Author: d-oboe
Date: 2006-02-26 03:36
"Maybe that's one of the reasons they have gained such a foothold among professional players, who have to sound good, no matter what?"
I think there is this new school of thought that suggests oboists spend less time making reeds, and more time practicing. So, to add to the above quote, I think players are starting to accept slightly less flexible oboes in exchange for consistency of pitch, stability, response and intonation.
Personally, I would rather learn to play on slightly unrefined reeds that can still sound great in my "bad" oboe, than to be at the mercy of a tell-all oboe that can only work with that elusive perrrfect reed..*ooooohhhh scaaary*
vboboe mentioned the importance of the human part of the equation...and I agree. I think it is most important to really envelop one's own sound within oneself, and then the oboe simply becomes the shape that the inner sound takes on.
So I guess it depends. If a greenline lets one get their sound through, great! If the Loree can do it, fine! Don't be fooled by dark and bright. Some oboes may feel nice and covered and dark at first...but will it let you really sing out on the high notes, or will it feel too dead? Others may seem too wild and bright, but if you relax into the sound, it can be one of the most expressive oboes you've ever played on.
Let's bring it back to post #1: when you go to pick that oboe, play it, and make sure you are getting YOUR sound out of it. Try it with 20 different reeds, and as GMac said, make a fresh reed specifically for that oboe.
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