 The Oboe BBoard
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Author: fjozn
Date: 2005-05-31 16:21
Does anyone here uses a violetwood/rosewood/cocobolo bell with a normal grenadilla body?
I had noticed at least 2 professionals using that combination.
From my understanding, it is supposed to give a richer and darker sound.
Any comments?
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Author: d-oboe
Date: 2005-06-02 15:16
I think the difference in the woods can change the response, resistance, and stability of the sound produced.
Ultimately the basic sound quality (dark vs. bright) is determined by the bore of the oboe, not the material of which it is made. The ratio from end to end - that's to say how wide the upper joint is in relation to the bell - has the most effect on sound color. The material of which the oboe is made has an effect on sound - but it is very subtle, and usually the player's personal preference. It might allow them to get a special sound that they like, or whatever.
Try it out - if the bell really offers a new shape and dimension to your sound that you like (try many reeds of course) then by all means go for it. Don't change bells simply for the visual aesthetics, or for the prestige of being able to say that you have a red-colored cocobolo bell.
D
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Author: rgombine
Date: 2005-06-11 18:03
I have seen R. Woodhams perform w/ what appears to be a rosewood bell on a grenadilla instrument.
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Author: fjozn
Date: 2005-06-12 02:20
Yup,
He was one of 2 professionals I was talking about in my initial post. The other is the Principal of Tokyo Kosei Wind Orchestra - he uses a customised Yamaha. rgombine wrote:
> I have seen R. Woodhams perform w/ what appears to be a
> rosewood bell on a grenadilla instrument.
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Author: oboeblank
Date: 2005-06-12 22:30
If the bore of the instrument determines the basic sound quality then you could argue that playing a Rigoutat is going to make you sound bright. I have heard some oboists produce the brightest sound on a Laubin and others produce the darkest and most ravishing tone on a Rigoutat.
The wood does change the tone because of their respective densities, it may be slight but it is a marked difference and palpable to many players, such as Richard Woodhams-Rosewood Laubin [back in the day], Sherry Sylar-Rosewood Laubin.
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Author: d-oboe
Date: 2006-02-07 13:46
The difference between those two players is not the wood....it's their bodies! Sherry Sylar and Richard Woodhams do not have the same body, and of course they don't have the same sound concept. (Nobody does - it can only be similar, not exactly the same)
Take your Rigoutat analogy - yes it's true that one player can sound bright, and another player dark, on the same oboe. But it's really not the oboe - it's the player's concept of sound, their physical makeup, and to an extent, the reeds.
Some players might argue that they hear a major difference when playing different oboes. However, if one did a double-blind test and played in front of a panel of professional oboists, that panel probably wouldn't be able to tell the difference.
I agree that the wood density has an effect on the oboe, no question - but it doesn't instantly change the "sound". (such an elusive term anyways) It changes (slightly) how the oboe functions. The difference is in the response, pitch and stability of the oboe. Some oboes have great response, yet aren't as stable. Some oboes are very stable (Howarths) but tend to be slightly less responsive. How does the wood choice come into play? Well, a softer wood combined with a tighter bore might yield great stability, whereas a harder wood and a wider bore might give great projection. So many variables!
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