This was my oboe, played in pit orchestras, when I got calls for it. Serial number starts with I; though it could be an H: over time, the serial letter prefix rubs off. So, you're buying an oboe from an oboe player, not a guy who runs a pawn shop. I'm packing in the oboe.I don't play it enough to justify keeping it and trying to keep my chops up and work reeds is just too much, on top of my other instruments (I'm typically hired for clarinet). Loree went through a period where the quality went downhill. According to Peter Hurd (an expert in this area.see oboes.us) 'Loree was (finally) back on track to making good oboes near the beginning of the H series.Loree went through a 'Dark Ages' from about the late D series through to near the end of the G series-they made a plethora of 'lemons' during that period. Loree accomplished some of their very best work ever (and some of my favorite work) during the I series.and this horn really speaks to that work.
Has a beautiful sound; very easy to play (if 'easy' could ever be said in the same sentence as 'oboe') with a sweet, even tone that blends very well and is right on tuning. I had the instrument overhauled last year with all new pads and corks. Comes in the original Loree case along with a Cavallerro case cover. Case is a bit beat up and I bought a. I'm also including a wood case I bought from Forrests music, an oboe reed case and some of my oboe reeds (I prefer the German style, but you decide). Product Specs Condition: Brand: Model: Categories: Year: Made In: France.
Disclaimer The opinions expressed below represent only my experience with various makes and models of oboe family instruments so far. Please keep in mind that how an oboe “takes the air” is different, often vastly different, from player to player. “Your air” is not “my air,” “your scale” is not likely to be “my scale,” your compensations will differ from my compensations, your reed will not be my reed, and your own “personal resonance” will be different from anyone else's “personal resonance” when playing an oboe instrument. For many years past, collecting and trading oboe instruments, I have had opportunity to take on various makers to represent.
I have declined all such opportunities. However, at the 2011 IDRS convention, I came across a make English horn that is in a league of its own, far superior to any other English horn by any other present day maker. The English horn I felt was (by far) the “best in show” at IRDS 2011 is by Puchner, and I have contracted to represent Puchner oboes, oboes d'amore, and English horns in North America. However, please know that my reviews of Puchner instruments below reflect my genuine assessments. A note about tuners – I will offer the advice of my late friend Wally Bhosys, oboist with the Metropolitan Opera in the 1950s–1970s. It is not possible to separate the observer from the observed when playing to an electronic tuner. Simply put, playing to a tuner will produce completely arbitrary results.
The only use possible good use for a tuner would be to test the length of a reed or bocal to establish a comfortable A. Beyond this, trust your own ears. Preamble - A Primer on Wood The quality of wood found in many instruments offered by some major manufacturers nowadays seems to be of much poorer quality than wood found in instruments made say prior to 1990. Much of the wood presently used for mass produced wooden oboe instruments tends to be 'open' (coarse) grain, from young trees, and exceedingly prone to cracking, or even 'exploding.'
Not only is much of the wood used nowadays for oboe production of lesser quality than in decades past, the wood is not truly 'seasoned.' 'Seasoning' oboes woods, according to usual convention, means that the wood is cut into billets, the billets then placed in an unheated warehouse or barn on stickers for air circulation for perhaps 10-20 years. After the initial seasoning process, the un-cracked, un-warped billets will be turned round, and a small pilot hole drilled completely through the pieces. Then the rounds will be set aside for perhaps (ideally) another 5 years or so. In this manner, the wood will be able to experience all the changes in temperature and humidity, and dry ever so slowly. After the rounds have seasoned, any cracked or warped pieces will (should) be discarded.
Nowadays, some of the large oboe manufacturers do not have the luxury of seasoning the wood as in 'the old days.' A common practice nowadays is simply to dry the wood for a year or two in an insulated box ('kiln') at 125 degrees. In my estimation, this drying process is absolutely no substitute for seasoning wood! Drying wood IS part of the oboe manufacturing process, though only AFTER wood has been well seasoned. With wood being of such dubious quality nowadays, I am amazed that oboe manufacturers do not simply sleeve the upper joints of their instrument with PET polymer liners. Subject to change! OBOES AMATI - AVOID!
ADLER - The model 6000 (French style) oboe is worth a look. Very well made. I prefer the model 6000 oboes made after 2010 A. Laubin's “second–line” of instruments. Laubin's specifications, finished by William Glover, voiced by Al Laubin.
Good oboes for advanced students/ advanced amateurs. Somewhat bright (“sprightly)“ sound. Some 'ethereal,' some very good, some 'OK,' some indifferent. One of the best oboes ergonomically for oboists with small hands. BHOSYS (stencil) - Some 'OK,' some indifferent, some truly not so good at all. Stencil instruments, mostly Malerne.
BUFFET - 'Orfeo' excellent instrument. Has solid metal tenon on upper joint composite material- cracking (rare) still possible 'Virtuoso' Composite or wood. Excellent instrument.
Different bore from the 'Orfeo' Lacking left C# - in my estimation an oboe with this level of mechanical sophistication should truly have a left C# key. Also, the 'natural C' touch seems far too tiny to be of much use. The most recent wood professional model 3613 oboes tend to be excellent. Exquisite key-work.
Impeccable scale. Lacking in the complexity, 'character' department. The 'composite' Buffet Greenline 3613 is, in my estimation, an unabashed 'reed trumpet,' extremely 'brassy' sounding, lacking subtlety altogether. However, I did find one example at the 2011 IDRS convention that I liked.
Perhaps best to try a bunch. The 'Greenline' oboes can (and do) crack!
Not possible to repair if cracked, except to have a new joint made at great expense if not still under warranty. AVOID any of the Buffet 'student' model and 'modified Conservatory' oboes - dreadful! The 'Buffet' oboes from the 1960s and 1970s were in fact made by Marigaux- even having the Marigaux serial numbers- some good- some excellent oboes. Same as the 'King-Marigaux' oboes. BULGHERONI - First class maker. The 'Opera' model by Bulgheroni is easily on a par with Loree. For me, the 'Opera' model on display at IDRS 2011 was THE best oboe of all.
I bought it on the spot. The Violetwood version of the Opera model is sensational. A new model -'MUSA'- is receiving rave reviews. On a par with Loree Royale model, though I prefer the MUSA. CABART - Prolific maker from the early 20th century to 1974 when bought out by Loree. Wildly inconsistent maker.
I truly admire some of the ring system oboes by Cabart from the 1920s through 1940s. Sumptuous, 'penetrating,' lush, 'haunting' sound. I like some of the 1960s- to mid 1970s Cabart plateau models as well.
The keywork is not especially well crafted, though it is adequate. CABART 74 (Loree Cabart 74) - Full system oboe, though lacking split ring D key. Good student oboe, though for sure overpriced with respect to playing characteristics. For about the same price, a Bulgheroni FULL Conservatory system professional oboe ('Artist' model) can be obtained. CHAUVET - Excellent maker.
Imported and sold by Laubin in the 1950s- serial numbers: numbers only. Ben Storch took over the importation of Chauvet instruments from the late 1950s to the mid 1960s- serial numbers: 'BW' followed by numbers.
Ben re-voiced the 'BW' oboes to his own specifications. 1964 to the mid 1970s the Chauvet line was imported by Linx and Long in Manhattan - serial numbers: 'AC' followed by numbers. The pre- Storch Chauvet oboes - not memorable. Some of the Ben Storch 'BW' series Chauvet oboes may be described as first class, especially from about serial number BW100 to about BW330. I played on a sublime Chauvet 'BW' as a primary instrument for some years, until I discovered Hiniker oboes. The AC Chauvet oboes- not as desirable as the BW oboes, though at times very good.
Usually the 'AC' oboes seem brighter in timbre. The BW series Chauvet oboe is darker in timbre than almost any of the other French oboes, comparable to the 'thick wall' late 'B' series Loree oboes model, or the present day Loree 'Royale' model. Warren Sutherland used Chauvet BW oboes throughout most of his career as princpal oboe of the Indianopolis Symphony and Tucson Symphony. The Chauvet oboe was very well made.
It is not uncommon to find Chauvet oboe still playing well even after 40 years of school/university use. CHUDNOW, MARK - Some of the 'Sierra' oboes can be exquisite. I especially like the exotic wood examples such as Rosewood. Some Chudnow oboe marked 'MCW' have full Conservatory system, some have 'modified' Conservatory system.
COVEY - Excellent maker. Exquisite design and artisanship of keywork. I find the spacing between the low D (split ring D) and the low C touch to be too close in spacing (by 2mm) for all but an oboist having very small hands, thus ergonomically uncomfortable for oboists having medium to large hands. The 'Covey' sound is gorgeous, though I have found that some of the pre- 2004 Covey oboes I have played have a scale that I would characterize as being overly 'flexible'- the pitch centers simply do not seem to 'lock in.'
And I also find some of the older Covey oboes seem to be difficult to finesse the transition between dynamics - seem to want to only play mf. The newest Covey oboes made post (say) 2008 by Ginger Ramsey, especially of Honduran Rosewood, I find extremely appealing. DECKER - A first class maker. Rare, only about 25 oboes to date. Most made of Boxwood.
Not presently making oboes. Instrument is perhaps best suited for chamber music, not orchestral use. Gold plated keys on most Decker oboes. DUPIN, ROLAND - Legendary maker, though be sure to pay for and pick up your oboe in person at the atelier in Luxembourg.
DUPIN, GUY - Dupin, Guy Loree or Buffet oboes fettled by Guy Dupin. Likely best to avoid. FOSSATI - Oboes made pre- mid 2008, I have not been impressed at all. However, since mid- 2008, Fossati has completely redesigned the acoustics, and the result is a positively first class instrument.
The new 'MB' model is well worth comparing to (say) Loree, Howarth, Covey, Marigaux, Bulgheroni. The two other Fossati models ('Artiste' and 'Soloiste') also merit a try.
FOX - Fox very good-excellent maker. Models 333, 330, 300 are well suited for school use. 'Sayen' excellent instrument, worthy of professional use. 'Fox-Laubin' I have tried about a half dozen so far - no comment at present.
The key fitting accomplished by Fox is of the first order. GORDET - Ben Storch's trade name. 'GERMAN' GORDET - MADE BY KREUL - The darkest sound in the realm of oboe.
Physically, the heaviest of oboes. Massive, with heavy pattern, very hard alloy keywork. Often will play best if a Covey bell is employed.
Best suited for an oboist having large hands. Often excellent oboes. Very 'forgiving,' locks in on pitch centers, easy to make reeds for, difficult to play a 'bad note.' Will withstand many decades of school use. Note: a scant few of the 'Gordet' German model oboes will be the 'standard' medium wall thickness Hans Kreul instruments. The keywork at a glance will appear to be the same on both the heavy wall and the standard models, though in fact the 'heavy wall' instrument keywork is heavier- 'overwrought' and 'built like a bank vault.'
Personally, I prefer the 'standard' Kreul oboe, as it is not unrelentingly (and hopelessly) 'dark'- the standard Kreul at least has a glimmer of 'bright' element to the sound. 'FRENCH' GORDET - Not many 'French model' Gordet oboes were made. Some very few by Chauvet, most by Malerne. Mostly indifferent, mediocre instruments.
'ITALIAN' GORDET - Made by Bulgheroni. Usually very good-excellent instruments.
The (very rare) all plastic Italian Gordet is one of the best sounding of all plastic oboes extant. Excellent value on the second hand market with respect to value for money.
GORDET / HOLLANDER - 'Italian model' - first class oboes in every respect, beautifully voiced. GOUBET - Good maker. GUASTI - (Florence) Enrico Guasti made some good oboes, though overall an inconsistent maker. GRAESSEL - no information available reputed to be very good. Automatic octave.
HINIKER - MINNESOTA - In my estimation, the best of the best. The ULTIMATE professional oboe. Without peer in the realm of oboe. The Snakewood Hiniker oboe is THE single finest (and most appealing) oboe I have ever played.
Hiniker oboes made after 2008 all have P.E.T polymer sleeve liners in the upper joint. The Hiniker clear Acrylic oboe is without peer in the realm of oboes entirely of synthetic, and impossible to distinguish the sound from an all Hiniker oboe made of African Blackwood. And the Cocobolo Hiniker oboe is 'over the top' amazing. A new model, the 'Hiniker/Ferillo modified Loree B series' is absolutely PHENOMENAL.
HUGE sound that can cut through in a large orchestra, though without losing lyrical subtlety or 'soul.' This would be a dream instrument for a principal oboist. Tom Hiniker's attention to detail is without equal in the realm of oboe making.
The ergonomics of the keywork is second to none. L-o-n-g waiting list. A second hand Hiniker oboe will often realize a higher price than new. HECKEL - Excellent maker, though Heckel has not made oboes since 1964. Many of the older Heckel oboes not pitched at A=440! HOWARTH - First class maker, beautiful oboes in every respect. The S5 XL has a smooth, velvety, 'dark' sound.
The 'S5'- has a 'brighter' timbre than the S5, and the 'S6' is in fact 'bright.' The Howarth S5 XL in Cocobolo is highly recommended. Cooper Wright's own personal oboe, a Howarth Cocobolo S5 XL circa 2008, having a unique experimental bore, and some post factory re-tuning/voicing, is one of the most appealing oboes I have ever played. The design execution of the keywork is first rate. Some Howarth oboes may need additional tuning to suit, though any perceived anomalies tend to be minimal and fixable. Used Howarth oboes, either S5 XL or S5 will be a most excellent value for money. HULLER - No information available at present.
JARDE' - Good to (at times) excellent maker. The 'quintessential' French oboe. Circa 1950s to the 1980s. A 'Ralph Gomberg model 'Jarde' exists, though I do not know how it may differ from the standard Jarde' professional oboe.
Some excellent, some good, some indifferent. I have had excellent results having Jarde' oboes being re-voiced by a master artisan, such as David Teitelbaum. JOSEF - Model GS-2 20th (top of the line) is excellent, especially examples made of Mopani wood. KGE (Armstrong/Ward) - Excellent oboes overall. I would look at the all synthetic 'Acolyte' model as an excellent value as a professional model oboe for a student or amateur, or a professional looking for an instrument for outdoor use.
KHOLERT - Kholert made some 'full' Conservatory system oboes, though missing a split ring D. A wildly inconsistent maker. I have had a well voiced Kholert oboe with a penetrating, haunting, semi-dark sound. I have had a (very rare) Kohlert sax-oboe that was as good as the best Loree sax-oboe. Usually best to avoid Kohlert instruments.
KREUL - A first class maker. Stencils: Kreul/Mirafone, Gordet 'German' model, Lucerne, Eneg. Note: some Lucerne stencils NOT by Kreul. The Kreul oboes have a beautiful, sumptuous, dark sound brimming with personality. Very 'forgiving' to play and locks in on pitch centers.
Built to 'withstand nuclear attack.' Keywork is of a much harder alloy than the usual French oboes. Ergonomically best for persons with having large hands. The 'German model' Gordet/Kreul and 'Lucerne' stencil is in fact a different instrument from the 'standard' Kreul though at first glance nearly identical in appearance. The Gordet/Kreul and Lucerne/Kreul will be much heavier physically than the standard Kreul or Kreul/Mirafone, with much thicker wall diameter. The Gordet/Kreul and the Lucerne/Kreul produce the 'darkest' oboe timbre of any make I know of.
The 'standard' Kreul oboe, though somewhat 'dark' sounding, still has an element of brightness. I admire Kreul oboes, though I prefer the usual Hans Kreul and Hans Kreul/Mirafone to the Gordet and 'Lucerne' Kreul models. It is possible on occasion to find a 'Kreul' (or 'Hans Kreul') oboe this is in fact the same model as the heavy 'Gordet' or Lucerne/Kreul. Conversely, it is on rare occasion possible to find a German Kreul 'Gordet' oboe that is in fact the lighter weight 'standard' Kreul model. Excellent value for money. Kreul radically redesigned the keywork patterns in the 1990s- most of the key touches became flat, in stark contrast to the earlier 'domed' touch surfaces- 'flat keyboard' effect- takes time to become accustomed to the flat surfaces. Sadly, Kreul ceased production in the late 1990s.
INCAGNOLI - 'Prestini' system oboe, made by Orsi. At times, good. LAUBIN - Legenday maker. I especially like the Al Laubin oboes made between 1958 and 1972. I find some of the late model Paul Laubin oboes to be sensational, with special mention to the Rosewood oboes made in the mid to late 1990s.
Download winning eleven 7 demo. Cara download lagu di itunes lewat android. New from the factory, Laubin oboes have about 50% skin pads. In my estimation it is best simply to replace all skin pads cork. The Laubin oboe has a distinctly different sound from the Loree oboes.
Smooth, dark, slightly 'covered' sound, with a 'glint' of oboe d'amore timbre. Laubin oboes made within the past few decades have half length (on rare occasion full length) polymer sleeves in the upper joint. The resale value of a fine Laubin oboe of any vintage is very high in comparison to most any other make except Hiniker. LARILEE - I began playing on a Larilee 'full Conservatory, professional model' oboe. The tone was 'extra bright.'
The keywork and pad-work was of the most marginal quality. However, the oboe was well voiced and played easily. Some of the Larilees oboes 'sing,' while others can be unbearably 'stuffy.' The keywork is extremely 'bendy' and all too easily knocked out of adjustment. A repairman's worst nightmare.
Best to avoid. Le BLANC - AVOID, including the student line 'Noblet.' Le BRET - Predecessor to R. LESHER - Lesher made some 'full Consevatory' oboes. Some made before the buyout by Selmer play well, though the keywork is of marginal quality.
Best to avoid. LINTON - AVOID, with the sole exception of the (rare) 'ZRL' (made in USA) FULL Conservatory system, professional model oboe.
The 'ZRL' in plastic is in my estimation far superior to the usual Buffet, Yamaha, Selmer intermediate oboes. The sound of the plastic ZRL is rather bright, though not overly so. The wood ZRL has element of bright and dark.
The engineering of the keywork is not on a par with say Fox, though it is for sure functional, and good ergonomically. ZRL is an excellent value on the second hand market.
Linton also had a line of oboes called 'Linton Paris' made by Cabart. Worth a look if you can find an example having the FULL complement of professional model keywork. LOREE - Marcel Loree left the family business to set up his own atelier. Loree oboes have truly thin walls, thus a truly 'bright' sound.
Loree English Horn Serial Numbers
Best left to collectors. LOREE - The most famous maker of all, founded 1881. For chronological chart of serial numbers see Lars Kirmser serial number pages. About 80% of professional oboists in the US play Loree instruments.
At present, Loree is making 3 different styles of instrument bore: 'regular' bore, 'ak' & 'dm' /'German' bore. Loree makes all bore available in two models: 'Standard' and the premium 'Royale.' The 'regular' bore oboe is an 'all around' instrument, excellent for most any musical endeavor. The 'ak' bore oboe (introduced in the late 1980s) is designed for maximum projection in an orchestral setting. Personally, I find the sound of the 'ak' oboe to be 'brash' and overly 'aggressive' - a 'reed trumpet' perhaps.
Sweetness and lyrical subtlety seem missing to great extent, though once in a while a will come across an 'ak' with a tinge of sweetness, especially the early 'ak' oboes from H-J series. I am very partial to the 'dm' bore oboe.
The 'dm' seems to have more 'sparkle' and 'character' than the 'regular' bore, with still an element of sweetness. I do not find the 'dm bore to be in 'darker' in sound than the 'regular' or 'ak' instruments.
I find that the 'regular' and 'dm' bore seem to have plenty sufficient projection for orchestral solo playing. To me, the 'late model' Loree oboes have a very 'pretty' sound, though lacking 'core' 'depth' and 'complexity' to the sound, skating over the surface of the 'acoustical pond.' The Royale is a 'thick wall' instrument, and thus has a 'darker' sound than the 'standard' Loree. My experience has been that oboists often become bored with the 'duller' sound of the Royale oboes.
Some of the late 'B' series oboes (late 1960s) were 'thick wall' instruments, made to compete with the 'dark' Kreul/Lucerne and German Gordet oboes ('thick wall') that were in great favor at the time. My favorite Loree vintages: 'Classic C' series late 1960s, early 1970s lyrical, with a most appealing 'core' to the sound. Paul Covey remarked: 'The Loree C series is unlike anything else Loree has ever made.'
According to Tom Hiniker, the C series oboes have more undercutting of the tones holes than the B series oboes. Expect to pay premium prices for a fine examples of a Loree C series. 'Classic B' series circa 1960-1969 a most appealing 'majesty' and core' to the sound.
Expect to pay premium prices for B series oboes, especially serial numbers BK-BP. The (rare) late B series oboes with the heavy wall- much sought after- very 'dark' sound BEWARE: many FAKE B series 'Loree' oboes exist, also known as 'Chiassarini Fakes'- made in fact by Malerne. Mid to late 'H' series (mid 1980s), and I, and J. Some exceedingly 'lyrical' and reminiscent of B and C series oboes. 'A' series (1930 to 1959) Utterly sweet! Some professionals even today only play A series oboes, especially AR, AS serial numbers.
Some (though not all!) early D series oboes seems to be on a par with the C series. It is also possible to find some appealing E series oboes, though beware of voicing anomalies such as stuffy, fuzzy, stuffy E Oboes from the mid-late 1920s- say 'CC' through 'ZZ'- Ideal for playing Bach. 'dm' bore oboes, especially 'I' series 'synthetic' oboes, all plastic- pre-H series- practically impossible to discern any difference in tone from the wood oboes. Loree seems to have used so far three different types of polymer to make their synthetic oboes.
At first (from about CC 1969 to about 1980) Loree used a polymer, 'mottled' grey in color, that was different from any other polymer ever used by any other maker. Hard to find on the second hand market and expensive. Perhaps only about 40 such oboes exist. Next, Loree used a gray colored polymer. The solid gray may not be as desirable acoustically as the earlier mottled gray/white polymer oboes. The H series and newer synthetic Loree oboes employ a polymer jet-black in color- likely Acrylic. I find that this black polymer does not have the 'warmth' or 'core' to the sound I find in the earlier instruments made of the mottled gray polymer.
However, in recent years, Loree seems to have gone back to using the gray colored polymer. AVOID: G series. Far too many G series oboes seem to be endowed with intractable anomalies. Extremely low resale values for good reason. I am not too keen on the F series oboes either. LOUIS - LONDON - Loree copies. Most thumbplate system.
LUDWIG, FRANK - Reputed to be absolutely first class in every respect. LYM - The Lym oboes (1950s-1960s) seem to be based somewhat on the design of the post war 'A' series Loree oboes. In the 1960s, the Lym oboe was favored by many studio musicians in Los Angeles. Beautifully crafted.
Some play exquisitely, though others seem to have minor voicing anomalies. Sweet, facile, lyrical, heaps of character and complexity to the sound. Ideal for playing Bach.
I am extremely fond of Lym oboes. MAHEU (Belgium) - No information available. MALERNE - Usually best to simply AVOID Malerne oboes. Very inconsistent, though I have found one or two examples that had a huge, singing tone, almost reminiscent of a late model Loree 'ak' bore oboe. The keywork of the later Malerne oboes is 'clunky' in the extreme.
MARIGAUX- Excellent maker overall. Some of the Marigaux oboes (S-M-L, Strasser, or Marigaux) were marketed by the King Musical Instrument Company back in the 1960 and 1970s. Well made, usually having good to excellent playing characteristics. 'Penetrating' and somewhat 'bright' sound. Some of the mid 1990s model Marigaux oboes I find appealing.
The newest model (M2) seems to have a 'pretty sound,' though lacking in complexity. I am especially fond of the clear Acrylic'Altuglas' oboe with gold plate keywork - lovely sound. Truly expensive! Ergonomically comfortable instruments.
T.MARKARDT - Germany. A very good, and, at times, a most excellent maker.
Automatic octaves. MIGNOT - I have owned a Mignot. Exceedingly well made, and it played well. However, it did not seem to 'lock into' pitch centers. MOENNIG - (Germany) Pre-2008 -good, though the keywork is 'so-so'.
The new Moenning oboes well worth a look, though they seem to have a 'bright' sound. MOLLENHAUER - (Germany) No information available.
MUELLER - (Bremen) no information available. ORSI - Best to avoid the oboes. OTLEY (MDK) - UK out of business in the 1980s? Very well made.
Keywork design is nearly 'post modern.' Free blowing. Comparable to Marigaux, Howarth. Worth a look. PATRICOLA - To date I have not been impressed by this maker. My advice: Avoid!
However, a few players seem to favor/ like Patricola. I have yet to find even one example so far to be appealing in any respect. PLATZ - Student models only - best to avoid. POPPE - No information available. PRESTINI - (Italy) Good to (at times) excellent maker. Very well made, good voicing. Sweet, lyrical.
PUCHNER - (Germany) Newly redesigned acoustically 2008. One of the two Puchner oboes shown at the 2008 IDRS convention was absolutely 'ethereal' in every respect. The (very) Germanic keywork design was not especially comfortable ergonomically if your happen to be accustomed to French style keywork. RIGOUTAT - Very good to excellent maker overall. Played extensively throughout Europe. I especially like the oboes from the 1980s, before the introduction of the (dismal) 'Evolution,' 'Symphony,' models- best to avoid.
Low resale value. The 'Expression,' can be very good, at times 'just so.' The newest model called 'J' can be sublime. The 'J' seems to have a timbre reminiscent of a Laubin oboe. May need some minor touches to the voicing to have it 'just so' for American scraped reeds. The finish details at the 'sub-atomic' level not up to the same standard as Hiniker, Howarth, Loree, Bulgheroni, Marigaux. The Rigoutat oboes from the late 1950s will on occasion be an excellent value.
ROBERT - A good maker, though inconsistent. Loree's main competition in France before WWII. The Robert oboes seem to be a lot like the 'A' series Loree oboes. Often recommended for oboists with small hands. SANTONI - AVOID.
SPARKES - (Australia) Artist/artisan maker, often makes oboes out of exotic woods, such as 'Mulgawood' native to the Australian desert. Tom also uses stainless steel for the mechanical elements of his oboes. A good (though not 'great') sounding oboe. The design of the keywork is beyond 'post modern' - not comfortable, and the spacing between the key touches on the lower joint is difficult - too far apart. SCHULLER - good-excellent maker Most have automatic octave system. SELMER - Often best to AVOID completely. However, I have found on rare occasion a Selmer professional model (wood or plastic) that will play very well.
Selmer has far too many model designations - confusing. SPRINGER - No information available at present THIBAUD - (Paris) stencil instruments, Some Kreul, some Bulgheroni, and some? I have a 'Thibaud' Oboe and a 'Thibaud' English horn in nearly perfect condition - both horribly FLAT in pitch- sold with bore and tone hole sizing and undercutting not finished! THIBOUVILLE - Predecessor to Cabart. TRIEBERT - First class maker. Very elegant, 'high-end' instruments. Couesnon sold oboes stamped Triebert well into the 1930s.
UEBEL - No information available at present WARD and WINTERBOURNE - Avoid WERNER WETZEL (Hamburg) - Reputed to be excellent. WOLF - very good maker, though Guntram's oboes have not yet found a market in North America. Famous for bassoons, contrabassoons, and the 'Contreforte.' Wolf also makes Viennese style oboes with either the traditional Viennese system, or modern French keywork, Conservatory system. YAMAHA - Most seem to sound 'bland' and lacking in personality. However, I have had a model 841 for sale I thought to be very good. The engineering of the keywork is (in my opinion) nowhere near on a par with say Loree, Bulgheroni, Howarth, Covey, Hiniker.
STUDENT OBOES - If you must buy an oboe with less than FULLEST Conservatory system, some recommendations for 'modified Conservatory' oboes: NEW: Bulgheroni FB091- the best student oboe, value for the money 'MCW' (Bulgheroni/Chudnow). Howarth S20, S40 wood, Fox 330 'OK' (plastic) USED: as above, plus: Kreul, Kreul/Mirafone. The Kreul Mirafone student instruments play as well as the Kreul professional model instruments. I have often had a 'student' model Kreul oboe that I wished had the full complement of keys. A 'best value' for money, without a doubt. Also: Linton 'ZRL' wood FULL Conservatory, professional model, though the plastic ZRL is very good.
Peter Hurd 360.671.0696 Toll Free 1.800.419.5912 10:00 am - 5:00 pm Monday - Saturday, Pacific Time In-person visits to try instruments welcome - please make an appointment in advance USPS: P.O. Box 30826 Bellingham, WA 98228 USA USPS WILL NOT DELIVER TO OUR PHYSICAL ADDRESS UPS/FedEX/DHL: 4371 Gooding Ave. Bellingham, WA 98226 USA Baritone Sax-oboe in Eb, Cabart,the only known example. First, resolve to purchase an instrument with ALL the usual 'professional' keys! For oboe, this should be: left F, F resonance mechanism, articulated low B-C#, 'split ring' D, Ab - Bb right hand trill. A 3rd octave key and low Bb resonance key should be thought of as optional.
If a student begins on a 'student model' or 'modified' Conservatory instrument (instruments not having the full complement of keys), the transition to a full Conservatory system can be difficult. Playing a student model instrument necessitates the learning of 'bad' habits, such as having to compensate for the lack of a left F key by excessive use of the 'fork' F, or 'sliding' for (say) D to the usual F fingering.
Buy the finest oboe you can possibly afford! I would say purchasing a fine, vintage professional model oboe in fine condition would be a far better investment than purchasing a new 'modified' or 'student' model oboe.
The wood of the older instrument, especially ones made before (say) 1970s tends to be of a finer quality (in general) than most instruments made recently. The 'old' wood tends to be 'tight' grain from old trees. The 'old' wood tends to have been aged for many years before being turned into an instrument. In the 1930s for instance, Loree made perhaps a 100 or so instruments per year. The stock of wood Loree used in the 1930s was likely aged for many years.
Nowadays, Loree makes about 1200 instruments per year. The 'old' ('aged') stocks of wood no longer exist, and the wood that is available tends to come from trees not as old as those cut in the 1930s.
The 'new' wood tends to be 'porous' and 'open grain' in comparison to the old wood. Thus the 'new' wood is usually not as stable, and cracking, even severe cracking, and warping seem to plague recent production. Over the years much talk has been generated on the subject of 'blown out oboes' (see IDRS digest archives on this topic). The idea is that after a number of years of playing the bore of an oboe will change so much that the instrument will loose its 'pitch centers' and become 'unstable.' Al Laubin measured the bores of all the oboes returned the factory over the years for repair. Even over the course of 30 year's time, Laubin can not report that even one instrument had changed detectably.
Personally, I think that the possibility of 'blowing out' an oboe lies in the realm of mythology. One of the most beloved oboes in my collection is a well used Loree from 1927, now completed restored, gold plated. It has no cracks, and the wood is a dense as I have ever seen on an oboe instrument. It plays like the sweetest of dreams.
I surmise that many generations of players after me will enjoy this oboe. In my life I have only encountered one oboe (a Loree from the 1950s) that I would assess as having been nearly 'played out', far too easy to blow, with pitch centers being speculative at best. I suspect that some of the wear on that one instrument may have been caused in part by the owner using excessive force when pulling on the swab over the course of many years.
Cracks happen frequently. Oboes of recent vintage seem especially likely to crack. The majority of cracks in oboe instruments can be repaired successfully, with no deleterious effect to the playing qualities whatsoever. Many repairmen nowadays will use a thin flowing superglue to fill all types of cracks instead of pins.
Cracks in an oboe may not a cause for rejection if a fine repair has been accomplished and the instrument 'seals' well (has 'good suction.' ) An oboe or English horn, especially a recent instrument, having a myriad of cracks through tone holes, or a major crack all the way through to the bore may be cause for elimination from consideration for purchase. Occasionally, an oboe will defy all attempts to have cracks sealed (often new oboes constantly opening up due to poor quality, unstable wood). I have also seen oboe instruments made from wood so porous that leaks occur through the grain of the wood even if no cracks may be in evidence. Bright tone-dark tone. I am always thankful that oboists tend to have distinctly different preferences across the spectrum of bright and dark tone.
I find that I like listening to all manner of oboe sound, from the brightest of the bright to the darkest of the dark. Much of the 'bright' or 'dark' tone is built into the type of oboe played.
The Loree oboes from the 1920s have rather thin wall thicknesses in comparison to the modern Loree oboes, producing a rather bright sound even when played with the long scrape 'Tabuteau' type reed. The Gordet (Kreul-Storch) oboes from the 1960s and 1970s have extremely thick walls in comparison to the modern Loree oboe. The Gordet oboe is the 'darkest of the dark' soundwise, though still it has exceedingly appealing resonance to my ears. The Chauvet is perhaps in between the Gordet and the modern Loree. In the late 1960s, American oboists seemed to embrace the dark sound of the Gordet oboe en masse almost to the point of being a fad, a distinct era in the American conception of oboe tone. Loree even made some heavy (thick) wall instruments (B series) to address the American desire for a dark sound. My own advice is simply to find an oboe that sounds appealing TO YOU.
Every oboist has his or her own 'personal resonance' innate to physique. Even playing the same instrument and the same reed, oboists will sound different one from another. And the way oboists scrapes his or her reeds will make a difference in the brightness or darkness of sound.
I would not discount any instrument simply because it is heavy wall or thin wall. 'Sweet tone'-'Projection'. The Loree and Robert oboes from the 1920s and 1930s seem to possess what I deem to be 'silvery sweet' tone. I have had many of these instruments, and I adore the sound. I personally find that these instruments from the 1920s and 1930s have plenty of projection for solo and orchestral use, though perhaps a bit more effort must be expended.
The bore of the modern Loree oboes is of somewhat greater diameter, especially in the lower joint with an aim to maximize 'projection' for orchestral use. The downside of the modern Loree oboe may be that some 'sweetness' in the tone has been sacrificed on the altar of 'projection.' When considering the purchase of an oboe, it is ESSENTIAL to determine whether ANY damage has occurred to the bore. The SLIGHTEST damage to an oboe bore can render the entire instrument absolutely useless. Damage can include: major cracks all the way through to the bore, grooves, gouges, divots, scratches, scrapes, roughness, warping, knots broken out. Often bore damage will occur as the result of an amateur attempt to remove a stuck swab.
It is common to see divots, roughness and gouges caused by the insertion and twisting of metal hook tools in attempts to remove a stuck swab. I have had at least three oboes with severe bore damage caused by the use of an electric drill with industrial twist drill bit in an attempt to drill out a stuck swab. Though the swab may in fact be removed by use of this most drastic method, the twist drill will invariably bury itself in the wood, creating a deep groove or gouge. I have even seen the bottom of the metal reed receiver destroyed by an attempt to drill out a stuck swab with an electric drill.
IF YOU EVER HAVE A SWAB STUCK IN YOUR OBOE, ALWAYS TAKE IT TO A PROFESSIONAL OBOE REPAIR SPECIALIST TO HAVE IT REMOVED. NEVER ATTEMPT STUCK SWAB REMOVAL ON YOUR OWN. IT IS WORTH EVERY CENT YOU PAY AN OBOE SPECIALIST FOR REMOVING A STUCK SWAB.
The slightest damage to the bore can be a disaster for the playing characteristics of an instrument. And at times bore damage can be EXCEEEDINGLY difficult to detect! For example, I had a lovely C series Loree oboe a few years ago. It was dismal. The scale was way off, and voicing was as uneven as the South Dakota Badlands. I simply could not fathom what could possibly be wrong.
It was in first class condition mechanically, sealed beautifully, and had no cracks whatsoever. I had looked long and carefully at the bore, rotating slowly, looking from all different angles, and from both ends towards a strong light source.
I simply could not see any damage whatsoever. I asked my friend Cooper Wright to have a look in case he could see something I was missing.
What Cooper found was that someone had managed to get a swab stuck. The reed receiver had been removed, and someone started an attempt to drill out the swab from the top. The drilling had been halted, and the metal reed receiver had been replaced. Perhaps someone realized their error in process. However, under the bottom of the reed receiver, a subtle V shape had been created by the drill.
The V was less than ¼ inch deep. That is all it took to ruin the oboe. Fortunately, I was able to send this instrument to David Teitelbaum. David removed the reed receiver, drilled out the top of the bore to a depth of about ¾ of an inch, installed a plastic sleeve liner insert, and re-reamed the top of the bore to original specifications.
David has also salvaged other instruments with bore damage, though usually with longer, often 'half length' polymer sleeves. This sleeving fix for bore damage is expensive, often $800 to $1000.
Loree Ak Oboe
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It should be noted that this sleeving method will ONLY work IF the bore of the damaged instrument is perfectly straight. An instrument with even slight warping or being ever so slightly out of round in the bore can not be drilled out or re-reamed. The drills and reamers will simply wander off center if the bore is not perfectly straight. The possibility of undetected (or unstated) bore damage is yet another reason NOT to purchase an oboe randomly on Ebay or other auction venues. Sellers who may in fact be aware of bore damage to an instrument they wish to sell almost never disclose the existence of bore damage of their own free will.
And the vast majority of sellers (many estate sale re-sellers or pawn shops) simply do not have a clue whether or not the bore of the instrument they offer for sale may have bore damage. And I would not trust to ask most Ebay sellers to make a determination of the condition of the bore of an oboe instrument in any case. Plastic versus wood. For most oboists, wood is THE easy recommendation. Grenadilla is the first choice within the realm of wood, followed by Violetwood and Rosewood. Oboes have also been successfully made of Cocobolo, and other exotic woods.
Most of the synthetic ('plastic') oboes I have come across seem to be lacking in resonance. Exceptions would be the Loree oboe, all synthetic or with synthetic upper joint and lower joint and be made of wood. Loree uses a type of synthetic of a type different from any other maker. In my experience, it would most likely be impossible to tell the difference in sound between a synthetic Loree and an all wood Loree of the same vintage on any consistent basis. The other 'synthetic' oboe I have found to be impressive is the 'Plexiglass' oboe made by Marigaux.
This has a lovely sound, again it is likely impossible to distinguish from an all wood oboe. In shopping for an oboe the ergonomic comfort of the keywork should be taken into account. Some players of course have huge hands and/or long thick fingers, while others may have small hands, with delicate, thin fingers. One size does not fit all! I have 'average' size hands. I find (in order) the most ergonomically comfortable keywork as follows: Hiniker, Bulgheroni, Chauvet, Loree, Rigoutat.
A professional bassoonist friend of mine is a doubler for Broadway shows. He asked me to find an oboe for him.
He has huge hands and thick fingers. I was able to locate a full Conservatory system Kholert oboe with keys nearly on the scale of being as large as keys found on English horn. Another time, parents asked me to find their daughter an oboe suitable for someone with tiny hands and extremely slender fingers. I found a mint condition Loree oboe from 1934 (AF series) that fit their daughter perfectly.
I like keywork! Usually I would say 'the more the merrier.' However, I would not make having extra keywork the 'be all and end all' for choosing an instrument. A 3rd octave key is usually not necessary on a finely crafted oboe.
A left F key is essential! A low Bb resonance key may be considered 'desirable.' I like having (when possible) a left hand ('long') C# key alongside (inboard of) the left F key. This eliminates the need for the 'banana key' for low C next to the D key.
If you play (for instance) the second movement of Bax Quintet for Oboe and Strings, you will discover how useful the long C# key can be. The long C# is an option on Loree, Hiniker, Howarth, Rigoutat instruments. An oboe instrument should have all cork pads for all the keys, even the low B and Bb key cups. This is my opinion and recommendation.
'Skin', leather, 'bladder' and 'synthetic' pads simply should not be used on an oboe instrument, with the exception of the leather pads necessary on the Heckelphone. Nylon tip adjustment screws. I like nylon tip adjustment screws. I retrofit all of the oboes I have for sale or in my collection with nylon of Teflon tip adjustment screws. The synthetic tip screws make the adjustments super secure and long lasting. I can not discern any difference in mechanical noise between the traditional metal screw against cork and the synthetic tipped screw against metal. The difficulty with the traditional screw to cork set up is that the metal screw is constantly cutting into and compressing its companion cork, thus necessitating frequent adjustment.
Ring System Instruments. I love ring system instruments! Nothing at all 'wrong' with a ring system instrument. Ring system English horns can be especially appealing. I play a Loree ring system English horn, #Z60, made in 1910. #Z60 is one of the most remarkable English horns I have ever played.
I especially seek out the ring system instruments that have all the requisite professional key-work: left F, low articulated C#, F resonance note: on some instruments an F resonance is not necessary due to the bore design, for example pre- 1968 Loree oboes, A♭-B♭ trill often this trill is a accomplished by right hand side 'B♭' key on ring sytem instruments, and 'Bleuzet system' (a mechanism that connects the open ring D key to the E♭ key cup lever) that makes a perfectly in tune D# - E trill possible. One of the very best discussions of the advantages of ring system instruments can be found in The Double Reed Journal, Volume 30, #1, 'An Interview With Ron Fox,' part 1. I have copied excerpts below, with permission of the publisher.
'In the sixth grade I bought an old ring system Lemaire oboe with my limited resources. It played very evenly and in tune. In those days (1950s) there were as many ring system oboes around as plateau systems, and mine served my very well for the next eight years, until I bought an old plateau system Loree. But I kept the Lemaire around for a few years, finally selling it to a kid who became an excellent oboist. He still has it instrument, though now put away. I must say that the ring system has some advantages.
They play freely, have the means to get most trills, were light in weight, with a very simple key system, and had minimal and very easy adjustments. More importantly the octave E s, F s, F# s, and B♭s were in tune, and full, stable notes. On a ring system instrument, the E emits from a large tone hole with a long chimney which give solidity and stability to the tone. A plateau system instrument must compromise E with a short chimney and a correspondingly smaller tone hole to obtain the same emittance.
The frequent result (of a shorter chimney, smaller tone hole) is a 'long E' octave, that is, the octave E is sharp on both oboe and English horn. We almost all now use plateau instruments today, carefully selected to get away from this tendency. But I am sorry that makers no longer supply ring system instruments to the American market as student instruments.' Some sources for oboes and English horns. Oboes.us -.
Hannah Sezlnick -. Carlos Coehlo -. McFarland Double Reeds -. Weber Reeds -.
Woodwind and Brasswind -. Oboe Chicago -. Charles Double Reeds -. MCW Woodwinds -. Midwest Musical Imports -. Gary Armstrong Woodwinds -.
Nora Post - EBAY: Buying oboes and English horns. Not recommended for the one time or casual buyer!
Simply put, it is possible to end up in a heap of trouble buying instruments on Ebay. It is not possible to tell a book by its cover. Loree, Covey, Laubin, Chauvet, Marigaux, Rigoutat, Howarth and others, despite having legendary names, have all made a plethora of less than stellar examples. I buy a fair number of oboe instruments on Ebay. I always assume that every oboe I purchase on Ebay will need at the least a comprehensive overhaul: cleaning, polishing, new pads, key swaging and fitting, nylon tip adjustment screws, crack repair, and often re-voicing as well. Usually the cost for such service amounts to about $550 to about $900 on average.
Another difficulty is that as an Ebay buyer you must be willing to take on a fair degree of risk. I estimate about a 15% rate of loss over all the purchases I have made so far on Ebay. For example, I have purchased two oboes (a beautiful Rigoutat and a classic Chauvet 'BW' series) that required entirely new upper joints to be made at great expense.
Well intentioned repairmen had apparently 're-bored' the instruments using common drill bits with devastating results. And some sellers will overstate condition. I have bought oboes the sellers represented as being free of cracks only to discover same to be fraught with cracks, and so on. And on one occasion, I have had the experience of paying a ton money for an instrument and not receiving same for two months, filing claims with PayPal and Ebay investigation in order to prompt the seller to follow through.
The PayPal limit of 'Buyer Protection' is only $1000.00. This sum is a fraction of the cost of most oboes. And since Ebay STILL does not require sellers to verify by photograph the serial number of every instrument put up for sale at auction, the inadvertent purchase of a stolen instrument is always a distinct prospect (I have gone through this legal nightmare with an oboe I purchased for $3300.00).
The Latin expression still sums up the situation best: 'caveat emptor'- let the buyer beware. © Peter Hurd. Web Development.
Loree Oboe Serial Number Age List Dedicated to the Art of Your Double Reed Playing, we offer oboe reeds, bassoon reeds, oboes, bassoons, reeds, used oboes,. 'STENCIL' OBOE INSTRUMENTS. Many of the oboes have a serial number beginning with 'BS'- I find this completely apropos.
Expert: Geoffrey Bridge - 2/13/2007. Question I am currently restoring an F Loree oboe with serial number AT50. I cannot find that number listed anywhere on a Loree.
Second Hand Oboes List. Please note that our Open Hole Oboe list is now full and we are currently not. Loree: Royal c+3+TP Professional oboe with a dark.
I would like an appraisal of an oboe that was purchased from my daughter's music teacher in the 1980's. Serial numbers and age - posted in Viva Woodwind: I bought both my oboe and cor anglais (both Howarth instruments) second hand, and Im curious to know exactly how old they are. Credit is provided by external finance companies as determined by Just Flutes. General Condition. This oboe is in very good. Serial number: DL7.
In fact, I would prefer to make an automatic octave system bass oboe than just to make more serial (i.e. Stamps the oboe and gives it a number,.
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Expert: Geoffrey Bridge - 2/13/2007. Question I am currently restoring an F Loree oboe with serial number AT50. I cannot find that number listed anywhere on a Loree.
Second Hand Oboes List. Please note that our Open Hole Oboe list is now full and we are currently not. Loree: Royal c+3+TP Professional oboe with a dark. I would like an appraisal of an oboe that was purchased from my daughter's music teacher in the 1980's. Serial numbers and age - posted in Viva Woodwind: I bought both my oboe and cor anglais (both Howarth instruments) second hand, and Im curious to know exactly how old they are. Credit is provided by external finance companies as determined by Just Flutes.
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Re: F.Loree Oboe.Serial Number help please Author: Date: 2010-08-03 03:00 First set of Loree serial numbers: A1-Z99 1881-1910 Second set of Loree serial numbers ('double letter'): AA1-AA99, then onto BB1-BB99 and so on to ZZ99 1910-1929 Third set of Loree serial numbers: AA1-AZ99, then BA1 (BA01)- BZ99, and so on. 1929 to present So, two Loree oboes exist with a 'DD' at the beginning of the serial number stamp, though the later (modern) DD oboe will most likely have TWO numbers after the DD, such as: DD05. The keywork patterns of the oboes from the 1910s and the modern series - distinctly different. The oboe in the photographs is a THUMBPLATE system only.
C and Bb can be actuated only by the thumbplate OR the single right hand side key. No connection exists between the lower joint and the upper joint, no connection from the F# key to the riser vents for C (B#) and Bb (A#). A complete pain to try to play in my experience. However, this antique DD5 oboe has a left F AND a long left C#- this keywork (in my estimation) should be standard keywork on all high end oboes. For all the effort the goes into making the 'banana key,' I surmise that a long C# could be made instead for just a tiny bit more effort. I have recently heard of an audition for an oboe position at a major symphony orchestra where the pieceto be played for the sight reading test was impossible to play without the benefit of a left C# key.
With best wishes, Peter oboes.us Oboes.us Topics Author Date new weston 2010-08-02 23:14 new Chris P 2010-08-02 23:25 new weston 2010-08-02 23:33 new weston 2010-08-02 23:42 new Chris P 2010-08-03 00:03 Re: F.Loree Oboe.Serial Number help please new heckelmaniac 2010-08-03 03:00 new weston 2010-08-03 09:12 new weston 2010-08-03 09:05 new jhoyla 2010-08-03 06:06 new heckelmaniac 2010-08-03 07:50 new Chris P 2010-08-03 09:43 new Chris P 2010-08-03 12:42 new Chris P 2010-08-15 11:09 new weston 2010-08-15 12:03.