 The Oboe BBoard
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Author: doddel
Date: 2016-02-29 13:04
I bought a Loree English horn last weekend. So excited about this! Finally, after a search of over two years (second hand cors are very rare in Belgium/Netherlands, it seems...). It has a BC serial number. According to Peter Hurd, this was one of the best series for Loree oboes, not sure if the same can be said about English horns, but it sure sounds like a great horn!
it is an automatic, but in all honesty, it seems like I am already used to it after only a few minutes of playing
now, the instrument sounds great, except for two notes. I'm not sure there is anything I could do about this:
- the mid-range E is a bit sharp and sounds too 'open', especially coming from for instance the D or C#. Can I add a key to lower and 'close' the E a bit?
- the mid-range D# is too 'closed'. I don't think the instrument has had a revision for some time. Is this something that might be solved by cleaning key holes, for instance?
Finally, the instrument doesn't have the second octave key. This high range is not what I expect to be playing on an EH very often, but if it is an easy retrofit, I might consider having this done.
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Author: doddel
Date: 2016-10-21 16:22
After a few months of playing this instrument, using different reeds, I can now confirm that there are two major intonation issues:
the mid-range D is way too flat and the mid-range G is way too sharp (and too 'open')
I can lower the G a little bit by adding the C-key, but it's not perfect. Haven't found a way to adjust the D yet (except with lip tension, but this is not ideal in a faster string of notes)
any suggestions on what to do? are these things that could be corrected by a good repair person? Or should I take it back to Loree in Paris?
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Author: heckelmaniac
Date: 2016-10-23 02:18
The "intonation" difficulty may simply be caused by the automatic octave system being out out adjustment. A myriad of adjusting screws govern the automatic octave system, and if even only one screw is slightly "off," all kinds of difficulties can ensue.
Best to take the instrument to an artisan oboe repair specialist (such as Van der Heide atelier in the Netherlands) and make sure the automatic system is adjusted perfectly. Then assess whether you need to have the instrument re-voiced to an extent.
As far as I know, Rykle Van der Hyde (now mostly retired) works in his old shop for the new owner about one day each week. Rykle would be the person to accomplish voicing of the instrument. Of if Rykle declines, Rykle could likely refer you to a first class oboe voicer...
Oboes.us
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Author: jhoyla
Date: 2016-10-23 10:56
It may be worthwhile trying some alternative bocals, and/or shorter-scrape reeds.
I am also playing a Loree and I find the 1st octave D to be a little flat, but I can usually accommodate quite easily with embouchure.
Find some friends with selections of different bocals and give them a try, before you hand in your instrument for re-voicing. Re-voicing may be necessary anyway, but a new bocal may be cheaper.
J.
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Author: doddel
Date: 2016-10-23 23:37
Thanks for the suggestion on the difficulties with automatic octave systems. I knew they were tricky, I didn't know it could affect intonation.
I indeed bought the instrument in the Netherlands, where automatic octave systems are the standard.
As far as I know, Rykle completely retired from the workshop.
Will try with different bocals as well. I only have one myself.
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Author: Chris P
Date: 2016-10-24 15:33
Check the top fingerplate adjustment - on some autos it's linked to the bridge from the LH3 fingerplate to the auto 8ve mechanism and as you lower LH3, the top plate also closes down but shouldn't fully close. It should have a very tiny amount of movement in it - barely a hair's breadth and considerably less than the 3rd 8ve key (if fitted). If the aperture in the top plate has been enlarged, then that will cause tuning and response problems for the lower part of the upper register and the lower altissimo.
As for fitting a 2nd 8ve touchpiece, that's relatively straightforward as it can be soldered onto the end of the key barrel that keeps the 8ve vents closed. I had that fitted to my oboe d'amore as it too is full German spec and I found it hard work without the 2nd 8ve touch when doing 8ve leaps involving upper register A-C where I'd instinctively go for the 2nd 8ve touch but nudge open the trill keys instead. It only duplicates the thumb 8ve key, but will add security if you're used to semi auto 8ves.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: oboeandy
Date: 2016-10-26 03:47
I agree with jhoyla: try as many different bocals as you can get your hands on. I'd also like to mention that the fit of the staple on the bocal is extremely important. A staple with too large a diameter for your bocal can cause some pretty dramatic intonation anomalies.
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Author: Chris P
Date: 2016-10-27 23:47
A 3rd 8ve key can be added to any instrument at any point, but with fully automatic instruments you have to be sure the linkages from the back 8ve to the 8ve mechanism aren't in the way of the 3rd 8ve vent hole.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: doddel
Date: 2016-11-03 23:15
I fixed the top fingerplate adjustment, which has helped in making the C#, D and D# sound much more even. So that's good. However, now all three of these are flat. I guess the little whole in the top part of the top fingerplate should be made smaller to make them pitch higher, right? Or should it be made bigger? I guess I can easily do the latter myself, not the former...
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Author: Chris P
Date: 2016-11-04 02:31
You can reduce the size of the aperture using beeswax to fill it in, then use a hot needle to adjust the size of the aperture. As it's beeswax, it's easy enough to add to or remove, so won't be a permanent thing and can be done without any risk of damaging the pad (as opposed to filling in with soft or hard solder and redrilling and shaping the aperture).
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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