La Monte (with a space) is shown on the inside of the case. The names are reversed for the Grenetex La Monte.
Back in 2008 when I wrote this review, I didn't realize that La Monte, was the maker. So this statement that I made then is probably incorrect:
«I think it fairly certain that this was made by Malerne, as I have just seen a Malerne Standard added on eBay with a metal lining on the top joint.»
That was not certain proof, since I have learned that some repair shops in the 1950's were able to put metal linings in upper joints, to fix a broken joint.
As I have said before, I tend to be a hair flatter than normal using the Legere reeds. When I changed to a real reed (Oliveri #4), I was right in tune with the throat tones. Then I need to pull at the middle joint about 1.5mm in order that the middle C would not to be as sharp. The B-flat was still +20. This lower register sharpness is typical of most intermediate wooden horns.
This clarinet is really a pretty good instrument. The Martin Grenatex is better than the average plastic clarinet. It would be excellent for a beginning clarinet player, and is even OK for intermediate students.
Since it seems to be hard rubber, I wondered if it would sound like the Lyrique. I was disappointed. There is a big tone difference. The Martin Grenatex sounds less resonant and somewhat brighter. Perhaps this is because of the metal lining, .1mm smaller bore, and the custom multi-boring of the Lyrique. I prefer the tone of the Forte clarinet over the Grenatex. Still, this Martin Freres plays better in tune than many wooden instruments and will sound great in the right hands.
1949 ad. This is for a wood model.
1950 Supra model, with metal lined tenon joint.
another 1950 ad.