 The Oboe BBoard
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Author: Trond.Bjarne
Date: 2012-06-24 20:32
Hi
11000$ plus minus 2000$.
What oboe's are the at this price range?
Who plays them?
You own one? What is your experience with high end oboe's?
What do you think is the greatest advantage of bying high end?
Thanks
Trond-Bjarne Klungseth Johnsen
Norway
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Author: mjfoboe
Date: 2012-06-24 23:20
Trond-Bjarne Klungseth Johnsen,
The best approach is to play as many professional oboes as possible and observe the difference between student models and professional oboes.
Try as many different brands too.
Mark
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Author: heckelmaniac
Date: 2012-06-25 02:10
Some of my favorite new "high end" oboes:
Hiniker (any model)
Laubin (any model)
Marigaux "Altuglas" (clear cast Acrylic)
Howarth XL Cocobolo
Covey Honduras Rosewood
However, for about $6500 you can purchase a Bulgheroni "Opera" model oboe.
In my estimation, the Bulhgeroni "Opera" model is by far best value in a new oboe today. Astonishing playing characteristics... Also available in Violetwood.
The "MUSA" by Bulhgeroni (at about $7500) would be worth a try to in comparison to the "Opera" model.
With best wishes,
Peter
Oboes.us
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Author: Loree BF51
Date: 2012-07-02 22:11
Strangely, the name, "Loree" hasn't been mentioned yet and ordinarily there instruments would be up for consideration. On the other hand you might want to find out what instruments are being used in Norway's major orchestras, such as the Oslo Radio Philharmonic, if I have their name right. Aren't there some other major orchestras in Norway, also worth researching? Good luck
R. Still former student
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Author: RobinDesHautbois
Date: 2012-07-02 23:18
Trond-Bjarne,
Your question is a really important one and the answer requires understanding about your situation, not just personal opinions.
My own experience is extremely limited to the North-American scene... in fact, only the scene from 1980 to 2000. This is exactly why I am asking similar questions to yours. Through Facebook, I have corresponded with Eric Niord Larsen (Oslo Philharmonic) and a few other Scandinavian professionals. They seem to really favour Dupin (11,000 Euros ~ $14,000 USD ) for solidity, dependability and many other issues. I have corresponded with others from Scandinavia, the Baltics and Northern Europe: Marigaux is also very well appreciated and Lorée is only played by a very few.
HOWEVER, what level are you now playing? Is your playing strong enough for an expensive instrument to make a difference? If you are a hobby-ist like me, a Yamaha or Buffet Crampon might be more than good enough. If you are a serious student, you need an instrument that provides dependable tuning and will help with your reed-making.... in the style your teacher shows you! You will likely want a used Dupin or Marigaux or something that is well appreciated back home with the full intention of replacing it when you start your career.
For myself, I am looking into the high-end models only because I spent 27 years on a Lorée that was not suited to my physical characteristics for air blowing..... I would have had to make reeds in a way that gives me dizzy spells just to play on the instrument everyone else said is the best. Isn't it better to make reeds to suit your own body characteristics and that will allow you to aim for your own sound preferences? Since having my instrument re-worked by Laubin and trying other brands at an exposition, I realized "the best oboe" (what others told me) was bad for me.
If you cannot easily afford such expensive instruments, then you should not buy one. First, start with an instrument that will help every aspect of your artistic and professional life (including finances) and then you will be more capable of deciding.
As others here have said: TRY, TEST AND COMPARE. What is right for others is not necessarily what is right for you.
Best of luck!
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
Post Edited (2012-07-03 10:04)
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Author: oboi
Date: 2012-07-03 08:38
I play a wooden Marigaux but I sure am eyeing the Altuglas when I wear out this one. The Howarth XL is very nice, too. There is obviously a difference between non-professional and professional instruments. Once you go into the high-end, it's going to be moreso personal preference that makes an oboe make "better" than another.
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Author: Trond.Bjarne
Date: 2012-07-03 22:10
I am new to oboe although the idea came to me two years ago. I have beed reading and listening since the facination started.
I started playing drums and percussion for three years when i was twelve. Then later in life i discovered the clarinet and has played on that for two years. I've a good understanding of rythm and counting. I have a partial perfect pitch and perfect hearing, like ca 1% of the population. I've trained a professional method for self teaching and am an advanced student in everything i set upon myself. My main challenge currently is to get my fingers to play fast enough. My greathes strenght is my deeply rooted love for music and high fidelity. Mentaly i like to run upphill and like to tackle challenging tasks that seemingly no one else likes to manage.
Now, I never played oboe before but last October i heard Iceland Symphonic Orcestra playing in Eldborg, Harpa, Reykjavik. I was in tears deeply happy that i found my Love. There i heard the oboe play and i found that the sound of the oboe is my hearts longing. I am an INFP so this choice has to feel right or else i would have dropped it.
Moneywise i could afford any oboe but i think that 11000$ is enough for starters. I was planing on buying a Wurlitzer clarinet that i was saving for, but the clarinet came in at second place in the long run.
My goal is simply to practice 3000 hours and take it from there. My vision is to become an private instructor in my hometown.
I am looking for an instrument that has exceptional potential for good tone and sound. That is durable, dependable and can last my lifetime. Doupin might be the next step for me if i go longterm commited professional. If i was to buy a wooden instrument at this pricerange then i recon i need good understanding of how to care for the wooden oboe.
I agree fully on the 'First, start with an instrument that will help every aspect of your artistic and professional life.' and i think the greatest benefit of going high end is to maximise the potential for feeling good while playing. To enjoy playing the instrument so much that it becomes a selfsustaining daily activity.
These are my thoughts and expreiences.
I see the Buffet Crampon orfeo goes for 11500$ here in Norway.
I tied my three first reeds today and promtly broke the imediatley. Three more to go before bedtime...
Thank you all for responding. Great fun for me to read your thoughts.
Trond-Bjarne Klungseth Johnsen
Norway
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Author: RobinDesHautbois
Date: 2012-07-04 01:24
Hello again Trond-Bjarne,
Your story is fantastic! What is the weather like in your part of Norway - I mean extremes in temperature, dry/humid seasons?
With wood instruments comes the problem of cracking. Ottawa and Montréal (Canada) are rather bad for extremes (colder than Moscow), but dry climates are the worst. Buffet Crampon has a "Green-line" model that mixes synthetic with wood dust.... but it has a history of breaking the cork-knob of the top joint.
Because you are new, I really don't think a top-of-the-line instrument will help you at all...... this is just my opinion, please feel free to disagree and disregard..... The highest models of instrument may require the skill and expertise of a well-experienced professional. This is difficult for me to judge because I was once a pro (for a very short time), and when I started again after 10 years absence, I already knew what to do. I don't know or understand what new players experience.
Dupin sells "ordinary" oboes. Yamaha and Marigaux (I think) put a synthetic "sleeve" inside the top joint to prevent cracks. This is important for your goal of "3000 hours", because new wood instruments are the most vulnerable to cracks. Used wood instruments are often better when properly restored by an expert repairer.
Synthetic materials do not give lesser-quality sound: Dupin Imperial can come with a synthetic top joint (e.g. Christoph Hartmann), my Lorée (1985) comes with a synthetic top joint and Lorée has for a long time built a full-synthetic instrument with the reputation of sounding identical to the wood instruments.
The best Yamahas are now prized by soloists and orchestra principals in Europe, Asia and are gaining a reputation in the U.S.A. For a beginner oboist, mastering the reed is the most frustrating challenge: you will most likely be using European "short-scrape" style (French or German or something in between).... really important that you talk to a teacher about this.
I think Marigaux or Buffet might help you best with that.... even their "Strasser" model really impressed me .... for sure if you contact them (directly from the web site or through facebook) they will advise you well (tell Renaud Patalowski I sent you). David Walter (search You-Tube for him) is an extraordinary oboist who works with Marigaux and teaches at the Conservatoire de Paris. He is very kind and devoted to teaching: he knows the challenges of the beginner. I wish I could recommend Mönning, but I just don't know them.... ask your teacher.
Through Facebook you might also be able to ask Erik Niord Larsen (Oslo Philharmonic) to find you a good teacher.... tell him I sent you.
Again, what matters for you is:
1. easy, dependable tuning
2. low notes easy to play softly and articulate
3. reed and instrument that will allow you to play freely from pp to ff.
Buffet or Howarth XL might be great for that, but a less expensive model might actually be better.
Good luck!
Let us know what you discover!
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
Post Edited (2012-07-04 01:51)
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Author: HautboisJJ
Date: 2012-07-04 03:30
Do NOT buy a Buffet Crampon, not because of quality but simply because of horror stories in public relations and service etc. With that kind of budget you can get all sorts of things. A Josef mid range model, a Marigaux 901, a Bulgheroni Opera (highly recommended), a Sound Alchemy Bel Canto (which would cost a little more), perhaps even a Ludwig Frank (2nd hand?). The Oscar Odler oboes (i think the company owned also by LF) are also fantastic, when you think about their prices. If cracking is a consideration, speak to Sound Alchemy about synthetic top joints. Josef also makes a nice all synthetic material oboe. For makers like Dupin or Ludwig Frank (a new one), that budget would not fit for a new one, and the fact that you do not get to chose makes things difficult at times...
Regards,
Howard
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Author: heckelmaniac
Date: 2012-07-04 07:50
To follow up on Buffet-
Please DO NOT be tempted to buy a Buffet "Greenline" oboe.
Aside from (in my estimation) being akin to an unabashed
"reed trumpet" (with all the subtlety of a Mack truck), the "Greenline" oboes can crack. The Buffet PR states "crack resistant," NOT "crack proof."
I have had several clients report their Greenline oboes cracking.
The cracks have been dramatic: deep, wide, thoroughly catastrophic.
And heaven help you if this happens after the warranty expires.
The "Greenline" oboe, once cracked, can almost never be repaired.
An entirely new joint must be made. Also, the tenon joint on the
upper joint is very weak, and it is very common to have the tenon break.
The Marigaux "Altuglas" oboe, even being so very expensive, it well worth a look if you happen to live in an adverse climate. Exquisite instrument in every respect.
Oboes.us
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Author: Gerry L
Date: 2012-07-04 07:58
And don't forget Rigoutat!!!
There have been a number of oboe "lists" flying around recently, and they keep getting overlooked -- particularly here in the US.
I tried a lot of oboes at the IDRS convention last year, and walked away with a Rigoutat J-Series that I am extremely happy with. No restrictions to your sound -- wide open to all possibilities.
My 2 cents -- somewhat biased of course -- but it's a wonderful oboe!
Cheers,
Gerry
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Author: RobinDesHautbois
Date: 2012-07-04 10:37
Hey Howard,
I found the website for Sound Alchemy: it is still in construction, so not much to see.
Do they make instruments or do they resell from the big manufacturers? I ask because you mentioned the synthetic top-joints.
Oscar-Adler is the "junior" version of Mönning, so if you find them fantastic, then the real thing must be phenomenal. ALL players (USA, Spanish speaking countries, German speaking countries) of the Gebrüder-Mönning Platinum (Albrecht Mayer model) I have talked are simply in love with it. Those who played Lorée before say they never once looked back.
But I am also very curious about the Rigoutat Model J and the Bulgheroni Opera. OH PLEASE SOMEONE GO TO THE IDRS AND GIVE COMMENTS!
Trond-Bjarne:
everyone I know who owns a Ludwig Frank or a Dupin insist they will never again play anything else. "No choice of instruments" is true of Laubin in the USA, and they have a 9 year waiting list! Dupin has a 2 year (or less) waiting list and Ludwig Frank takes a few months.
Scandinavians are very fond of Dupin.
..... if you decide to buy a Ludwig Frank or a Dupin Imperial - and if you decide not to keep it - let me know, maybe I'll buy it from you!
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
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Author: Trond.Bjarne
Date: 2012-07-04 19:20
The weather is quite stable mostly. Temprature ranges from 25'C in the summer to -15'C in the winter. Sometimes we get extreme winters with -25'C and wery dry air. In the summer there can sometimes be very humid altough not extremly so.
I shure would like to become proficient enough to play good on a Dupin. Sounds like great fun to play on.
I'll try to make a chat with Erik Niord Larsen. I got to figure out how to find ways of taking lessons. There is no one nearby who plays oboe. Bergen and Oslo is 4,5 hours drive from here. Maybe i could rent an apartment somwhere for a month and take lessons. A summer in Paris, London or Amsterdam possibly maybe.
Regarding Buffet Crampon i have mixed experiences. What i dislike with them is that the student level clarinets is almost double the price compared to other clarinets of equal quality. I say they sell their crap very expensive. So i think that their low level clarinets is not worth it at all. On the other hand i do like their high end models. They on the other hand are superbe for the price. In particular i heard a top model buffet bass clarinet and it suddenly made sense to me the point of playing bass clarinet. Excelent intonation and easy to articulate. Superbe sounds coming from that one.
When it comes to GreenLine i think the best argument is that the intonation is stable for it's whole lifetime. There should be no need to adjust toneholes due to woodexpansion. I wish I knew the facts about GreenLine cracking and tenon problems. I feel Buffet Crampon is not ohnest and open enough.
I do not dislike Buffet and I'm not scared off, yet.
I believe that a realy good instrument would make a difference to me. I have this drive inside me to maximize the potential in what i do. This i beleive would give me a positive boost in my drive towards professionalism. By mastering the challenge to get the best tone of the instrument would feel like such a big acievement that it would boost my motivation. I think, and a Dupin would be to early to benefit from at pre 3000 hours. When i buy an high end oboe it is because i want to aceive the goal of mastering the potential of the instrument. That is a gratifying and fun task. Imagine giving someone the goosebumps from your playing. What a feeling of accomplishment that would be.
I guess one of the big questions here is how many hours of practice does it take to produce a consistent excelent tone?
Another one is the consideration of how many hours a year does one practice. The level of devotion.
Thanks
Trond-Bjarne Klungseth Johnsen
Norway
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Author: Chris P
Date: 2012-07-05 00:05
Do realise that most student level Buffet clarinets and oboes are made by Schreiber in Germany - the E11 was made by Schreiber until recently when the E11 France was launched which is made in the old Leblanc factory (now owned by Buffet).
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: RobinDesHautbois
Date: 2012-07-05 10:54
"I believe that a realy good instrument would make a difference to me."
=> That is very well said, but it is also a difficult thing to define. Again, A Dupin Imperial is not necessarily better than a Yamaha, especially for the beginner.
"...how many hours a year does one practice."
=> Just be very careful not to compare oboe with clarinet. I only played clarinet for about 6 months and I hated it. --- I love to hear it, but not play it --- I hated the way it blows... the feeling in my chest and throat when I blow. But several clarinet players have tried the oboe and hate it for the same reasons!
You mentioned breaking bad reeds. I recommend you keep them and do reed exercises. I have the opportunity to walk to work. While walking, I carry bad reeds and "buzz" them to practice breath support, articulation, embouchure, dynamics and endurance. Because there is no oboe, I don't care how I sound. Because the reed is bad, I don't care if I break it while walking.
=> for me, this is the only warm-up time I have in the day. I earn a living with computers, so I can only practice 30 minutes a day and not every day. But the best oboists I have known practiced 6 hours a day as advanced students.... I don't know how much when they started.
Your idea of "devotion" is interesting. Instead of hours, think of the goals you want to attain and practice for that. Today, I think it is possible to practice less and improve more. I let my ears tell me if I'm sounding the way I want to or not. I never get discouraged anymore, I just correct myself.
At the beginning YOU WILL SOUND BADLY: this is normal. Just patiently go through it while you gain strength and practice good habits. A teacher is really important for this.
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
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Author: Jeltsin
Date: 2012-07-05 10:57
Hi
I think Sound Alchemy is made by Yan Petrov who sometimes lives in Stockholm which is probably not so far from where You live.
I think that You should contact him and even if You dont´t buy a Sound Alchemy, he is one of the best when it comes to repairing oboes.
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Author: Trond.Bjarne
Date: 2012-07-05 19:20
I broke the reeds while trying to make them. Guess i got tons of stuff to learn. I've made six reeds so far but only one made it to scraping and it broke before i could finish it.
Trond-Bjarne Klungseth Johnsen
Norway
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Author: RobinDesHautbois
Date: 2012-07-06 00:28
Typically, we say you have to make 1000 reeds before you start getting it right.....
This could be an exaggeration due to a misunderstanding of reeds, but the physical skills do take some training.
Jeltsin:
I have not heard of Sound Alchemy oboes before this thread. Can you tell me anything about them?
Trond-Bjarne:
I have also corresponded with a few people who switched from Marigaux to Fossati and claim Fossati is now superior. I don't think these people have tried the M2, but it does seem that Fossati has improved their sound and tuning tremendously. Plus, they have the reputation of being more affordable.
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
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Author: oboi
Date: 2012-07-06 02:15
Your first 50 reeds will basically be attempting to tie on correctly and learning knife technique as you figure out how to scrape in the right spots and not ruin your reed blank. At some point, you'll get one that'll make a sound. Getting one that actually sounds good is a whole different matter. You should probably buy some reeds when you buy your oboe. You definitely don't want to be playing on your own reeds when you begin learning the oboe. I figured out the oboe easily enough on my own and did so for over a year without instruction.... figuring out the reeds, however, has taken me hours and hours with a teacher and hundreds of hours by myself working on it, and it's still a struggle for me to make a reed that is capable of working at the level that I need it to. My reedmaking technique is still far behind my playing technique. Don't fuss with reeds until you've gotten a good hang of the instrument first.
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Author: Jeltsin
Date: 2012-07-06 06:32
Hi Robin
I don´t know much more than you, except that one of my friend was about to buy one a couple of weeks ago (don´t know if he bought one).
I can ask Yan because he is going to help me with a summer problem I have with one of my oboes (due to wood expansion and that the rod that holds the half-hole key don´t expand during the summer, the half-hole key is a bit loose during the summers which sometimes make some notes to sound fuzzy).
Perhaps it is better if you ask him yourself http://soundalchemy.net).
/Peter
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Author: RobinDesHautbois
Date: 2012-07-07 01:59
Scrap-ping reeds while making is often a combination of 2 things:
1. skills with the tools still in development
2. knives not sharp enough.
#2 can be contentious: like chef-cooks in 5-star restaurants, people like their knives their own ways. Because you are European, it is likely the explanations and demonstrations I put on my blog should work for you:
http://robindeshautbois.blogspot.ca/search?q=sharpening
When it comes to tying the reed, I bought this gadget last year --- remember, I have been making great reeds (to my taste) for over 20 years --- and I find it is the most important invention ever to reduce frustration and wasted time and wasted cane:
http://www.toutpourlehautbois.com/crbst_6_en.html
--- it is also available from kreedo, oboe-shop.de (I think), and Rigoutat
It has even attracted attention from some American-style reed-makers, who often like the opposite of what the gadget does.
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
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Author: RobinDesHautbois
Date: 2012-07-07 03:25
Reading through this thread again, I find A LOT of really good comments... perhaps too many: can get confusing. How about a little synthesis?
I think everyone agrees on these 2 points:
---------------------------------------------------
1. The highest-status instrument (most "pro") is not necessarily the best choice and will not necessarily help you progress the fastest.
2. The best way to choose the right instrument for you is:
a) TRY, TEST AND COMPARE --- you can't possibly try all of them!
b) Even with the testing, the input of your teacher is really important.
Hopefully, your teacher will not impose biases that are not suited to you. I'm sure Erik Niord Larsen and David Walter can give excellent advice.
After that, people's opinions and experience can be helpful, but remember that people like different instruments for different reasons. Two players at the same level will like different instruments because of their body characteristics as well as climate and performance style.
For example, I have a very loud speaking voice (people think I shout). So my reeds need to accept my big air volume and pressure: my reeds crow more harshly than most people like.
My own comments in this thread can also be confusing. So here goes in a nutshell (best/favourites on top):
===== Instruments I have played with some significance =====
1. a dozen Lorées (standard) from the 1980's-90's
=> my own was greatly improved when the finisher at Laubin re-bored the bell
2. Yamaha Customs from the 1980's-90's
=> they were only beginning to make serious oboes
3. Signet Soloist, plastic (Selmer)
=== Instruments I have tried for a couple of days or less ===
** Impression: these are better than the above list.
** Impressions can change when used over time and in different atmospheres.
1. Howarth XL (new) -- on same level: old Strasser ("junior" Marigaux)
+ only real preference of the XL: heavier body (I just like it) and tighter (new) mechanics
++ otherwise, I thought the Strasser tuning and blowing were certainly the equivalent of the XL
2. really old A and C-Series Lorée (before 1970)
3. Buffet Green-Line -- on same level as Covey (standard)
4. new Howarth student and "normal" pro model
=> I find Howarth easier tuning, blowing and stability than Lorée
5. new (after 2000) Lorée AK
6. new (after 2000) Lorée standard
+++++ Instruments I really want to try: +++++
+++++ high hopes for fantastic instrument +++++
No order, all by reputation.
* Dupin Impérial (less interested by "regular" Dupin) because of rarity and Scandinavian woodwind style is my favourite
* Marigaux M2 : used by many, many soloists and orchestra players
=> Marigaux is highly praised in From Italy to Russia and on all continents
* Ludwig Frank and Mönning Platinum: German greats and comments from people
=> Albrecht Mayer, Ingo Goritzki, Gregor Witt.....
= Instruments I am curious about =
* Fossati Soloist 20th anniversary
* Rigoutat Model J
* Bulgheroni
* Viennese oboes
Note that my teacher, who showed me how to make very good reeds easily, had played on a Marigaux (901 ?) for over 20 years.
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
Post Edited (2012-07-07 03:45)
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Author: heckelmaniac
Date: 2012-07-07 22:32
Hi Robin,
If you happen to be at IDRS this week, be sure to try:
Puchner English horn (the best English horn I have ever played- no contest)
Puchner "XL" English horn bocals (super thick wall, like having a turbo added)
Bulgheroni "Opera" model oboe (also: MUSA model)
Howarth S5 XL Cocobolo
Marigaux "Altuglas"
Rigoutat Model J (somewhat "Laubinesque," though I prefer the Howarth S5 XL)
Covey (especially Honduran Rosewood)
With good cheer, Peter
Oboes.us
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Author: Trond.Bjarne
Date: 2012-07-09 17:24
Thank you all for participating.
So many great posts here!
I shal soak it all up and take the advices to a more physical level.
I'm confident that i'll find an oboe that gives me satisfaction for many years to come.
Trond-Bjarne Klungseth Johnsen
Norway
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Author: Jeltsin
Date: 2012-07-10 06:50
I just now not interested in buying an new oboe, but when I will I certainly will consider a Sound Alchemy. I think I then have a better chance to get an oboe designed for me instead of trying out an oboe amongst a couple.
I like your list of oboes Peter, but do you think a cocobolo oboe is something for Norway?
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Author: heckelmaniac
Date: 2012-07-10 16:54
Dear Jeltsin,
For sure some risk exists for any wooden oboe in an adverse climate,
especially an extremely cold climate, or an extremely dry climate.
Cocobolo wood may have inherently slightly more risk of cracking than grenadilla, assuming old growth wood, and well aged -not simply (only) kiln dried at c. 125 degrees for two years.
Howarth has a first class reputation for aging of wood and wood selection.
I have sold many all wood "classic" (pre- J series) Loree oboes to clients in Alaska. So far, all have survived un-cracked, as the owners have been meticulous in protecting the instruments from temperature shock. Many owners of all wood oboes in Alaska have devised heated case covers, or super insulated case covers for their instruments. And treating (water-proofing) the bore of a wood oboe with Woodwind All (made by Chempack, available from Cascio) seems to help a lot.
However, you may simply wish to play it safe- this would be my recommendation. I believe that Howarth could make an all polymer (black cast Acrylic, clear cast Acrylic, black Acetol, etcetera) version of a S5 XL oboe. And the Marigaux "Altuglas" clear Acrylic oboe is absolutely first class.
In the "budget" department, the Armstrong-Ward "Acolyte" model (all polymer, professional model instrument) is well worth a look. I believe K-GE is now distributing the "Acolyte" model oboe.
With very best wishes,
Peter
Oboes.us
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Author: oboist2
Date: 2012-07-14 05:05
I play on a Fossati - and one of the older ones ( probably made about 1989) - Ever since I got it I was in love with it ( and had played and owned a Loree previously). This oboe is every bit as good and in the time that I have owned it, I have never had a major problem with it and it plays nice and evenly over the whole range.
I have never had an oboe yet that I can say was perfectly in tune, and of course intonation is affected by all sorts of variables.
The sweetest oboe I ever owned was a thumb plate Rudall Carte, simple octave system, ring keys and just a hole for G, it was unvented on the forked F and had no left hand F, but you could not beat it for sweetness of tone and it was a joy to play.
Really, try a few oboes out, get something that is affordable, and that you can enjoy playing. So much of the sound you eventually will produce is formed by what you visualise aurally in your head. Listen to great players, form a sound picture of the type of sound you would like to produce, then get a good teacher and work slowly and dilligently. Its not about how much you spend on an oboe, that you play the "right " brand or how many hours you put in.
You must firstly have an idea what you want to achieve, think very hard before and whilst you practise, work on reeds with a good teacher, and then you may make something of it IF you have the talent and the oboe is your instrument.
Thats just my thoughts on the matter. I wish you all the success
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Author: PaulNorway
Date: 2013-06-20 12:48
Living in Norway I have had the opportunity to try several Dupin Imperial. 90% of the one I have tried have been REALLY good oboes. Just like my "classic" Dupin the scale is Incredibly even. the last 10% have been good, but kind of "soul less".
It was difficult to do anything with it, and I don´t think it was my reeds. I have spent a lot of time finding the staples and the shape that match my Dupin.
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Author: Oboehotty
Date: 2013-06-21 02:53
Without hesitation, The Bulgheroni Opera model is fantastic! I have played three of them and after playing all of my professional career on a Loree, will never buy a Loree again.
Howarth XL -- Fantastic!
Bulgheroni Opera -- Fantastic x10!
I am not familiar with the Puchner instruments myself, but I am told that they are amazing! Have also heard wonderful things about the Monnig (sp?) instruments!
My pick is a Howarth XL or Bulgheroni Opera (the latter is WONDERFUL!)
Shawn
Professor of Oboe - Youngstown State University
Howland Local Schools - MS Dir. Of Bands/HS Asst. Dir (Marching, Symphonic)
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The Clarinet Pages
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