 The Oboe BBoard
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Author: Oboehotty
Date: 2013-07-18 20:58
Hi everyone,
I have this posted on the doublereed list as well. So, no need to double post. Out of sheer curiosity, I would like to know who is playing on an oboe other than Loree and what it is? If you know of others, please post them as well.
Thanks,
shawn
Professor of Oboe - Youngstown State University
Howland Local Schools - MS Dir. Of Bands/HS Asst. Dir (Marching, Symphonic)
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Author: Chris P
Date: 2013-07-18 21:13
I play a kingwood Howarth S5 as my main oboe (plastic Signet as my back-up/outdoors oboe) and a Marigaux cor and d'amore.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Jeltsin
Date: 2013-07-19 05:53
I don´t have an Loree but a Rigoutat and an Yamaha.
I don´t know anyone who have a Loree but I know people who have Marigaux, Ludwig Frank and Dupin.
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Author: PaulNorway
Date: 2013-07-19 07:06
Dupin "standard" oboe and Mönnig 180D "Diamant" English horn. Previously Marigaux 910 and Howarth S5.
I actually don't know anyone here in Norway who plays a Loree oboe, but Loree English horns are more popular.
It seems the standard is Marigaux and Dupin. Mönnig and Buffet is beginning to make a splash in the market, just as Yamaha did around 2005/2006.
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Author: jhoyla
Date: 2013-07-19 07:30
My second instrument is a 37 year old Strasser (Marigaux). Every time I play it, it surprises me with its ergonomics, its stability of pitch and its beautiful light tone.
J
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Author: oboi
Date: 2013-07-19 07:31
Oboe - Marigaux 2001
EH - Fox 500
Most of the people I know in my city play a Howarth XL, as that was the choice by the principal oboist and it kinda filtered down from there.
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Author: wrowand
Date: 2013-07-19 12:35
Laubin rosewood oboe & Laubin grenadilla e. horn. Howarth XL Cocobolo backup oboe.
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Author: Merlin_Williams
Date: 2013-07-19 21:48
Fox Renard 330 oboe and a Linton (Malerne stencil) EH.
Not high end, but solid doubling instruments. They're paying the rent for me these days.
Jupiter Canada Artist/Clinician
Stratford Shakespeare Festival musician
Woodwind Doubling Channel Creator on YouTube https://www.youtube.com/c/WoodwindDoubling
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Author: Loliver
Date: 2013-07-19 22:52
Howarth S45c Oboe and S40 Cor
Friends I know of:
Howarth S40c
Howarth S20
Buffet (not sure what model, 2nd hand with 3rd octave key but no left-F)
Ward & Winterbourne TW3
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Author: Oboehotty
Date: 2013-07-19 23:17
Mark,
I am getting a new horn next summer and am having a great time researching all of the amazing horns out there. I tend to be an oboe "rebel" and want something that isn't Loree. There are so many wonderful horns out there, I am curious of the "non-Loree" instruments people are playing on.
Shawn
Professor of Oboe - Youngstown State University
Howland Local Schools - MS Dir. Of Bands/HS Asst. Dir (Marching, Symphonic)
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Author: concertmaster3
Date: 2013-07-20 00:24
Yamaha 841 here (First oboe was a Fox 400). I also play a Fossati Soliste English horn
Ron Ford
Woodwind Specialist
Performer/Teacher/Arranger
http://www.RonFordMusic.com
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Author: DrewSorensenMusic
Date: 2013-07-20 01:44
I'd take a serious look at the Yamaha 841 to start. I believe it has been used in the Philly Orchestra. Philly Oboe professionals are pushing the model. Howarth XL if you got the bread for it. Then for me it's Loree, Laubin, and Hiniker. Maybe I'm missing one. Covey perhaps (which might actually be a good fit for you, purely cause you are a self proclaimed rebel), especially if you have small hands. In truth I'd avoid Marigaux, purely from reading a bunch of reviews citing problems with them. I'm sure I'm going to get hate messages for saying that.
Try googling Oboe Fairy, e-mail her, and ask her for a list of her stock. She's awesome, her instruments are all in tip top shape, and she has a good variety of used and new. Probably the best Oboe seller in the US.
I play a Loree C series I purchased from her. A note for Lorees, I wouldn't say no to them, just because of the name. Every instrument is different, and you may just find a Loree in an A or D or H series that fits your personality.
Drew S.
(I'm not a good oboist, but I try really really hard) 
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Author: Oboehotty
Date: 2013-07-20 02:39
Hi Drew,
Thanks for the input -- appreciated.
I'm actually looking seriously at the Bulgheroni Opera or Musa, in addition to the Howarth, and Covey.
I have a student who purchased a Bulgheroni Opera. I have played it several times and each time play it, it blows any Loree I have every played (besides the one I own..I have played many) out of the water by a long-shot! A close friend who also happens to be the oboe professor at a large university in the south also bought one and sounds marvelous on several recordings.
Howarth has been a favorite for a long time so definitely on the list. I would love to be able to afford a second hand Hiniker (which are nearly impossible to get!) but I am not willing to wait for the amount of time the list has grown to.
I'm also exploring Puchner and Moennig (sp?) as well.
Thanks again for your thoughts -- appreciated!
Shawn
Professor of Oboe - Youngstown State University
Howland Local Schools - MS Dir. Of Bands/HS Asst. Dir (Marching, Symphonic)
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Author: Wes
Date: 2013-07-20 04:50
Yes, I am playing a 2005 Loree AK on a lot of concerts this summer but I have a like new 1995 Laubin I can use if the Loree could have any problem. The reason I use the Loree is that I find reed making is a little easier for me than the Laubin, although the Laubin is certainly a very fine oboe. I had a plastic RIEC that was quite good but it was sold at a very low price, considering it's sound and playability. Reeds and their stability are still big issues with me, not instruments.
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Author: DrewSorensenMusic
Date: 2013-07-22 03:29
I just want to add, please look at Peter Hurd's website:
Oboes.us
It may aid you in your search. Click on the tab, "Oboe Makers & Commentary"
Good luck,
Drew S.
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Author: GoodWinds ★2017
Date: 2013-07-23 03:49
Loree oboes and I have never really gotten along. I've played Marigaux, Yamaha, Gordet (my favorite), Jarde. Have a nice Fossati English horn.
GoodWinds
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Author: ptarmiganfeather
Date: 2013-07-23 17:30
Not a professional here. I have a Jarde oboe and a Buffet 4052. Previously owned a Signet Soloist by Selmer, also a Fox 333.
Other Alaskan wilderness oboists have been witnessed playing; Loree, Yamaha, Fox.
Oboehotty, I think a pie chart would be interesting to look at. Are you going to make one?
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Author: Oboehotty
Date: 2013-07-23 20:17
Drew,
Have talked to Peter several times over the last year. Thanks -- he does have a great site! I refer to it often.
shawn
Professor of Oboe - Youngstown State University
Howland Local Schools - MS Dir. Of Bands/HS Asst. Dir (Marching, Symphonic)
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Author: Oboelips
Date: 2013-07-23 21:22
I play a Rigoutat Evolution. During a blind test of several oboes, it was the one picked as the "right fit for ME". It has allowed me to do some very nice work.
I suggest you set up a panel of friends who know what 'sound' you want, create a checklist,(perhaps a leichter scale where they can rate "tone, pitch, scale, fluidity, singing, low, mid & high registers, etc) and after a blind audition, get their auditory responses and balance those with the checklist responses. If you keep it down to about 3-4 oboes to compare, few people will say "I don't know"...most will have a definite opinion. Also, record it so that YOU can listen, too. You want a standout--one that is head & shoulders above the rest, if possible.
I have a pre-Loree E Horn that is also right for me, but that was just luck.
My Loree is an original LL series, made by Lucien Loree back in 1921. Some folks just like the sound of a Loree better, and even though I feel that the Rigoutat's sound is far better, there is something in that old Loree that can turn some people's heads. Who knew?
Many told me to 'always buy Loree' without hearing/trying anything else. I'm lucky that I took the time to audition oboes--the Rigoutat was the standout for me. The late Mark Weiger told me when advising me on my search: "Play & listen first, then select".
Best of luck with your search!
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Author: PaulNorway
Date: 2013-07-24 07:11
I did a little survey. the oboists I know here in Norway play:
Buffet: 4
Yamaha: 2
Dupin Imperial: 5
Dupin Standard: 7
Marigaux 901/910: 6
Marigaux 2001: 2
Mönnig 150AM: 2
Howarth XL: 1
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Author: Oboehotty
Date: 2013-07-25 01:21
Awesome Paul -- thanks for doing that little survey. All of this is fascinating!
Shawn
Professor of Oboe - Youngstown State University
Howland Local Schools - MS Dir. Of Bands/HS Asst. Dir (Marching, Symphonic)
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Author: ohsuzan
Date: 2013-07-25 19:03
Recently switched from Covey Classic to Howarth XL. They are VERY different instruments, IMO. I probably still prefer the Covey keywork, although I got accustomed to the feel and the weight (considerable!) of the XL quite quickly.
The XL is built like a tank. To my ear, it has a "thicker" sound. Projects like a house on fire. A true orchestral oboe. Excellent top and bottom, good tonal consistency across the entire compass -- for example, you don't have to even think about "covering" on the short pipe C and B notes. Intonation is outstanding, esp. on the highs. Forked F sounds just like regular F.
I also think the Howarth XL sounds best with a somewhat brighter reed than I was used to using on the Covey. The issue, for me, with the Covey, was tamping down the brights. The Howarth, again IMO, has if anything the opposite tendency. I am using much easier reeds than I used to think necessary.
I am pleased with the Howarth XL. My husand, when I was trialing oboes, came running from the other room when I started to play the Howarth, and asked which one it was, and said it was the best sound he had ever heard me make on an oboe. (Which ameliorated somewhat the unwelcome news that this best-of-all-sounding instruments was also the most expensive of the lot that I was trying!)
Susan
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Author: Chris P
Date: 2013-07-26 10:53
I didn't realise they had such a following in Edmonton - though I'd be worried to take my kingwood one over there considering the damage our furniture took when we lived there in the early '80s due to the hot air heating and low humidity levels, air conditioning and not to mention temperatures down to -40°C in the winter and 30+°C in the summer.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: mjfoboe
Date: 2013-07-26 12:06
Evidently there is a whole world of Oboes out there .... I wish more American dealers maintained a more diverse inventory of Oboes.
When I was buying my new Oboe 4 years ago I was somewhat limited to 4 brands ...... I would have loved to try more. However, shipping is quite costly especially if you ship from multiple parties.
I selected a Marigaux .... which I am quite happy playing ...... however, wouldn't it be wonderful (apart) from the yearly convention to be able to go to a vendor and try 10 or so Oboe brands!
Mark
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Author: oboegy
Date: 2013-07-28 00:03
Shawn,
I'm an amateur, male, age 63.
The oboes I own/play are:
Buffet 3613G Greenline
Lorée c+3
Lorée Royal cR+3
Yamaha 841T
The English horns I own/play are:
Fox 500
Howarth XL
Best of luck with your research and decision.
George
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Author: leigthom
Date: 2013-07-29 20:56
Hello Shawn
Thought I may as well join in on this one.
I play Kreul (owned for about 45 years) and 2 Marigaux oboes (about the same vintage but only had them for about ten years. I bought them from a friend).
D'amore is a Loree
English Horns Oehler and Ward and Winterbourne as backup.
I have always bought secondhand instruments which often means a lot of waiting and searching. But it has always been worth while. With older instruments there seems to be less chance of splits and cracks developing.
My daughter is also an oboist and she and her friends all seem to play Howarth S5 and XLs.
The answer seems to be go and try as many oboes, new and used, as possible and one day you will find the one for you.
Good luck
Leigh
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Author: EaubeauHorn
Date: 2013-08-06 18:05
Nice that I stumbled on this post....I'm currently in the market. Had to sell my Rigoutat Expression to get money for a health problem, a while back. I wish I still had it but I don't. So I'm coming in with an open mind, looking for suggestions! I have small hands, and if you could leave me out of the equation I'd like an oboe whose tone sounds like Heinz Holliger. (Yes I am VERY aware that the oboe is not going to supply Mr Holliger's sound, but then again, some oboes would be harder than others to get there.) Since there are so many players of different instruments here, what are you familiar with that fits the bill? The Rigoutat had a great scale and was easy to play, as well as fitting my small hands better than, for example, a Loree or a Fox.
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Author: Chris P
Date: 2013-08-06 19:31
I'd say keep an eye out on the classifieds/used instrument lists from reputable double reed specialists for a used Rigoutat as that way you usually have the chance to get them sent out on approval to see if you get on with them.
I realise you're not in the UK but there are a couple of Rigoutats in Howarth's 2nd hand list, but not sure if they're what you're after:
http://www.howarth.uk.com/wo/manuals/2hoboes.htm
Photo of one of them: http://www.howarth.uk.com/wo/manuals/2hoboes/OB1695.jpg
I hope you do find the oboe you'll enjoy playing!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2013-08-06 20:44)
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Author: Jeltsin
Date: 2013-08-07 19:18
I guess that the Rigoutats at Howarth' s are oboes with a thumbplate, but Nora Post (www.norapost.com) usually have some used Rigoutats (only one just now).
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Author: Chris P
Date: 2013-08-07 20:13
They've most likely been converted to dual system, but the thumbplate can be removed and the 1st and 3rd 8ve key touches will have to be altered to put it back to pure conservatoire system.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: EaubeauHorn
Date: 2013-08-10 16:52
Would someone please tell me what a thumbplate is? I keep seeing that and have NO idea. Also, semi-automatic, third octave key....I think my Rigoutat had the third octave key permanently operated by the octave key, if there is such a thing. I had been modified by the pro who sold it to me, for his use.
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Author: Chris P
Date: 2013-08-10 19:35
The thumbplate duplicates the action of RH finger 1 for giving Bb and C - you lift your thumb off for the Bbs and Cs. It's a throwback to an earlier system which has been the mainstay of British players and most players here start off on basic thumbplate system oboes where Bb and C are only possible with the thumbplate as there's no other linkage to the RH1 fingerplate to make for these notes (the side key on thumbplate system oboes duplicates the thumbplate action for trills only). If you play flute, it's the same thumb movement when playing B-C in you lift your thumb for C while LH1 is closed.
In the UK, all oboes are generally built down to low Bb but the most basic ones have simple action 8ve keys instead of semi-automatic (and only a LH3 C-D trill key), so you have to completely release the 1st 8ve touch as you open the 2nd 8ve key (and vice versa) so as you lift/lower LH3, you rotate your left wrist to do this. Semi automatic 8ve keys are the ones most commonly found on oboes so you can keep your thumb on the 1st 8ve touch and opening the 2nd 8ve automatically closes the 1st 8ve vent without having to remove your thumb (which is much better). Over in Germany (although being challenged by semi-autos now) and Eastern Europe, players prefer fully automatic 8ves which only have the left thumb touch (no 2nd 8ve touchpiece for LH1) and the vents switch over automatically when you have the thumb touch held down and raise or lower LH finger 3 (like saxes) so the correct 8ve vent opens at the right time. It's far more complex in design and a pain to regulate (or keep in perfect regulation in some cases!) and therefore far more expensive as a result if you were to buy a fully automatic oboe compared to a semi-automatic. For the altissimo register, a linkage from the G# key makes sure the lower 8ve vent is open for high F.
So more often than not, thumbplates are added to conservatoire system oboes either at the time of manufacture or afterwards at the player's request. To get an idea of what the tone quality is like for Bb and C played with thumbplate fingerings, play A and with your right hand finger 1, hold down the uppermost end of the long linkage bar running down the right side of the top joint - this will give you Bb. Now play B and do the same, only this time you'll get C. Then compare them with the conservatoire fingerings - some dual system playes use the conservatoire fingering for Bb and the thumbplate fingering for C which is less nasal with thumbplate fingering, whereas Bb is more mellow with the conservatoire fingering.
Here's a photo of the thumbplate and 3rd 8ve in the usual thumbplate position (to the left of the thumbplate):
http://www.howarth.uk.com/pic.aspx?pic=./wo/HowarthXLBWTPOboe.jpg&pid=35115
The 3rd 8ve key in the usual (conservatoire system) position overlapping the 1st 8ve touch is no good for use with a thumbplate, so it's positioned to (most commonly) the left or on the right if requested (which is the more expensive option). The 3rd 8ve on conservatoire systems should overlap the 1st 8ve touch but not make contact with it - the risk there being the 1st 8ve key may be held open which isn't ideal. In any case, the 3rd 8ve touch should be just enough out of reach until you need to use it so it isn't opened accidentally. The overlapping 3rd 8ve touchpiece is more likely to get bent into the 1st 8ve, soalways check there's around a 1mm minimum gap in between them.
While I initially started on a B&H Regent oboe when I was 15 (and packed it i a couple of years later), I decied to use primarily conservatoire system fingerings when I took up oboe after a ten year break when I bought a Yamaha 821TP oboe - I took the thumbplate off to force myself to use conservatoire system fingerings, but there were some intervals, arpeggios and leaps which I found much easier using thumbplate fingerings, so I reinstated it and enjoy the best of both conservatoire and thumbplate system worlds.
And more besides - tremolos of G-Bb or G-C are much easier with dual system instruments compared to pure thumbplate or pure conservatoire. To do these you ideally need a dual system oboe, but you can do this on pure conservatoire systems by holding the uppermost end of the linkage bar on the side of the top joint down, then play G and trill with LH finger 3 only for G-Bb, or LH fingers 2 and 3 for G-C. Oherwise on a dual system you leave your thumb off the thumbplate completely to do these tremolos.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2013-08-10 19:47)
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Author: EaubeauHorn
Date: 2013-08-10 21:04
Thanks for all that info, Chris! I think I get it but...with a thumbplate you can't be using your left thumb to help balance the oboe? Or did I not get it yet?
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Author: jhoyla
Date: 2013-08-11 09:30
I don't think it makes much difference to balance - Thumbplate players keep their left thumb on the instrument for all notes apart from Bb and C, rolling the thumb onto the octave touch as needed. Most conservatoire players without thumbplate will remove their thumb completely when releasing the octave key.
Personally, I like the extra width added by the thumbplate (big hands).
J.
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Author: Beetlebum
Date: 2013-08-19 13:11
Another Howarth XL player here.
I bought it used after it won the Oboe DeathMatch 2011, a shootout between various used Loree, another Howarth XL, Covey, Rigoutat and new Bulgheroni horns. I formerly played used Loree, Gordet (Bulgheroni) or Lym instruments.
I'm looking to try a Laubin to see what the fuss is about.
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Author: Oboe Craig
Date: 2013-08-21 04:20
Covey oboes have replaced Loree Oboe since circa 1985. Yamaha flutes and wind controllers became my standard the past 20 + years and replaced my saxes.
Recently, Roland Rd-700nx replaced my Alesis synth keyboards.
Life is good, really good with all this in the mix.
Post Edited (2013-08-21 04:22)
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Author: WoodwindOz
Date: 2013-09-02 09:37
My first post from Oz! Woo! Been awhile!
I play Marigaux 901, as do most semi-pros here. The amateur community players (which is definitely me as well!) often go for Howarth XL. Our current principal oboist of the state orchestra had a Loree Royal which cracked in the first two weeks. She got a replacement top joint from Loree and immediately sold the oboe, replacing it with a Buffet Greenline, and she says she hasn't been happier, although misses the wood feel behind her thumb!
So...almost entirely Marigaux and Howarth. Except for the Loree Royal which is now owned by a student, I am yet to see a Loree here in Perth.
Rachel
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Author: cjwright
Date: 2013-09-03 08:52
I recently had the opportunity to play a colleagues Royal 125 which was a beautiful work of engineering and craftsmanship. However, despite how much I tweaked my own reeds and even scraped one for scratch for the instrument, I couldn't make it sound "as I wanted it to sound". It's just a reminder of how many options we have. I wonder what I would do if I was thirty years older and we'd be stuck with Loree and Laubin here in the states.
I still think I enjoy some of the older Loree models (some B, C, and D series), but I can never go back to modern Lorees.
Blog, An Oboe In Paradise
Solo Oboe, Thailand Philharmonic Orchestra
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Author: colloquial42
Date: 2013-09-11 01:22
I play a Fox 400. When I bought it, it was between that, a used Rigotat, and a used Loree. The Rigotat haad a seriously squirrelly pitch. And the Loree just didn't sit well in my hands. So I went with the Fox. No regrets.
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Author: jhoyla
Date: 2013-09-11 10:25
When I bought my Loree C+3 (TP) six years ago the sound was okay, but a little disappointing - it felt a little "constricted" in its sound, though it was still beautiful.
Over the last six years the instrument has opened up wonderfully. It projects, has beautiful pianissimos with a warm and full bodied "presence", and is quick and accurate in the altissimo register. I make all my own reeds and they suit it - I don't know whether it is "reed friendly" or "reed picky".
It also has its foibles and idiosyncrasies! It doesn't like NOT being played, and definitely "acts up" when I come back to it after a while. I love it!
Four years ago I would have swapped it like a shot for a Howarth. Now - I'm not sure I would!
J.
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Author: tro
Date: 2013-09-19 13:46
To increase your statistics
oboe: Patricola (~1988)
oboe d'amore: Graessel (~1965)
English horn: Loree (~1990)
I am living/playing in Switzerland/Germany (it is interesting to
filter out regional preferences from the other posts)
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Author: Barry Vincent
Date: 2013-10-07 21:23
I play the Howarth S55c dual system. A truly top quality Oboe.
Not having a thumb plate on the Oboe to place your LH thumb on has never made any sense to me. I also play Flute/Clarinet and these have something to place your thumb on. Even the Saxophone has a 'dummy' thumb pad to enable one to access the octave plate easily.
I once had a loan of a Cor Anglais which was a Conservatoire system and I quickly realised that it would be a lot easier to play by setting up a 'dummy' thumb plate on it. This immediately made it so much easier to access the octave key.
To just have your left thumb suspended above the wood when not using the octave key has got to be the most silliest French invention of all time. But as usual , tradition and convention will always overrule common sense.
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Author: oboi
Date: 2013-10-08 05:13
I play a Conservatoire system oboe and my LH thumb is firmly planted on the oboe when I am not using the octave keys. It has never been a problem for me to either pivot my thumb or slide up to hit the 1st octave key.
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Author: Barry Vincent
Date: 2013-10-08 07:09
And there's the nub of the problem Oboi. The octave lever is approx 2mm above the wood. With the thumb firmly planted on the instrument there must be a certain about of upward motion of the thumb as well as moving it towards the lever. Also I found , in the case of the Cor Anglais that I had , the roundness of the wood causes discomfort over a period of time. I can imagine that it is more so with the Oboe.
I may be incorrect in this , but I thought that the Conservatoire technique was that the thumb is 'poised ' over the wood and not making contact with it.
If you would consider it interesting enough, do a little experiment. Make a thumb rest out of , say wood or good quality cork, about 15mm in diameter and shape it to fit neatly over the roundness of the body of the instrument. The top thumb contact area should be flat, hence avoiding that roundness when the thumb is place on the wood. Make it very slightly lower than the height of the octave lever and position it to almost touch the octave key and stick it on with a smear of 'Blue Tack'. Make sure to do a nice neat job of it so that the thumb can easily ROLL onto the octave lever without having to slide or raise the thumb. If you do this, what you have actually made is a thumb rest identical to what the Saxophone players have.
All this can be removed with no damage to the instrument.
Skyfacer
Post Edited (2013-10-08 09:37)
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Author: Jeltsin
Date: 2013-10-08 20:36
I have oboes with and without a thumbplate and nowdays I an not aware of if I play on an oboe with a thumbplate or not.
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Author: Chris P
Date: 2013-10-09 13:48
On conservatoire instruments I've been informed players generally lift their thumb off the joint and place it on the back 8ve key instead of rolling up onto it as sax, clarinet, flute (for the thumb Bb key) and thumbplate/dual system players do.
On pure conservatoire (with and without a 3rd 8ve key) and on thumbplate and dual system instruments without a 3rd 8ve key fitted, I still prefer to keep the thickness of cork on the back 8ve as thin as is possible or sand it down at the tip so it's completely flat on the underside even though the back 8ve touchpiece often has a curved tip. On thumbplate and dual systems I make the cork much thicker on both the back 8ve and thumbplate if there's a 3rd 8ve key fitted so there's no danger of accidentally touching it with the thumb knuckle during normal playing - the 3rd 8ve touch should be placed so it's well out the way for normal playing but can be reached when its needed. I bend the 3rd 8ve key so the touchpiece sits very close to the joint surface on thumbplate/dual systems to be sure it's out the way. This isn't a problem on pure conservatoire system instruments as the 3rd 8ve touchpiece overlaps the back 8ve touchpiece, so it's safely out of reach in normal playing.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
Post Edited (2013-10-09 13:52)
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Author: Barry Vincent
Date: 2013-10-09 14:55
Thanks for that information Chris, I wasn't quite sure what Conservatoire players actually did with their LH thumb when not using the 8va key.
As I mentioned above, when I was using a loaned Cor Anglais I was placing my thumb on the wood when not activating the 8va key. However , it was the roundness of the body of the instrument that was aggravating my thumb. Also, the 8va key had a pointy end and as I moved my thumb towards it to activate it , that caused another point of discomfort. My homemade thumb rest solved all this and as I had it stuck on with 'blue tack' , it was easily and cleanly removed before I returned it to it's owner.
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Author: oboi
Date: 2013-10-11 08:18
Hmmm... interesting. I don't think I ever considered the octave key an annoyance (even when I was a beginner figuring stuff out by myself). After your post, I consciously observed what I do and it is always a smooth transition, even when jumping to the 3rd octave key. I seem to be either pivoting towards or lifting the thumb to hit the 1st octave key. I find it okay on the cor, too. Perhaps it's just what one is used to? I've never tried a thumbplate so wouldn't know the advantages/disadvantages.
What does annoy me is playing a semi-automatic system and having to deal with the 2nd octave key. :-P But semi-automatics are the norm here, so what can I do? Nor would I know how to adjust an automatic most likely, which I'm told is painful.
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Author: Chris P
Date: 2013-10-11 11:59
If you play sax or clarinet, then playing a fully automatic oboe will be no problem as you only have the thumb 8ve key.
I bought a fully automatic Marigaux oboe d'amore and soon found the lack of the 2nd 8ve touch caused problems whenever I did 8ve leaps from lower A-C to upper A-C - I'd instinctively go for the 2nd 8ve but would catch the C-D trill key instead. So as well as having a better thumbplate fitted, I also had a 2nd 8ve touch fitted which duplicates the back 8ve key, but gives more security when doing 8ve leaps at the top end of the upper register as I can use the 2nd 8ve touch as I would on a semi-automatic.
Pure thumbplate system with auto 8ves also had both 8ve touches to make it easier to get around top Bb and C when the thumbplate is released and the 8ve key is held down - not easy to do with one thumb operating both keys.
My teacher is a conservatoire system player and keeps her left thumb on the joint when not using the back 8ve key. I can't see any reason a sax style thumb button (or dummy thumblate) can't be fitted if that makes it more comfortable for you. If I were to play pure conservatoire system, I'd probably have a left thumb button fitted - maybe a large pad cup with a slightly domed top similar to what some saxes have. Or a large piece of black plastic or wood fashioned into a thumb button and set into the top joint.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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