 The Oboe BBoard
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Author: Oboe Craig
Date: 2011-06-06 03:39
I went! 1st one for me in aprox. 26 years. I had a 25 year IT career get in the way for a while, but....
Great things were there for me.
I met Cooper and his lovely wife, and John T and his lovely wife, and Frank Swan (turns out we both studied with Dick White), and Bob Hubbard in his booth... all great fellows and fortunately had time to break bread with a couple of them, Cooper and John T. Bob's gouger is very interesting... great design and engineering. And his knifes are out of this world ( I will acquire one soon).
Recitals, lectures, master classes, PM major concerts most days. Details to follow.
I developed a lot of perspective about the master class teachers, and some critical opinions as well.
More later as we share amongst the bboard, but mostly it was simply great... full orchestras to accompany PM concerts, and sometime full meant small barogue chamber strings with harpsichord, and other times full orchestras.
Multiple daily sight-reading sessions... I went early to the 7:30 ones and met some fine people.
I went also in search of a magic ehorn bocal but failed in that attempt (too noisy in the exhibit hall, and it was pretty far from the music sites, so I really had limited time to go there.
I did try as many oboes as possible, and ehorns and will post thoughts and impressions later.
I met some Chinese folks building a new Armstrong Ward (Australian company) oboe line and was favorably impressed but really intrigued by their profilers that make either euro reeds or American ones in about 2 minutes (from blank to reed), and they nearly work for me. A little less cane off in the 2 minute effort and a couple days to finish and refine them and they will be really good reeds. Amazing... I bought a couple kilos of their tube cane and will commence tomorrow with that.
All-in-all, great fun! Lots to share, and I will later. Need sleep now.
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Author: huboboe
Date: 2011-06-06 05:36
See below...
Robert Hubbard
WestwindDoubleReed.com
1-888-579-6020
bob@westwinddoublereed.com
Post Edited (2011-06-07 21:50)
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Author: huboboe
Date: 2011-06-06 05:39
Attachment: Lupophone.JPG (1432k)
I, too, had a great time in Tempe. I saw old friends, renewed my acquaintance with Cooper and Frank - I met them last year - and met Craig. I was also impressed by the Chinese profiler. If it weren't so expensive, I'd be tempted. And I played an instrument made by the Wolf Instrument Company in Germany, intended to replace the bass oboe: the Lupophone! (See the attachment.) It has oboe fingering, a big sound that would probably become refined with practice; my playing sounded raw and rustic. And (you'll love this, Chris) it has the only cable operated octave key I've ever seen - sorta like a bicycle brake. Great fun!
Thanks for the kind words, Craig. I make the tools I want to use and I detest shortcuts and good-enoughs. I'm pleased you like them.
I'm already looking forward to next year. Meanwhile we've got the BBoard to occupy our attention...
Robert Hubbard
WestwindDoubleReed.com
1-888-579-6020
bob@westwinddoublereed.com
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Author: huboboe
Date: 2011-06-06 06:06
Sorry for the double post above - I added the attachment before I was finished and it wouldn't let me go back to the text. I thought I had started over, but it posted instead. Live and learn...
The other comment I wanted to make about the conference was the amazing quality of the playing by many of the attendees. And they were so YOUNG!
Or maybe I'm just getting old...
Robert Hubbard
WestwindDoubleReed.com
1-888-579-6020
bob@westwinddoublereed.com
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Author: WoodwindOz
Date: 2011-06-06 07:05
Lupophone...I like it.
Are the Chinese reed makers you refer to from KeXun Ge's company? They are the reeds that all students and amateurs here in Perth use exclusively (even some of the semi-pros use them). I like their consistency, tone and stability (and ease of adjustment) - for my purposes, it is hardly worth considering making my own!
Looking forward to hearing more reflections from those who went - I hear next year it is in Ohio, and as I will be in Illinois by then, it is on my to-do list!
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Author: jhoyla
Date: 2011-06-06 12:30
Nick Deutsch had only great things to say about these reed-profiling machines.
He thinks that hand-made reeds are going the way of the Clarinet reed - soon to be rendered completely obsolete by machines like these.
[How many Clarinetists does it take to change a lightbulb? Only one, but it will take him ages to select the perfect bulb from his box of 20 ...]
Perhaps we can form cooperatives - say, 6-7 players paying for one machine? Tie on a dozen blanks, go to the guy with the machine and profile them. Come back in 3 months with the next batch of blanks.
The maker (KeXun Ge) and his engineers developed the machine slowly over many years, based on feedback he received from professional European players. Nick said that year over year the Chinese engineers showed up at conventions with their reeds, and listened to everything that was said about the reeds they made. Then they went away and improved their machines for the following year. At last years' European convention the machines were damn near perfect.
J.
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Author: Oboe Craig
Date: 2011-06-06 13:34
I did.... was hangng out with another CO player friend from the Longmont Symph.
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Author: Oboe Craig
Date: 2011-06-06 13:49
Jeremy,
I was trying all the Armstrong Ward oboes and chatting with their marketing guy, told him I was trying everything in sight in order to share impressions here on bboard.
He explained the business model, the Aussie goes to China and builds a business, etc. I'd been watching this man make reeds faster than I've ever seen, American long and Euro short, and people were standing around or sitting around playing them.
At that point, I did not know the connection between the companies but when that was explained, they 'insisted' I try the reeds. I tried 3 American-style fresh off the profiler, (and tip clipper) and could play them all with reasonable ease and what I'd call a good but not great tone.
My feeling is, if they could refine the windows a little and go a little thinner on the extreme tip (perhaps a final manual tweak), and perhaps use a clipper that would leave one side a little shorter than the other, I'd be able to perform on them.
Or, I could do those final things in about 30 seconds...
Anyway, they insisted I take a few home for free ( I agreed to take one, the best of the 3 I tried.) And so will test my theory here in Colorado over the next day or two.
My feeling about the American profiler is 2 parts:
1) I do think its a little too expensive (Agree with Bob.... but he might come up with something...eh?)
2) In the hands of a commercial reed maker like Cooper or Jennifer Ownby (and others), since they already have the knife skills, they could become amazingly productive using this machine for all but the final reed making steps.
The American reeds are one of two types, identified by different thread color. The marketing guy suggested it was to account for different cane diameter but their literature states one is wet-gouged and the other dry-gouged.
That is not to say they don't make further distinction and only dry gouge a particular tube diameter, but I don't really know.
I did not see them gouging, only profiling from blanks from one big bag seeming to hold several hundred tied blanks.
I cannot really say they only had one bag, but if so, they are using the same gouge for Euro and American scrapes.
So many exhibiters, so little time!
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Author: Oboe Craig
Date: 2011-06-06 16:58
Robin,
I tried as many oboes as possible, but not everything there because I could not tear myself away from the recitals, lectures, master classes and concerts long enough.
The exhibits were in a very nice hotel conference area, but 15 minutes walk from the music school where the playing took place. Shuttles ran pretty often, but trying to do much in a hour really only left 25-30 minutes given commute times.
I tried new: Howarth oboes and ehorns, Covey oboes,Loree models, Yahama oboes, Marigaux oboes and ehorns, even a clear 'glass' Marigaux oboe. And I tried Fossatti oboes from student through pro models. I tried the Armstrong Ward oboes, too; student, intermediate and pro models.
I went with a video camera hoping to record but the room was a beehive and the noise level was too high. While there were some areas I could have worked in away from the big room, I did not take the time.
Still, I have some impressions to share and will, over the next few days, say one instrument maker at a time.
I was impressed by how many makers are including the Philly high D key. Funny, the Lorees I tried did not have that.
Frank led me to the Chudnow booth for a reunion with one of Dick White's Laubin ehorns with a low b-flat. I am pretty sure I'd played that at Dick's home while studying with him many years ago. Used price , a whopping big $ number!
I could by a new oboe and ehorn for the asking price. So, that instrument is not in my future...:)
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Author: jhoyla
Date: 2011-06-06 17:22
Thanks for the details, Craig!
It doesn't surprise me that they were using the same blanks. Obviously it is also possible to modify the final outcome of the profiled reed somewhat by varying the gouge and shape - doesn't that just stand all of our preconceived notions on their heads?
Imagine walking into a music store anywhere in the world and buying standard oboe-reeds at $25-$30 for a box of 10 - and they all work, right out the box. Revolutionary, no? We could all start concentrating on making music for a change!
One last gem from Linda Walsh's reed-making video, interview-with-famous-players section. Many of the best players there said more-or-less the same thing - you have to be able to play and make your own sound on anything. The message was "Don't obsess about your reeds. YOU are in charge of THEM. Just PLAY!".
Francois Leleux explains that he always had a spare reed, in case his main reed started failing him (note: ONE spare reed). He also said that he went through about two reeds a month. That had to be the one completely jaw-dropping moment on the video.
J.
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Author: Oboe Craig
Date: 2011-06-06 21:01
One spare reed! MOG. Reminds me of my Army Band days.... long ago. I sometimes had nightmares about where the next good reed would come from.
I was making them, but using Gov't furnished materials, so you can imagine (cheapest, low bid, etc.). I got about 1-2 I'd use in public per 20 attempts.
Part of the problem was my immature reed skills and the other, the really bad materials I worked with then.
So, I'm with you and the idea we must play what we have. I also BELIEVE, what we have has to be within acceptable tolerance. And that window of acceptable quality needs to close down more and more as we go along. Fortunately, it tends to do that, or dissuade one from continuing oboe altogether... as it nearly did to me.
As a related aside, my parents were children of the depression... and that had a life-long impact on their psyche. The effects of poverty, I mean. And not to downplay the very serious implications of that for anyone dealing with it today in the world, a reed poverty can also exist.
Having access to acceptable if not great reeds would be a wonderful thing for our friends out here, and for future students and oboe lovers to come. Not sure about the case full for $20 but the reeds I tried were only $10 each. So a good nod in that direction.
To be clear, these are ok... not even close to what Cooper produces, or Jennifer, or Drew... but ok, so useful and maybe best for students and doublers.
Actually, I would not mind consulting with the nice folks at Armstrong and the reed makers on a few refinements to bring them closer to my standards, and if any of you care to do so as well, please have at it.
-----
Another related aside --- ( This is a little like reality TV with a big bboard revelation... I prolly shouldn't do this but cannot contain it). I learned on good authority that Cooper's reeds are in use by his own teacher; not exclusively, but I heard them in performance in the hands of a true master. Even great players appreciate access to great reeds when time is a big crunch on them. Imagine running an IDRS convention and doing 2 premiere performances this week as well...!
Ray Still did that, too.... said to his students ,"If you really want to impress me, give me a great reed." (This from a good friend who studied with him. She took home my best reed from a friendly duet session that day after sharing that with me.)
I cannot imagine the quick and cheap reeds being anywhere near to this w/o some modifications. So again, good is fine, and great is well worth the extra efforts and costs.
Post Edited (2011-06-06 21:57)
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Author: Oboe Craig
Date: 2011-06-06 21:51
1) Multi-media presentations
Sound checks really need to happen before the event. And network web connections need not time out so fast... One bassoon with sound accomp. had a recorded church bell so terribly loud it nearly damaged my hearing. And the sound guy could not figure how to turn it down over a 10+ minute piece. So, fingers in the ears for self-preservation, but that is a visual insult to the performer.
I love acoustic instrument with synths and pre-recorded parts. I do it a lot myself.
This was a problem on multiple events and I will try to post suggestions to the drop box of IDRS.
2) Exhibit time
Need lots more if it, perhaps worked into a schedule.
3) Deviation from schedules
So much going on it was often hard to choose, or I'd plan to attend, hear 2 -3 pieces then leave and run across to another recital. But changes announced from the stage several times ruined that plan.
4) We are not supposed to use profanity out here... So I will restrain,.
...But the GD cell phones need to be banned or perhaps have a $100 fee assigned you if you are stupid enough to ruin a performance or recording. It happened several times, mostly by bassoon players. (Ok, cursing silently now.... to myself, using every hyphenated combination I can remember, and some good ones in other languages where that is all I know.)
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Author: Oboe Craig
Date: 2011-06-06 22:04
I enjoyed the chance to meet and chat. I fear I dropped the ball trying to line up PM plans with JohnT and his wife and you... I thought you were talking about Frank Swan and went to him to combine the PM plans. Later JohnT told me you were fiends with the owner of Charles Reeds as well, and so, my bad.
Perhaps next IDRS, eh?
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Author: huboboe
Date: 2011-06-06 22:27
You got it, Craig: so much to do/ so little time. Besides we can do most of it right here. But it is fun to talk face to face, and faster, too...
Robert Hubbard
WestwindDoubleReed.com
1-888-579-6020
bob@westwinddoublereed.com
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Author: Bobo
Date: 2011-06-06 22:41
Jeremy,
I ordered the Walsh DVD and agree about Leleux!! I was watching it in English, and then I rewatched his part in French just to make sure he actually said the same thing in the French version!!!! Maybe it's a short scrape thing...that his reeds can hold up reliably after intensive amounts of playing and function well despite variations in climate conditions. If I have a really great reed, I tend to save it for the concert - maybe the dress rehearsal, just to get used to playing on it! I still wonder if that was a bit of a fish tale.
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Author: ohsuzan
Date: 2011-06-07 01:37
So, can we start planning for next year's IDRS at Miami U. in Oxford, Ohio? I WILL be there, D.V. And I think Rachel from Oz is planning on it. Who else? Drew? Craig? Cooper?
Susan
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Author: huboboe
Date: 2011-06-07 03:40
I'll be there, Susan, and hopefully bring my wife and my son the French horn player. They couldn't come this year because he was still in school.Tom Blodget told me he'd be there again, as did Frank. I'll betcha Cooper will be there as well.
It'll be fun to meet you in person.
Robert Hubbard
WestwindDoubleReed.com
1-888-579-6020
bob@westwinddoublereed.com
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Author: jhoyla
Date: 2011-06-07 08:31
Bobo, I thought about this; I can see no point in Leleux stretching the truth on this issue, so I have to take his statement at face value - and it is jaw-dropping in its ramifications.
I think he can do this for two reasons.
1. Without doubt, the French scrape is longer-lasting than the American scrape. The more bark you can leave on a reed the longer it will last. This has been my experience over the last 35 years.
2. He must be able to use reeds over a large range of hardness, from extremely hard to very soft. I expect that he uses the hardest cane he can find. As the reed changes he adjusts TO it (whereas my tendency is to adjust the reed itself). A sterling lesson to us all.
History is full of stories of great players who either bought reeds or "adopted" reeds from their students. They could focus their energies on interpretation and music instead. This is why the Armstrong Ward machine holds such great promise for us all.
In the same way that Microsoft made the world accept and use less-than-perfect software for its utility (and in the meantime they improved it vastly), we oboists may soon be able to concentrate on making music while unconsciously adapting our embouchure to average/good reeds.
As oboists, we hear (and sometimes obsess about) gradations of tone colour and quality that are simply inaudible to 99.9% of the population. Most listeners do not care much about "bright" or "dark" tone-colour - they are listening to the music and as long as it sounds like an oboe and not a buzz-saw, it is music.
J.
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Author: RobinDesHautbois
Date: 2011-06-07 10:51
URGH: YOU HAD to compare reeds to Microsoft!!!!!!
Please, let's hope reed making never becomes as finnecky as Windows. Even Windows 7, which I like a lot and has improved its performance miles above previous editions is still more irritating than poison ivy on a bee sting when it decides to shut down as you're waking-it up from hibernation or decides to perform an update right in the middle of a presentation or decides to freeze for Devil only knows what reason!
STICK WITH MACINTOSH (that is Euro-style reed making ![[tongue]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie6.gif) ) or go Linux if you can... I just wish the powerful music software were available on Linux.
------ REEDS -----
Since I've started gouging my cane thinner (0.57-8) my scrape has shortened drastically to the point I do almost pure French scrape. There's no way for me to know the life span because I don't play as much as before (45 minutes a day doesn't really count). But I do remember my Euro-American hybrid reeds (long-scrape but no windows, no hump) on 0.63mm gouge lasting months... of course, I would be practicing on 4-8 reeds while making more at the same time...
(posted from LINUX !)
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
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Author: Oboe Craig
Date: 2011-06-07 13:16
I only attended those for oboe and english horn, so not sure about the bassoon side.
Oboe-wise, I attended classes by Nicholas Daniel, Richard Woodhams and Peter Cooper. The english horn class was by Robert Sheena.
Each class could easily support many pages of essay so I'll go with just a few observations. First, the musical emphasis by each was definitely a preach what you practice thing, as demonstrated in each performer's own performances.
The classes featured 3 - 4 players doing different pieces except the Peter Cooper class focused only on the Strauss Concerto with a different player for each movement.
Each teacher had his own personal style, with some of them playing to the room more than others and with some definitely more nurturing to the players.
I thought Daniel's was more of a holistic coach than the others, with his concerns for body balance and warnings about long-term physical damage from poor posture or rigid shoulders. He also gave a good historical perspective on Benjamin Britten tying war years to the British sensibilities as they related to the music. He put a lot of emphasis on the preparation for a note and suggested avoiding the noisy parts where the air starts before the tongue... I do that a lot, so need to rethink it myself.
The Woodhams class kind of surprised me. Our friend Cooper played first (with a beautiful centered sound and intonation, BTW) and as he has indicated, he really only got through a few measures. The Woodhams' approach was a microscope applied to the finest and smallest detail and so, even a few notes or phrases received all the attention. That theme followed the remainder of that class, and any flaw such as a sharp reed or a tired reed or an out of adjustment oboe screw ended up taking all the coaching time. None of those issues were a problem for Cooper. One good take away was Woodham's statement about tone and pitch, that its expected and not the goal. Its the base and music is built upon that. (I paraphrase, but not by much.)
Peter Cooper's class was very useful for me. I liked that he allowed players at least a full phrase (and they are long in the Strauss) before coaching the players. A strong theme with him is use of variety to generate interest. So, with the many repetitive phrases and gestures in Strauss, he had the players rephrase them several ways to explore them and generate interest and variety and to, in his words, 'tell a story'. He also played many phrases from memory to demonstrate his points. While he did address the audience, he also managed to maintain a primary focus on the players. I was impressed by that. He showed a circular breathing technique to exhale while playing as a Strauss survival strategy. I shall learn to do that.
The Sheena english horn class made a similar impact on me. His very positive feedback to the players and some good self-effacing humor was part of his style.
He also played to demonstrate, complained about his own reed (which still sounded great where I sat), and made good musical points about taking risks... go very soft and risk a no-note, kind of thing.
All-in-all, I'm not sure they would tolerate an older player like me as a candidate for a master class, but I am sure, I would not sign up for a Woodhams class...
Too mush pressure for me these days...:) ![[toast]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley15.gif)
Post Edited (2011-06-08 00:34)
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Author: Oboe Craig
Date: 2011-06-07 13:39
I hope to be able to attend, but won't know until registration time.
The 2013 conference will be in Japan.... I doubt I will be at that one.
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Author: Bobo
Date: 2011-06-07 15:05
Jeremy,
One also wonders how many reeds he makes to find those couple of "go-to" reeds! He plays with such expressiveness and nuance, not to mention incredibly refined articulation, that he's definitely not making a purse out of a pig's ear (as I'm too often forced to try to do, unfortunately).
Interesting to consider whether if good reeds were easily and cheaply available like clarinet reeds whether some of the "mysticism" surrounding the difficulty of playing the oboe would disappear. There's a perverse pride involved in struggling with reeds, a separating the adults from the children phenomenon. "When I was your age we used to walk 5 miles to school in blizzard conditions, going uphill both ways!"
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Author: Wufus
Date: 2011-06-07 19:05
Sorry to chime in late. I had a rehearsal the day I got back and things had piled up.
It was great to spend time with Cooper and Bob again! I very much enjoyed meeting Craig, Jonathan and Peter face to face. I wished I had more time to spend with each one, but I had to stick close to the exhibits. They are generally closer to the recital venue than they were this year. It made it difficult to get back and forth.
I did not play many oboes this year, but I did spend some time with the English Horns. Congratulations to Bryan Walker on the gorgeous Howarth English Horn he bought. We spent almost an hour comparing it and a Monnig EH. Both were impressive but the Howarth was the best fit for him. I also liked the Rigoutat English Horns. Peter Hurd said there was a Puchner English horn that stole the show. Unfortunately I was not aware of it, so I did not get play it.
More thoughts later.
Frank
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Author: maplereed
Date: 2011-06-07 20:19
Frank, I did play that Puchner and it blew me away. I love my Laubin EH - probably the best instrument I own, and I have many fine ones, but this was in a class by itself. It was purchased by a friend of PeterH's and will reside in Las Vegas...
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Author: Wufus
Date: 2011-06-07 20:43
I wished I had known it was in that room off the beaten track, I'm so envious that I didn't get to try it.
And what a great conversation I had with you, Anne, at dinner. What a small world huh?
Frank
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Author: johnt
Date: 2011-06-07 22:11
Craig,
FYI Bob Hubbard has prices posted on his website for his knives & shaper jig. I've used his knife to scrape a few reeds from blank to playable condition; his knife holds an edge as well as any I've used. A leather strop puts you back in business. Email me privately if you want to know the other knives.
Good seeing you in Tempe. I may journey to Ohio for the next conference; have yet to decide.
Best,
john
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Author: Oboe Craig
Date: 2011-06-07 22:38
John,
I am grateful for the time we got to share and for the chance to meet your lovely wife.
Thanks for your notes on the sharpening specs and details.
Hope to see you again soon.
Next IDRS is currently a maybe, but definitely a hope to be...
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Author: heckelmaniac
Date: 2011-06-08 07:56
Dear Anne,
I second your opinion of the Puchner EH- it is in my estimation THE finest English horn of recent vintage I have played by a few light years...
For me it is -without any doubt whatsoever- the "queen of the fleet" at IDRS 2011. Amazing instrument.
I will be ordering between 2 and 4 for stock, likely with an oboe d'amore and an perhaps an oboe as well.
In my estimation, "Honorable Mention" goes to the
Moenning "Platinum" model EH.
The "Diamond" model Moenning EH was very good as well,
though it does not seem to have quite the lyrical heart of the "Platinum" model.
In the oboe department, I tried most everything.
Howarth of course continues to shine.
The all synthetic Armstrong/Ward merits mention as being a first class, FULL Conservatory system professional model oboe for use as an "outdoor" instrument, or an instrument for adverse climates, such
as Alaska, North Dakota, etc.
For me, the "queen of the fleet" amongst the oboes was a Bulgheroni
"Opera" model. I bought the oboe immediately. The new Bulgheroni
MUSA model oboe (key-work easily the equivalent of a Loree Royale) is also magnificent, and well worth trying if you happen to be looking for the best of the best.
I will refrain from naming the instruments I would relegate to the
"you must be joking" category" here, though I will share my thoughts
if you wish privately, "off board."
For me the highlights of IDRS:
Hanging out with my friends Cooper and Namju Wright, and Anne and Dave Krabill.
Seeing and hanging out with old and (now) new friends.
Robert Walters- Concerto performance
Nora Lewis- Mahler arrangement for EH, soprano, piano
Peter Cooper - master class
Martin Kuuskmann- Villa Lobos, Piazolla
All in all, I found the conference was a complete delight...
My unreserved thanks and congratulations goes to the hosts, volunteers,
performers.
Oboes.us
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Author: HautboisJJ
Date: 2011-06-08 13:12
Peter, hautboisjj@gmail.com , MANY THANKS!
I am glad to hear that brands like moennig and bulgheroni are impressing the american market.
Regards,
Howard
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Author: Oboe Craig
Date: 2011-06-08 14:03
Peter,
I would appreciate hearing your private thoughts about the various instruments, etc.
matopeople@comcast.net
Thanks,
-Craig
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Author: heckelmaniac
Date: 2011-06-09 01:36
I neglected to mention: In my opinion, another "Honorable Mention" amongst the legions of English horns at IDRS 2011 was the new Buffet model #4713...
This Buffet #4713 may give Loree some competition- about $1000 (or so) less than Loree. Plays beautifully.
Cheers,
Peter
Oboes.us
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Author: Oboe Craig
Date: 2011-06-09 13:54
From other's posts I can tell I did not sample as many oboes as some of you.
I'll probably refrain from attempting to provide a detailed impression, except to say I was most favorably impressed by the Howarth Oboes and english horns I tried, and several other maker's models I thought I could come to love given some time with them.
One consistent thing I observed was related to my reeds relaxing a bit. I came down from 7000 ft where I live and carried fairly fresh oboe and english horn reeds.
By reeds relaxing, I mean that literally, they loosen a bit, get a little brighter in tone and slightly lower in pitch. A little extra slip of the blades corrected pitch but that also contributes to a 'thinner' tone.
Anyway, I soaked up 2 - 3 reeds and went around trying instruments. And I kept wondering how the instruments would mature and hopefully 'warm up' in time.
Paul Covey thought that process continued for a couple years and I have found that to be true on the Loree and two Coveys I've had.
So I guess I have questions about that for the contributors out here.
What do you think happens as instruments break in? Do you anticipate the change when trying instruments and do you have any particular tests or checks for a new instrument?
I have managed to play Howarths and Lorees and Coveys and Marigaux' friends play and they definitely all have more character than any of the fresh oboes I tried at IDRS.
Given the chance, perhaps next year, I'd like to video and audio record a few of us trying a bunch of instruments and post for evaluation later. That'd be a neat little project if we can get away to a decent and fairly quiet place to do that.
And speaking of eyes closed, how about a blind impression pass at it as well?
Post Edited (2011-06-09 13:56)
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Author: Wufus
Date: 2011-06-09 22:16
Highlights of the evening performances:
Richard Woodhams and Gordon Hunt duo. The master of the Philadelphia school and the epitome of the very suave British sound. What a study in contrasts, but yet they played beautifully together. Same instrument make, different styles, thoroughly enjoyable music.
Robert Walters. Simply beautiful playing.
Helene Devilleneuve. Smooth, fluid and silky playing. Too bad the orchestra played to loud. I would have loved to have heard more of the subtle nuances in her playing.
Nicholas Daniels. Just WOW. The variety in color, articulation, sound, and dynamics was astounding. He held a b-flat for at least 8 measures that was to say the least anything but static.
Katherine Needleman. Probably the most resonant sound I have ever heard. She was able to fill the entire hall even at ppp. Amazing!
Emily Pailthorpe. She grew up in both America and England and her playing reflects the best of both schools of playing. I always enjoy her performances.
Just some of the stand-outs for me.
Frank
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Author: Oboe Craig
Date: 2011-06-09 22:34
Frank, I missed a couple of those, and hope to catch up once the vids are posted.
But I agree with you 110% on the ones I did take in. I was amazed.
Since I went in search of an new ehorn bocal, I really paid attention to the ehorn recitals and master classes and performances. They were absolutely awesome and humbling.
And I agree about Katherine Needleman's sound... it completely knocked my socks off.
I have not heard anything that did that since Gomberg... so, have sent emails accordingly, and would really like to know every detail of her setup (gouge, shape, etc.).
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Author: Bryanwalker
Date: 2011-06-10 02:12
If I remember correctly Ms. Needleman uses a graf gouge set up by John Symer, a Mack ++ shape tied on Stevens #3 silver pro staples. She also had great things to say about K.GE cane.
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Author: Bryanwalker
Date: 2011-06-10 04:46
The below information describes what Ms. Needleman uses. I got this through the Peabody website.
I have tried tons and tons of reed equipment. Here are some brief thoughts about what I consider to be the best. This is my personal opinion. I encourage you to use what works for you and experiment yourself. If you are having a lot of trouble and suspect your equipment, many of these things may be a good starting place. It is hard to recommend equipment. Even the best things are often sub-optimal, as our market is small.
TUBE CANE
I use Chinese cane, imported from Australia. It is the best thing I know that is currently available. I get it from kge-reeds.com, and order 10-10.5 diameter. Another advantage is that it is cheaper than cane you buy here, and is shipped quickly and not terribly expensively.
CANE SPLITTER
Don't use one. They are sub-optimal. Use a razor blade.
PLANER
I have a plane and planer bed made by Robert Graf. Graf products are somewhat hard to come by now. I prefer this to the push-through types of planers. Robert Graf (609-561-1738).
PRE-GOUGER
I use a crank-type machine from Reeds N Stuff (reedsnstuff.com). This is not a necessary tool, but I use it to save time. I had to alter the machine somewhat to be happy with it.
GOUGER
There is no perfect machine. I am happiest with my Graf machines set up by John Symer. They are finicky, but can be great if you get them to the right place. You can buy one from Graf directly (609-561-1738), and have him send it to John Symer for setting up. If you can find a used or damaged Graf, get it. Mr. Symer can remedy it for you. Having the gouging machine in your hands after placing a call to Mr. Graf can take many months; plan ahead. This is a great investment in your success.
I own an Innoledy machine (innoledy.com), but have never made a great reed off it. Some people think they are great. I hear good things about Dan Ross gougers, but have no personal experience with them. I would avoid the Jeanne gougers.
SHAPER TIP
I use the Mack ++ (note the two plusses, not one) machined by Westwind. This can be purchased through forrestsmusic.com now. I tie it at 72 mm or less. I think it is a fantastic shape. Sometimes it is hard to find. Peabody owns one kept the Oboe Studio.
A standard shape that I used for years that you can't go too wrong with is the Gilbert Minus One, available at lots of stores.
TUBES
For me, the best hands down, are from Stevens Double Reeds in California, (925) 684-9821. They like you to order a large quantity (at least 100), so consider placing an order with a friend. I order silver, 46.5 mm, #3 opening, finished tip, triple scored, tubes.
KNIVES
I think reed knives are greatly flawed. I am constantly looking for something better. You cannot buy anything that is ready for scraping right out of the box, and the way a knife scrapes is fundamental to your reed-making success. The best things I know available are:
Nielsen Wedge Knife, handle #2. $28. nielsen-woodwinds.com . I alter these knives before I use them, and can show you what I do. I make my reeds exclusively with these knives at this point. This is not to say I won't switch, but they're pretty good if you set them up correctly.
Landwell Knives. M or H. Available most places. They changed something a few years ago; they used to be better.
Jende Knife. Pretty good knives, but not as great as they are touted to be, I believe. Maybe you can find a better way to sharpen them than I have.
SHARPENING EQUIPMENT
I have tried everything. For me, the best products come from razoredgesystems.com . Follow the directions in their book. I use an 8" coarse hone, a 6" fine hone (this is better than the 8" one, I don't know why), the razor edge guide or the cub guide, and a Mousetrap Steel and a Raz-R Steel (though one of those alone would probably work). Make sure to replace the stones when they are no longer perfectly flat.
Recently, I have had a good deal of luck, especially with regrinding knives, but also with basic sharpening, with a product called the Edge Pro Apex System. www.edgeproinc.com . It looks funny and takes a few minutes to figure out, but I think it is worth the money. I have the Apex Kit #3. It was expensive at $200, but worth it.
BOOKS ON KNIFE SHARPENING
John Juranitch, The Razor Edge of Sharpening. Ignore the cultish things, and there is a lot of useful information.
Daryl Caswell of Landwell Knives, Reed Knife Sharpening Book
PLACQUES
I like the flat oboe placques from jeanne-inc.com , $1.35, for their shape, which is small enough that it doesn't destroy the compression of the sides of the reed as much as the others. Avoid contoured placques. Make sure to replace them as they get scraped up, so it doesn't negatively affect your view of the reed.
THREAD
I like EE or F nylon thread. I'm told these are approximately the same thing. You can get this almost anywhere. I avoid FF thread for a few reasons we can discuss. If you want to save a little money and get some unusual colors, look for online closeouts of fly tying thread. Gudebrod is a good maker.
BEESWAX
Don't use synthetic paraffin; it doesn't work.
RULER
Spend the money to invest in an actual metal reed making ruler. It is hard to be accurate with a plastic one. Another advantage of a steel one is that you can use the end to push the threads down on an over-tied reed, but you shouldn't be over-tying reeds in the first place.
MICROMETER
I prefer the cheaper handheld ones to the expensive dial indicators because the dial indicators push into the cane, more into soft cane than hard cane. I prefer to rely on the consistency of my own touch. I have a tiny one I got from charlesmusic.com in the dark ages. It seems they have changed their bullet micrometer a bit, but I assume it's as good as the original. One should never assume anything about reed equipment, though.
RADIUS GAUGE
I have a great one made by Paul Covey. You can get this a number of places, but the website of Covey Oboes is oboes.com . It's got some important marks on the side, in addition to the diameter cut outs, and I can't imagine making a reed with just a ruler, though it's certainly theoretically possible. I'm really attached to this thing.
RAZOR BLADES
I buy packs of 100 in the paint department at Home Depot. They are relatively inexpensive, made by American Line, and are .009 thick. They seem to work just fine. Make sure to use a new blade for each shaped piece of cane, and not to clip a tip of a reed with anything at all dull. It's worth the extra 4.5 cents per blade. Some people report success re-sharpening these blades, but I cannot do it to my satisfaction.
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Author: Oboe Craig
Date: 2011-06-10 17:58
Chinese Tube Cane - Day 4
Day 1 was splitting, planing and gouging, day 2 shaping and tying up a dozen blanks.
It hard for me not to rush it with a new source, which always is strangely exciting for me (oboe nerd stuff).
The old definition of insanity plays a role here, I admit, but I somehow always expect some magic from a new source despite 98% failure of that over the years.
In this case, in order not to deviate so much from my usual process, I made myself slow down and not shape, tie and scrape right away.
Since I usually finish a reed over three sessions over three days, that is what I am doing. My day 4 process is really day 2 of the scraping and refining.
I am pretty impressed already by 3/3 reeds seeming like they will make it to the performance case, but I will not really know until tomorrow.
Bryanwalker posted info from Katherine Needleman's blog that included positive things about the Chinese cane. I am using 10.5 - 11 though, so larger than hers, but I tend to take the cane out of the more pronounced arcs and get effectively smaller diameters that way.
I notice this cane seems a little more irregular around the tube, meaning some more smaller and larger diameters in the same tube compared to my other sources. To experiment, I am trying the larger and smaller portions. I go for a symmetrical arc on at least one 3rd of the cane when splitting, and with this seem to be getting at least 2 useful sections per tube.
What I liked immediately is how evenly the cane comes off under the knife, and was happy for that since I thought it was rather springy and resistant to the razor while shaping it.
I also really like how the tip cane scrapes off, evenly, right down to the final thinning of the tip.
I will record something and with video to demo it once I think the reeds are final.
And then, I will be interested in how they age and die... how long they play well, and what happens to tone and response over the reed-life.
I usually play and record on 15 - 20 year old cane I've stocked up along the way.
Most recent useful cane came from D. Weber 2006 and RDG 2007, which both played well for me the 1st year I had those.
Finding a new reliable (and BTW cheaper) source of cane will be a great benefit.
I guess I need to try their english cane next.
-update - the day 3 video of Chinese Cane
http://www.youtube.com/watch?v=tiLCY6ukgrQ
Post Edited (2011-06-11 21:56)
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Author: Bryanwalker
Date: 2011-06-12 17:44
Today I was reflecting on some of my favorite IDRS 2011 performances. You come to expect great things from the big name players. This year, they did not disappoint. I always love hearing lesser known players for the first time.
This year I was most impressed with Catherine del Russo. She played on the first day on the big potpourri recital. She played about 30 minutes worth of 20th century Czech oboe music. I was really impressed with her playing and her tone. She had a lovely, rich sound that was HUGE! She really did fill the entire concert hall and then some. If you missed her performance, you missed a real treat. I just wish California wasn't so far away, or else I would love to take a lesson or two from her.
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Author: Oboe Craig
Date: 2011-06-12 21:17
I am eager to see the things that get archived on the IDRS site, and hopefully the daily recitals as well as PM concerts.
There was so much going on it was hard to choose, and the programs I did miss are still very interesting to me.
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The Clarinet Pages
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