journey—allowing it to acclimatise to its surroundings by simply leaving it in its case with the case open.

This is recommended because, during transport in cold weather, the instrument may reach a relatively low temperature. Since we blow air into it at approximately 36°C—body temperature—it is necessary to avoid as much thermal stress as possible. The instrument must therefore return to an appropriate temperature, at least 20°C.

The ideal environmental conditions at all times are low humidity and, where possible, temperatures not below 20°C.

“WARNING FOR CLARINET”
Recently, several cases have occurred in which parts of the keywork near the mouthpiece compartment of the case have turned black.

To prevent this from happening, we recommend taking great care when leaving new-generation mouthpieces from a widely distributed brand—specifically black Bakelite mouthpieces—inside the case.

Should this issue occur, Fratelli Patricola shall not be held responsible, as it is caused by objects not manufactured by the company.

Please note that older mouthpieces do not cause this problem.