 The Oboe BBoard
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Author: oboesage
Date: 2014-09-03 03:01
Howdy,
Has anyone played on this horn and what was you experience like?
Regards,
G
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Author: JMarzluf
Date: 2014-09-03 19:50
A local professional oboist brought a few instruments to me recently, so I could help her decide on a purchase. Of the specimens available (One each: Loree Royal, Howarth XL, Marigaux 920 "Altu Noir"), we both thought the Marigaux won hands-down, next to these particular running mates. It was a very smooth and precise player, and we both loved it's full dark tone. I would definitely give it a try, if you're in the market!
Jonathan
http://www.marzlufreeds.com/
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Author: oboesage
Date: 2014-09-04 03:58
Jonathan,
I have two being shipped to me from RDG.
Here is the lineup:
1 Puchner Grenadilla
1 Howarth XL Cocobolo
1 Howarth XL Grenadilla
1 Howarth XL Grenadilla with plastic top joint
1 Howarth S5
2 Marigaux 920 Altu Noir(s)
I will post detailed evaluations of each.
Many Regards,
George
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Author: mjfoboe
Date: 2014-09-04 18:58
Hi,
I played one a few months ago. I was looking for a second Oboe for outdoor concerts.
The Oboe played quite well. I just felt it didn't have the same resonance and projection as my Margaux 901. I found the upper register a little "tight".
It would have been perfect for outdoor work; however, I don't play enough outdoor concerts to warrant the expense of a new second Oboe. I decided a second used Oboe made more sense for me.
Mark
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Author: oboesage
Date: 2014-09-06 04:00
So far I have eliminated the puchner, the S5 (The sound was too bright and two dimensional) and the cocobolo XL (the sound was a little unfocused and did not project as I would have liked). The XL cocobolo did not have a sleeve so I am told that the ones with a sleeve play much differently. I think I have always liked the sound generated by granadilla wood.
Here's what's left
1 Howarth XL Grenadilla
1 Howarth XL Grenadilla with plastic top joint
2 Marigaux 920 Altu Noir(s)
Adding
1 Monnig 150 A Albrecht Mayer model
Can one of you Marigaux players calm my fears about cracking, I I thought they would not crack I would try a 2001 or 901.
Thanks,
George
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Author: Oboehotty
Date: 2014-09-06 08:20
I just recently bought a Marigaux altuglas....not noir. Mine is the clear. I tried three coveys, two Howarth XL's (one coco bola and the other granadilla), 2 Marigaux 901 in wood, several loree's, three bulgheroni, and others including Yamaha.
The Marigaux are WONDERFUL instruments that don't have nearly the "small issues" that Loree currently have. My second choice were the Bulgheroni opera and MUSA (coco bola horn....wonderful!) and third the Yamaha, although the Yamaha didn't quite have the personality. Each one if the three played exactly the same....though with a velvety buttery low register.
I love the Marigaux altuglas more each day! I would be happy to answer any questions. If you can get your hands on a Hiniker...they are amazing and probably the only thing that would have beat out my Marigaux. By the way I am a 20+ year loree player and I won't be going back now that I have played Marigaux.
Shawn
Professor of Oboe - Youngstown State University
Howland Local Schools - MS Dir. Of Bands/HS Asst. Dir (Marching, Symphonic)
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Author: oboesage
Date: 2014-09-07 00:38
Shawn,
There are two things I have heard second hand regarding altuglass and altunoir. that they are so free blowing you must build resistance into the reed. Is this the case?
Second I heard they have a great scale and blend well but lack the soloist charm of the others you mentioned.
Also, do you miss the wood and the thought of wood and the traditional look and feel of it?
Lastly, how's the altuglass changed your reed making if at all.
Thanks,
George
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Author: jhoyla
Date: 2014-09-07 09:48
@Shawn,
How cold does it get, round by you?
One of my fears regarding plastic or composite instruments is that plastic expands and contracts much more than wood. In cold weather, you could get problems with binding keys. Have you ever experienced that?
J.
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Author: Oboehotty
Date: 2014-09-08 04:40
I'm in NE Ohio/western . It gets relatively cold in the winter. We had a cold snap right after I bought it that went in the single digits for about four days with wind chills. I didn't notice much of a difference.
Honestly I have played my 2001 Loree twice since I got the new one. I don't miss it. It gets looks in rehearsals and performances but once "they" hear it, the looks turn to intrigue. It's very dark and chocolatey smooth. (Sounds like I'm describing coffee....which is exactly what I think of when it plays).
Reeds- had to change them a bit - for the better. I have to do MUCH less to my reeds to get a wonderful sounding reed that responds well and is stable in all registers than I do with the Loree. The Marigaux is so reed friendly. The biggest difference is not nearly as much needed out of the back of the reeds.
I did play this horn against many ones
as I mentioned (various brands). The altuglas was the clear winner on various tries and tests. My wife was the impartial listener...a trained violinist turned sped teacher.
As far as "lacking" in personality......don't notice it nor do those that have heard me play. Everyone has said it is much easier to blend with this horn than the loree. In fact two people have told me, that play in different groups, that they find the Marigaux easier to blend with Han others playing loree.
I am still experimenting with shapes a bit to see if any of them make a difference. I use a Joshua +4 most of the time and occasionally a Joshua +2. I am experimenting with a more square tip...a Caleb-1 but so far that one works better on the loree but takes MUCH more minute reed adjustments than the Joshua on the Marigaux.
All around I am enameoured with the sound, feel, and overall experience with the altuglas. The altuglas isn't for everyone but I love it for me.
Shawn
Professor of Oboe - Youngstown State University
Howland Local Schools - MS Dir. Of Bands/HS Asst. Dir (Marching, Symphonic)
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Author: mjfoboe
Date: 2014-09-08 06:32
When I first played my Marigaux 901 - my wife commented:
It has the aroma of warm roasted coffee~!
Isn't that interesting.
Mark
I agree with all of your observations. I am glad I no longer play a Loree.
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Author: Oboehotty
Date: 2014-09-08 06:57
Me too. I am a bit of an oboe rebel myself when it comes to brands. It's refreshing to see so many others realizing there are some GREAT oboes out there that don't have the idiosynchratic issues loree has, that we have come to think is "normal".
The changes I have had to make are a direct reflection of what I have had to do to my reeds over the years to make them play well on my loree.
I cannot say 20 years from now I won't find a loree I love but it is refreshing to play something else and realize playing in tune with little effort doesn't have to be so hard.
Shawn
Professor of Oboe - Youngstown State University
Howland Local Schools - MS Dir. Of Bands/HS Asst. Dir (Marching, Symphonic)
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Author: mjfoboe
Date: 2014-09-08 17:14
If you like to share some reed making ideas .... since I began to play a Marigaux ... I would be happy to have a discussion.
Have Fun~!
Mark
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Author: Norm L
Date: 2014-09-10 07:24
I recently bought a 920 from RDG at the IDRS convention to replace my Monnig 155 AM. The Monnig was actually a joy to play in most ways, but I had a persistent problem with a sharp high C and above. Interestingly, when I played it with a long scrape (American style) reed, that problem vanished. But I'm a huge European fan, and I'm too wedded to my short scrapes. I just needed to find the oboe that was right for me.
I tried most everything at IDRS, but I kept coming back to Marigaux. To me, they have this uniquely warm, deep purr that's so addictive. The altuglass was wonderful (but not so much the price tag!). The M2 seems to get most of the attention these days, but for two straight conventions, I preferred the old school sound and feel of the 901/920.
I played the three 920s at RDG many times over three days. Very consistent quality among them. I practically flipped a coin and just chose one. Then I compared it with my favorite wood 901 and plastic top 901. At most there was possibly a smidgen more edginess in the sound of the 920, but nothing I figured a little reed adjustment couldn't smooth out if necessary. Where it stood out for me was in responsiveness, particularly the low register. Very free and easy articulation.
In all, I found it very comparable to a grenadilla 901, and I loved the idea of not having to break it in or worry about cracks. A month later, and no regrets at all. No more intonation issues with my short scrape reeds. I play in heavy air conditioning, and I haven't had any sticking keys. Maybe a bit more prone to condensation in the side octave key, so I still warm it up the same as wood.
Having said all that - there was a Monnig AM at Ludwig Frank's booth that was an absolute dream to play. So tempting ...
Have fun testing, and let us know the results. In the end, I think the process comes down to a Harry Potter situation. We each have our own oboe/wand out there that's meant for us, so we can make our own style of magic.
Norm L
Post Edited (2014-09-10 07:30)
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Author: EWG
Date: 2014-09-12 13:07
Could those with a 910 or 920 comment on the weight of the instrument? I've been looking for a new oboe recently, and I've tried a few Marigauxs, but haven't been able to get my hands on an altuglas one in the UK.
I was particularly fond of the M2 when I tried it, though I have worries about cracking, and though it seemed well balanced (weight-wise), I would prefer something more light-weight.
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Author: EWG
Date: 2014-09-12 13:14
... and by 910, I actually mean 2009, of course.
Whoops.
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Author: oboesage
Date: 2014-09-24 05:58
The 920 I tried was light weight but not too much so. 920 is a very fine instrument. I loved its sound and its very lyric but dark quality. Like I said I'll be back. G
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