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I currently play on a Buffet Vintage R13. I bought it new back at the end of 2006, after playing an R13 since 1979.

When I decided to look for a new clarinet, I played a variety of clarinets, and lots of them. Buffets (R13, R13 Greenline, Prestige, Festival, Tosca), Leblancs (Concerto, Opus, Pete Fountain), Selmers (can't remember which ones!), Yamahas (CSG, SEV). I really liked a the Yamaha SEV. Until I found the Vintage R13. Compared to my old R13, it plays in tune, is more resonant, is more responsive, and it has a great sound.

I learned some things while shopping for a new clarinet. First, every instrument plays different. So, if you're going to buy one over the internet, try to get a few in your shipment. Better yet, go to a place that has a huge supply. In my area, that place is Washington Music Center. Unbelievable selection, and Lee Walkowich was a helpful, honest salesman that wanted me to find the right instrument, no matter how long it took. At any time, they probably had at least 10 R13's, 2 Vintages, 2 Prestiges, 2 Toscas, a variety of Selmers and Yamahas. So much nicer than driving to a store to find that they only have 1. So, bottom line - make sure you try a bunch.

Second - silver keys make a difference. I never would've thought so, but when play testing a bunch for a student, I learned this valuable lesson. I guess the silver resonates better than the nickel. So, spend the extra dough for silver.

Check intonation. I did find consistencies within models, but every one plays different. R13's seemed to play flatter as I went from low C to open G. If you will be playing with other R13's, this is probably a good thing. If you're doing solo work, you don't need to go this route. The Vintage R13's intonation was great, however.

Bring along some other ears. If you have a fellow musician that you can play in front of, it may help to validate what you're hearing.

If you have the opportunity, have your teacher play them. A more experienced ear will be able to pick up on subtle differences. Ultimately it's your decision, however.

Mouthpiece-wise, I use a Jody Jazz Classic 6 mouthpiece with Mitchell Lurie 3 reeds for jazz, and a Fobes San Francisco with Gonazales 4 reeds for classical.
I purchased my LAST tenor in 2009. Yamaha Custom Z unlacquered with the gold-plated neck, selected by Jeff Coffin. Prior to this, I had a Custom Z unlacquered without the high F# since early 2006. I love the Yamaha Custom Z. The Jeff Coffin model was setup nice - keywork just felt better, and the horn responded great. The gold plated neck gave it a little more tonal color than the unlacquered neck, so that's what I play on now. Thanks to Lee Walkowich at Washington Music Center for giving me first crack at this horn, and at an unbelievable price.

I use a Jody Jazz DV 7* mouthpiece with Vandoren ZZ 3 reeds. Jody's mouthpiece is the holy grail that I was searching for for many years.
I also play a Yamaha Custom Z alto. I played a lacquered 82z since 2004, and just picked up an unlacquered 82z in 2009, hand selected by Phil Woods. I added a gold plated neck for more tonal color, as I liked what I heard on the tenor with the gp neck. This is the last alto that I'll buy. Thanks to Lee Walkowich at Washington Music Center for giving me first crack at this horn, and at an unbelievable price.

I use a Jody Jazz DV 6 mouthpiece with Vandoren ZZ 3 reeds.
I play a Keilwerth SX90 soprano, black nickel finish. Mellow sound, but with my Jody Jazz DV 6* mouthpiece with Vandoren ZZ 2 1/2 reeds, I can really make it project.
In 2008, I picked up an Akai EWI4000s from Patchman Music. Great horn. Who thought something electronic could be so expressive? I picked up a YAMAHA VL70-m Virtual Acoustic Sound Module with Matt's Patchman Turbo VL chip in 2009. People love the sounds I get out of it!