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Doublereed Archive - Posting 000042.txt from 2007/02
From: philfrei@-----.com
Subj: [DR-L] Blown out (was: "Age of my English Horn")
Date: Sat, 03 Feb 2007 18:38:53 -0500
Hi -
I think the phenomina is real, that oboes do go out of kilter with age,
but suspect that the explanation (they are "blown out") is spurious or
some sort of short-hand.
Here is what I have noticed: corks become compressed, pads become
compressed, springs weaken, residue can build up in tone holes. There's
lots of concrete things that can go out of whack. And maybe the wood
can warp a bit, too. Perhaps there are stresses that build up that
don't go so far as to "express themselves" as cracks, but do create
tiny misalignments. Also, are there changes to the inner wood surface
after repeated dousings with saliva?
Now, I don't know to what extent repair people go to when they do an
overhaul, but generally, I'd assume a pad won't be replaced unless it
leaks (even though, being slightly compressed, the hole might be a
minute bit more open in resting position). Springs change over time,
too, but unless they fall out, are they replaced in an overhall?
I'd assume a cork on a key lever won't be replaced unless it is worn
through, instead adjusting screws will be adjusted, if they exist. But
there are lots of corks that never come in contact with an ajdustment
screw, for example, corks on either side of the main A-flat key and on
the rod it connects with that limits the height of the A key. True,
there is a single adjustment screw on the connecting rod. But can an
adjustment at this single point optimally counter uneven compression of
these three corks? All three matter, as the A key's closure limits the
amount that the A-flat key will open.
Interactions abound. Getting everything to match properly is a major
headache. I went through an experiment a while back to add some tension
to the A key, and found that repeated guesses had to be made to adjust
the G and A-flat springs to match in strength (so when releasing these
keys, they would come open together, not have the stronger springed key
open first). Each guess, each adjustment, required taking the main rod
off of the entire top joint as well as the f-sharp connector. It took a
couple hours to get the three key springs to match up in a reasonable
fashion again.
I'm guessing "blown out" means this: the time and level of detail
necessary to bring the oboe back to tip top condition is not profitable
at normal repair rates. Or, the expertise to do so is limited to a very
few.
- Phil Freihofner
>Date: Sat, 3 Feb 2007 15:30:32 -0500
>To: <doublereed@-----.org>
>From: "Kevin H. Moore" <oboetools@-----.com>
>Subject: Re: [DR-L] Age of my English Horn
>Message-ID: <001101c747d2$28617b90$d0f34a18@yourxhtr8hvc4p>
>
>It's not folklore at all. It's real.
>
>The top joint becomes worn down over time, affecting sound and tuning.
Just
>before getting my new(er) oboe in 1992, playing my old one had become
>torture, literally. If I hadn't gotten a new one, I'd have had to
quit. Yes,
>it was _that_ bad.
>
>Kevin
>
>----- Original Message -----
>From: "herb fawcett" <herbgosia@-----.net>
>To: <doublereed@-----.org>
>Sent: Saturday, February 03, 2007 15:25 Hrs
>Subject: Re: [DR-L] Age of my English Horn
>
>> What makes an oboe a "poor tired oboe"? Isn't "being blown out" just
folk
>> lore? Vibration is physics. Just curious.
>> Herb
>>
>>
>> On 2/3/07 7:54 AM, "Angela Wells" <oneflute1oboe@-----.com> wrote:
>>
>> > Yep, I have oboe number 96D. It has a nice clear sound, but it's a
poor
>> > tired old oboe. I'm excited about buying a new one as soon as I
have the
>> > fund$.
>> >
>> > Any site that lists serial numbers and manufacturers probably
won't have
>> > your instrument listed either. Knowing which Rigoutat generation
built
>> > it is
>> > probably as close as you're going to get.
>> >
>> > ~Angela
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