 The Oboe BBoard
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Author: samovar
Date: 2011-11-19 02:36
I recently started playing again after a ~20-year break and have been lurking on this board and rummaging in the archives for a couple of months. If this kind of community (and access to quality reedmakers!) had been available back in the day I might never have quit... A number of folks in particular have been very generous with time and advice, including Peter Hurd, Nora Post, Patty Mitchell, Cooper Wright, and Hannah Selznik.
I cut my teeth on a beloved Loree bought new in ~1985 and played until I sold it in college.
Since starting up again I've been playing a rented Fox 333 from Forrests which sounds remarkably good for plastic and has basically all of the keyword except the split ring D and adjacent banana key.
But now finally this weekend I've gathered a number of instruments for trial with an eye toward a purchase:
1988 rosewood Laubin
2008 Marigaux 901
1999 Loree AK bore (N-series)
1987 Loree (H-series modeled on "C" series)
which I'll also compare to the Fox and my teacher's more recent vintage grenadilla Laubin.
First impressions have the rosewood Laubin and the Loree H-series out in front. The Laubin sounds perhaps a bit warmer but also somewhat stuffy, with less dynamic range (can't go nearly as loud) and less crispness/clarity than the Loree "H". The AK Loree seems very stuffy, while the Marigaux (despite being a gorgeous, pristine specimen with nice ergonomics) sounds unstable and even slightly unpleasant. Unfortunately I wasn't able to find any used Howarth XLs to try.
I would welcome any comments or suggestions, in particular, recommendations of various play "tests" to try as I continue to compare these various instruments.
Bill
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Author: pliscapoivre
Date: 2011-11-19 10:33
I agree that Laubins generally won't get as loud (and still keep a round sound) as Lorees. The dynamic range can be more or less important depending on what music you plan to play...
As you play all of the instruments over the next few days, you may find that they change a bit, esp. those that may not have been played for some time. If you can get a hold of some reeds on different kinds of staples, you might note some surprising differences in stability, pitch, etc.
I had an O-series Loree (regular model, 2000) and it served me very well indeed. Never cracked, never needed any repair. My niece has it now and I'm still surprised and impressed by it every time I hear or play it. I have a less positive impression of more recent Lorees.
The Fox oboes are pretty darn good, aren't they?
Post Edited (2012-03-26 15:45)
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Author: mjfoboe
Date: 2011-11-19 11:23
I own a marigaux 901. And yes I had trill crack as did another player. So maybe there is a problem there. However, I am very pleased with the beautiful tone, projection, and ease in the exterme upper range of the Oboe... Among other wonderful attributes. I played my teacher's Loree Royale.... The sound was too covered for my taste and lacked the warmth of tone of my marigaux.
Mark
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Author: mjfoboe
Date: 2011-11-19 13:28
That is down right SCARY!
Did you send the pcitures to Marigaux?
What was their response?
What a shame .......................................
I wonder if this is becoming more and more of a problem across all Oboe makers?
Although, my previous Loree L series did not crack in the top joint.
Mark
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Author: ohsuzan
Date: 2011-11-19 13:55
Samovar (Bill), as you are trying the various instruments, it would be enormously helpful if you had someone else who knows oboes very well listening to you. Failing that, you need to also record yourself on each of the instruments, so you can hear how they sound *outside* your own head.
I regularly use my laptop to record myself playing, and I am just continually amazed at how different my impressions of the sound are in the recordings vs. my subjective experience. Reeds that I think are too bright will actually sound balanced; reeds that I think are too stuffy will actually sound quite resonant. And occasionally, reeds that I think are wonderful will sound like nothing much.
I'm thinking the same experience may hold for assessing the instrument itself -- what sounds wonderful to you while playing may not actually sound as wonderful to others, and vice-versa.
Good luck with your process! Sounds like a fun way to spend the weekend!
Susan
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Author: pliscapoivre
Date: 2011-11-19 15:58
Yes, the photos were scary indeed! I sent the oboe back to Paris. The shop helped me and dealt with Marigaux once they saw the photos. I only spoke to Marigaux on the phone once, and they were very nice indeed.
Back to the original topic, do have a great time with these four instruments. I'm going to take Susan's advice myself and am trying to buy a Roland R-09 HR at the moment! I always forget that having the thing in my mouth obviously affects the way the sound gets to my ears!
Cheers!
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Author: oboeandy
Date: 2011-11-19 18:09
I just want to point out that the feeling that Laubins won't get as loud as Lorees isn't universal. In fact, I switched to Laubin partially because I had been consistently blowing past my best sound in order to project well on Loree. I feel that the stability of the Laubin allows me to widen my dynamic range considerably without forcing me to add edginess to my sound.
Bill, are you making your own reeds? If the H-series Loree and the rosewood Laubin are still your frontrunners, try tailoring reeds to each of them. They might both be excellent instruments, but they almost certainly have different strengths. If you feel that the Laubin is stuffy and won't articulate as cleanly as the Loree, perhaps your reed needs a longer tip. Just a thought.
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Author: pliscapoivre
Date: 2011-11-19 22:30
I'm with you about tailoring reeds to the two instruments, Andy. Thanks for your point of view about the Laubins and dynamic ranges. I'm sure you're very right!
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Author: samovar
Date: 2011-11-19 23:24
Thanks for all of the feedback.
Time with my teacher today confirmed first impressions -- the two clear contenders are the rosewood Laubin and the "H" Loree. It's not going to be easy to say which is "best" for me. Unfortunately (?) I have not tried to start making reeds again just yet (I have a "day job" of course and have focused on building my chops with available time). But I have some good ones from Cooper Wright and Stuart Dunkel along with a small number of others, all of which are different enough to give me some variables to test. The Laubin can certainly provide some cover to a shrill reed that the Loree broadcasts more transparently.
There is something perhaps sweeter and mellower about the Laubin while the Loree is "lighter," crisper, and perhaps freer. I actually like both better than my teacher's grenadilla Laubin.
Asking price on the Loree is ~$4k and it looks almost like new despite its 24 years after (I'm told) being worked over by Jason Onks. The Laubin (asking price $5k) is showing its age a bit more and while the seller had it adjusted along with replacement of some pads/springs (seal is good), there are a few other issues with the mechanism that will need to be addressed and there is much more tarnish/grime in harder-to-reach places on the silver. No cracks on the Loree. The Laubin had a very long crack on the underside of the top joint pinned (6 pins) years ago by Laubin. Inside of the lower joint/bell is also rougher looking on the Laubin (a lot more wood grain visible).
Before I decide I will keep playing both for a few days to study, in particular, any intonation quirks as well as soliciting other opinions about how I sound. Also will try Peter's suggested bell swap.
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Author: ohsuzan
Date: 2011-11-20 01:44
It sounds to me like you are already emotionally attached to the Laubin (or perhaps to the *idea* of the Laubin), but you also think that the Loree is the better instrument from a number of standpoints.
It will be interesting to see how the pitch tendencies are.
Just my .02. I'm a good mind reader.
S.
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Author: Joseph Tomasso
Date: 2011-11-20 02:04
I play a Marigaux 901 built in 2001 and i find it to be an excellent balance between dark/bright that allows me to build a reed that doesn't require a lot of extra finishing. In my masters I played a loree instrument that was a lot thinner of a sound (and I felt like I was always playing with my reeds to get a dark sound). I have never played a Laubin, although the 2nd oboist in my orchestra has an oboe/english horn by Laubin in grenadilla (and has an absolutely incredible sound).
I tell all of my students to try Marigaux, and if i had the extra cash i'd be trying an M2 asap! I love them, although everyone is different and every oboe is very unique. best of luck making the decision.
Bachelor of Music, Sax/Clarinet Performance (2005, 06)
Master of Music, Multiple Woodwind Performance (2008)
Master of Music, Oboe Performance (2013)
Gainesville Chamber Orchestra (Clarinet)
University of Florida 2010-2011(Visiting Lecturer in Woodwi
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Author: WoodwindOz
Date: 2011-11-20 03:02
Joseph, I also have a 2001 901, and I completely agree with you.
I also don't doubt the current situation with the wood, which is a real shame for such a beautiful instrument, and I know others suspect it to be true of the Lorees of late as well. For the record, five Lorees in our studio have cracked this semester, and they have all been recent (last couple of years) purchases.
There is something about old wood that seems to give warmth and character to an instrument to me. As long as the mechanics are stable, I personally would be attracted to the seasoned (of reputable manufacture, of course!) oboe most times.
I believe (correct me if I'm wrong) that rosewood is a wood better suited to chamber music as it doesn't project to the same degree as grenadilla. What you end up with could be determined by what you intend to use it for.
Rachel
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Author: samovar
Date: 2011-11-20 11:48
Susan, that's an interesting read on my thought process. My teacher seemed to think I have an emotional attachment to the Loree, perhaps since that's what I "grew up" on. I am concerned that perhaps I am letting essentially cosmetic issues with the Laubin interfere with my appreciation of its actual musical characteristics (not to mention a unique opportunity to get a relatively rare instrument).
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Author: pliscapoivre
Date: 2011-11-20 12:29
Samovar, do you want to play a few notes on each of them and post the recordings? Maybe we could give you a couple of additional opinions.
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Author: Beetlebum
Date: 2011-11-20 14:54
Samovar, it would be very useful to have the Laubin checked out by an ace oboe repair person. You might consider a drive down to the Laubin workshop and get their opinion about the horn you are considering. It is likely that attention by a good repair person at Laubin (NY), or someone like David Weber (AZ) or Jason Onks (TN) or Nora Post (NY) could take a good/great playing horn an make it absolutely fantastic. It is also possible, that despite the visual appearance, it is already playing near its potential.
The same advice goes for the Loree, actually.
Good luck in your decision !
BB
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Author: ohsuzan
Date: 2011-11-20 17:38
Well, in order for me to pay a premium for an older oboe with a major repaired crack, that also needs other, unspecified work, I would have to be pretty darned sure there was a clear benefit to that instrument over my other choices.
Otherwise, you risk taking on an instrument that is problematic from the outset, with no particular benefit.
S.
Post Edited (2011-11-20 20:30)
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Author: samovar
Date: 2011-11-21 00:42
So here are a few sound clips (a scale and the first few bars of several pieces), made with an iPad about 15 feet away. While I don't yet sound nearly as good as I did 20 years ago, I don't think I sound quite as bad as these recordings, but they do give some sense of two instruments' qualities. Order of the instruments is the same in each clip.
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Author: samovar
Date: 2011-11-21 00:46
For some reason the clips didn't attach to the previous msg.
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Author: samovar
Date: 2011-11-21 00:54
Still not letting me post clips here so I'll put the them in my Dropbox public folder, links below:
http://dl.dropbox.com/u/10843423/f%20major%20scale.wav
http://dl.dropbox.com/u/10843423/bach.wav
http://dl.dropbox.com/u/10843423/Mozart.wav
http://dl.dropbox.com/u/10843423/Xmas.wav
http://dl.dropbox.com/u/10843423/Swan%20lake.wav
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Author: Mark Charette
Date: 2011-11-21 00:55
samovar wrote:
> For some reason the clips didn't attach to the previous msg.
Not allowed on the BBoard.
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Author: cjwright
Date: 2011-11-21 03:53
So I listened to your recordings.
If I had to guess, I would say that oboe 1 is the Loree, and oboe 2 is the Laubin.
Your scale sounded more stable on oboe #2. Particularly on the Mozart, your upper register was also more "in control" on oboe #2.
Your tone sounded more stable on #2, but there seemed to be more flexibility with oboe #1 (flexibility=good in my book.) Maybe with a better reed (you said you have one of mine, although I'm not sure who you are!) that would be more suited for #1, you would have more stability in both pitch and tone.
Personally I actually liked #1 better because of the flexibility in tone. If you feel like better reeds/getting stronger would allow you to gain more control with oboe #1, that'd be my pick. But if you want something that will just play more consistently without having to work as hard or adjust as much, then #2 would probably be your pick.
Anyways, just my 2 cents.
Blog, An Oboe In Paradise
Solo Oboe, Thailand Philharmonic Orchestra
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Author: mjfoboe
Date: 2011-11-21 13:44
I vote for the Bach and Swan lake. The sound was more resonant.
Mark
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Author: samovar
Date: 2011-11-21 13:50
Thanks for listening, Mark.
For every clip I played each instrument in succession. Which instrument #1 or #2 sounded nicer to you in Bach and Swan Lake?
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Author: ohsuzan
Date: 2011-11-21 13:55
What fun, listening to these clips!
And I have a clear, clear favorite: oboe #1 is IMO just head and shoulders better sounding than the other one, at least, given your current reed.
It is WAY more resonant, and just a beautiful, crystalline sound. It is focused, not "pitchy,". Very nice, indeed.
The only place I heard any issues with #1 were in the altissimo on the Mozart, where it seemed to go a little wild.
I have no idea which oboe was which, but I do know that I vastly prefer the sound of #1.
Susan
Post Edited (2011-11-21 16:51)
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Author: Beetlebum
Date: 2011-11-21 15:28
I also think the sound of horn #1 has more life and tonal flexibility. With #2 you seem to working harder to get the sound you like.
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Author: oboeandy
Date: 2011-11-21 16:28
To me, it sounds like oboe #1 sits consistently higher in pitch than oboe #2. It would be harder for me personally to play (and make reeds for) the sharper oboe.
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Author: sylvangale
Date: 2011-11-22 08:06
I think you sound the same on both oboes, but the second oboe doesn't seem to respond well, it sounds like you're fighting to keep the tone going.
♫ Stephen K.
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Author: Hautbois Marigaux
Date: 2011-11-22 15:02
Dear oboe players,
I have been coming and reading the various posts on Oboe bboard from time to time. It has always been interesting for me to read all the various questions and answers, some of the writers being an incredible source about instruments, such as 'Chris P'.
Reading this post, being not an expert on Internet, I have wondered if I had to reply or at least give my comments on some of the various informations given. Then, I thought it would be necessary to bring to your attention the following points :
1/ Marigaux sells throughout the world hundreds and hundreds of oboes per year, all mounted and finished by hand, some played by prestigious orchestras in the world. We can proudly say that our instruments bring satisfaction to the ones who choose them and when sometimes it is not the case, we always try in our workshop in Paris or with the help of the local dealer to find a solution to please the musician. Always. This is our duty and I would think that all the people who have come to visit us would agree on this.
2/ Marigaux is not using "poor quality wood that has not been aged properly" and I wonder on what ground this kind of sentence can be written. We dry our wood ourselves, with absolutely no artifical methods, the only product we use to do this is time, for at least 4 years. The wood we select come from the finest forests in Mozambique, with the same suppliers for decades, and it is storaged in a specific locked room in our factory in Normandy where only specific employees go ; all of this because we highly regard the wood as our primary raw material. Please note that Marigaux would never dare to use low quality wood and I would be personally happy to invite Mr or Ms. Pliscapoivre to visit our set-up in Paris or in Normandy to see this with his or her own eyes.
3/ The pictures showed from Mr or Ms. Pliscapoivre do not reflect the quality of the instruments which leave our company. As an oboe maker, it would have been useful for us to receive these pictures before seeing them on Oboe Bboard, with informations such as the serial number and the history of the oboe since it left our workshop, for instance. However, I confirm that what is seen here is unacceptable and should we have been aware of this either from the musician or from the dealer (and I wonder why we have not), we would have changed the joint immediately and make, again, the necessary steps to make the musician satisfied.
I hope that answers to some of the questions that this post may have created.
With best regards,
------
Renaud Patalowski
Président
Marigaux SAS
www.marigaux.com
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Author: mjfoboe
Date: 2011-11-22 19:50
Mr. Patalowski,
As an owner of a beautful Marigaux 901;
I want to thank you for adding your thoughts to the discussion.
I hope you or some others in the Marigaux family will continue to contribute to our discussions.
And ask for some feedback from everyday players .... not just from the famous!
Mark Flanzraich
Post Edited (2011-11-22 19:51)
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Author: mjfoboe
Date: 2011-11-22 19:50
sorry double post! please remove......
Post Edited (2011-11-22 19:51)
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Author: pliscapoivre
Date: 2011-11-23 08:14
Dear Mr. Patalowski,
I appreciate the fact that this case has caught your personal attention, and I thank you for your openness and concern. The serial number of the instrument in the photographs was 35157. I'm sure that, given the serial number, you can see in your files that the situation was indeed known to Marigaux. As I wrote in my original post, I received a refund for the oboe.
I would like to take this opportunity to hear directly from you what the official waiting time for a new upper joint is, and what steps are generally taken to help a professional player during that waiting time and during the ensuing break-in process for the new joint. Are players who suffer irreparable cracks provided with a selection of replacement joints from which to choose? Perhaps I was misinformed, but my understanding is that the player must accept the new joint regardless of its interplay with the rest of the instrument. I welcome your corrections on this matter as well as any opportunity to change my opinion of Marigaux' policies. I wonder, as well, if you might be willing to share with us the approximate number of replacement joints Marigaux provided for irreparably cracked instruments in 2010.
I hope that this correspondence will be of use to others who are reading it; more than anything, I hope that I am the only one of your clients who has lost a year of professional life due to the behavior of a Marigaux oboe (a behavior which no one could have understood without seeing the inside of the bore). If I am indeed alone in having suffered so, I would gladly take back my words about Marigaux' wood: I don't speak lightly about such things. I still fail to understand, though, how an oboe resembling the one pictured in my previous post could have come from your renowned workshops; I do hope that you can enlighten me.
Respectfully yours,
Amari Barash
Post Edited (2012-03-26 15:47)
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Author: pliscapoivre
Date: 2011-11-23 08:40
Samovar,
I think you sound amazing after that 20-year break! Congratulations. Your basic sound is enjoyable, which, as we all know, is not a given!
To my ears, oboe #1 has a bit of "stuff" around the sound, perhaps a bit of buzz which surely has a different effect at a distance (i.e. stage to audience). I don't find it at all unpleasant. It sits higher in pitch than oboe #2, which to me sounds warmer and rounder. That said, #1 has a real personality and individual quality. From your scale, I don't hear any serious pitch problems with either instrument.
Have you reached a decision?
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Author: RobinDesHautbois
Date: 2011-11-24 00:20
Samovar..... WOW!
20 years?.... WOW!
Did you manage to play at all during that time? The rest of this note assumes that you did absolutely nothing, so if I'm wrong, I apologize for any condescension.
Don't worry too much about "stuff" in the sound (unless the instrument is obviously windy on those notes) or restricted dynamics or even notes with poor focus. Choose your oboe for the best comfort factor (including tuning, focus, sound etc.). As you gain blowing strength again, many things will change around your sound.
Some things will always remain more difficult compared to "the good ol' days", but some things might actually get better than back then as you learn anew and hopefully prevent some bad habits that we often get with youthful impatience.
At any rate, best of luck on your choice and ALL my encouragements on taking up the oboe again!
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
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Author: samovar
Date: 2011-11-24 01:40
Thanks so much to all who have posted and taken the time to listen to the clips and make comments. The kind words of encouragement are also appreciated.
To answer Robin's question, I did not so much as touch an oboe from ~1991 - September 2011. I've been happy about how much my fingers seemed to "remember", but obviously I have much work still to do before I feel like I am really making music that would be presentable in public..
That high-D in the Mozart was truly awful, wasn't it?
Cooper identified the two instruments correctly: # 1 was the "H" series Loree; # 2 was the rosewood Laubin.
I am leaning toward the Loree. The primary remaining concerns I have are the overall sharpness and difficulty making the high register notes sound cleanly. My hope is that these problems are a function of embouchure and reeds that I can fix. On the other hand, there is something really warm and unique about the rosewood Laubin in an oboe world carpeted with Lorees. It also might do a better job covering my deficiencies. It's nice to have two good choices I suppose.
I have a couple of more days to play before I have to decide and will solicit some lay opinions from visiting family as well.
Happy Thanksgiving everybody.
Bill
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Author: Hautbois Marigaux
Date: 2011-11-24 09:22
Dear Ms. Barash,
First, I have absolutely no doubt on the authenticity of the pictures and above all, on what purpose they have been taken : since one year, we have several musicians who have come to our workshop quite disturbed by the methods of the "highly regarded German oboe maker" to promote its own production against the other oboe makers. I must say this is quite annoying when I learn about your personal experience on the oboe.
In this regard, I am positive that your trouble could have easily been managed by our technicians, as we did for the other musicians living in Germany who had the same questions about their oboe being analysed this way : they went back home extremely happy and relieved with their instruments.
To answer to your various points, this is how Marigaux operates : there is not one single oboe, from our student to our professional line, from the new ones to the ones which have been serviced, which leave Marigaux without being tested and played by the person who tunes our instruments and who is the only one able to give a green light. All instruments must match our Marigaux quality and sound constraints before we ship them. We do not use a camera to proove this but various quality control steps and at the end, a highly estimated musician who is very strict on his judgment, and who has been the Master on the oboe quality for many many years now. Sound and mechanics are for us the most decisive criteria to let an oboe go.
Your oboe we received from the Swiss dealer earlier this year regarding your issues was tested and controlled the same way and frankly, after our service, it passed the tuning session with no problem. We have learned as a second step that you were not pleased and decided to change the top joint, after the long feed-back we received from the dealer, even if both the dealer and the technician team did not see really the point to do it. But we did it, as I wrote 2 days ago, "to make the musician satisfied".
In our process, we do not offer the choice of several top joints when we decide to operate a change and we never have been asked about it. The decision to change the top joint is done utimately, when the traditional repair process prooves to be unefficient, which is less than 5% of the repairs we receive. As a matter of fact, we always ask to receive the complete instrument in order to be able, after having made the new joint, to tune again the instrument as it would have been a new one and every musician who went through this process was absolutely happy to find this way "their original Marigaux". This is what we did for your oboe and after all the time spent on your instrument, I sincerely regret it did not please you at the end, even with the new top joint. Well, OK, this can happen.
Now, as I wrote in my first post, I was not sure if Marigaux had to reply to this forum thread as I knew I was, by doing this, opening the Pandora's box. But the terms you used implied I guess some comments from our side so please allow me now to close the box, at least from us on the Forum, as I have the sense this discussion could take much more time than needed.
I would conclude that you have picked an oboe which did not satisfy you and I sincerely regret and apologize about it : we have done, according to our procedures, what we think was more than necessary to please you but it did not work out and the Swiss dealer, at the end, got your money back. Again, I would be very happy to welcome you in Paris and introduce you to our production process which, in any case, does not create "disaster oboes" and use "poor quality wood", etc... . So feel free to contact us through 'contact@marigaux.com' if you wish to continue the discussion on your personal case.
With best regards,
------
Renaud Patalowski
Président
Marigaux SAS
www.marigaux.com
PS : Marigaux is not an isolated ivory tower and we try to take into account all the feed-backs - and they are plenty - to make our instruments always better. Thank you to all the musicians who show their interest in our production, also the ones on the Oboe bboard and also on this thread.
contact@marigaux.com
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Author: rgombine
Date: 2011-11-25 03:46
Listened to your records before reading which was which. There is no doubt in my mind that you should get the Loree. The pitch, response, and color seem to suit your playing much better. In your shoes, I would also be tempted by the Laubin -- "rosewood laubin" just sounds sexier. But to an objective listener, get the Loree.
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Author: samovar
Date: 2011-11-25 16:20
More data points:
The Loree does seem pretty consistently sharper, esp. in the upper register, through various scales and pieces, accompanied by some difficulty getting the high register to sound cleanly at about D and above. That may be something I can fix with reeds and embouchure adjustments but it's a fact all the same right now, other variables being controlled. The Laubin may be better able to cover up my deficiencies (and those of my reeds).
Plurality of family members also seem to like the Laubin tone better, described variously as "warmer" and "rounder." There is something to that, I think, that doesn't come through so well on the recordings. On the other hand everyone agrees it looks like I am "working" much harder on the Laubin.
Thanks again for the indulgence as I continue to obsess about all of this far too much in public.
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Author: pliscapoivre
Date: 2011-11-25 18:46
I think that the characteristics your family referred to are indeed coming through on the recordings. If the Laubin helps you to do your work by doing *its* work, it's a great sign...
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Author: Joseph Tomasso
Date: 2011-11-26 15:34
Personally, I would pick the oboe that was the most pitch friendly.
as oboeandy mentioned, a sharp oboe is no one's friend
If you think you can manage with a slightly longer tip, or perhaps longer staples, go for it! Otherwise, my vote would be the laubin.
What a fantastic problem to have, if I may say
Bachelor of Music, Sax/Clarinet Performance (2005, 06)
Master of Music, Multiple Woodwind Performance (2008)
Master of Music, Oboe Performance (2013)
Gainesville Chamber Orchestra (Clarinet)
University of Florida 2010-2011(Visiting Lecturer in Woodwi
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Author: sylvangale
Date: 2011-11-26 23:49
There are many that do not appreciate the sound of an oboe at close range and any muffling would be preferred, if you stuck a sock in the bell of the Loree they may prefer that one too!
I took the swan lake recording and split off the beginning and end so that they would stick out and I found the perfect swan lake background.
Loree vs Laubin -
http://www.youtube.com/watch?v=Obilc8zdVmY
♫ Stephen K.
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Author: samovar
Date: 2011-11-27 17:45
I decided to go with the H series Loree.
There are qualities to the rosewood and Laubin sound that are very appealing. I'm sure I'll return to try non-grenadilla instruments in the future.
There is absolutely a warmth to the rosewood Laubin that the Loree can't match. It calms "wilder" reeds. But the flipside is that it is harder to blow and doesn't have as much dynamic range. The pitch issues may be a bit of a draw and my embouchure and strength aren't yet at point for me to judge fairly. On some reeds, the Laubin is flat and the Loree is on pitch. On other reeds, the Laubin is on pitch and the Loree is sharp. Neither has any crazy pitch irregularities, although the Loree tends to drift a bit sharper in the higher register. The Loree may take more effort and attention to play consistently on pitch, but that may be a good thing in that the oboe won't protect bad habits as I continue my return to playing.
Thanks to all for participating in this process. The opportunity to compare various oboes was fascinating.
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Author: ohsuzan
Date: 2011-11-27 21:55
Great to hear what you decided! It must have been an interesting time!
Of course, I was one of those who was partial to the Loree. It has an incredible amount of "ring" and color and depth, and all those good things. And you won't have much trouble finding reeds that will keep it in line -- there are LOTS of reedmakers making very restrained-sounding reeds. Have you tried Good Tone Guild? Very "meaty" reeds.
Susan
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Author: RobinDesHautbois
Date: 2011-11-28 00:26
Samovar,
thanks for sharing this process.
It was REALLY interesting to me because I have practically only ever played on Lorée (standard bore) and Yamahas.
I have a huge admiration for Laubin after trying one only once for a few minutes and them revoicing my Lorée. It's really nice to see the comparison.
I'm curious how newer Lorées compare.
Robin Tropper
M.A.Sc., B.Mus., B.Ed.
http://RobinDesHautbois.blogspot.ca/music
Post Edited (2011-11-28 00:27)
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Author: pliscapoivre
Date: 2011-11-28 16:17
Samovar, congratulations on your new oboe! Nice that you won't have to lip up in the upper register on the Loree. That's a big plus.
For anyone who may have interest in the Marigaux segment of this thread, I must correct Mr. Patalowski before closing: I never rejected a new top joint; this would be impossible, as I was never given one. I was told that I'd have to wait approximately 8 months before a new top joint would be available.
As for "all the time [we] spent on your instrument," the only time that was spent on it while I owned it was at the Swiss dealer from which I bought it new -- a tricky crack repair job for which I paid handsomely. The oboe was subsequently examined in Germany when the repair proved unsuccessful. Any time that Marigaux may have spent once instrument #35157 went back to Paris was not done on my behalf as I had been reimbursed and was no longer the owner of the oboe.
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Author: hautboy
Date: 2011-12-01 01:36
I was going to guess that oboe one is the Loree and oboe 2 is the Laubin. My personal opinion is that oboe one has a more vibrant tone, more resonant, it just seems to ring. Oboe 2 has a nice mellow tone and even scale, but just doesn't seem to have that ring, it almost seems a bit dull (not trying to sound negative, I just mean in comparison to oboe 1.) If oboe 1 is the Loree I would choose that one not just for the sound but since it seems to need fewer repairs. People will have different opinions though, so I can only suggest which one sounds good to my ears.
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Author: schurch
Date: 2011-12-03 16:50
I also wanted to add, that last year (2010) I bought a brand new Marigaux 2001, and I absolutely love it. It is the sweetest, most in-tune oboe I have had the pleasure of playing. It is quite forgiving of reeds, and has a stability that is wonderfully reassuring. It's pure bliss.
Although I live in the DC area, and even bought it in the late fall/early winter, I took the usual precautions to break it in, and had no issues. I am not saying this to minimize anyone else's experience, but I know when I was looking some people had warned me away from Marigaux for fear of cracking. I played many oboes when falling in love with this particular 2001 (I think it actually picked me!), and and I still plan on getting a Howarth XL and Fossati MB at some point, but am very happy with my decision.
Cheers,
Scott
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The Clarinet Pages
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