Category: Oboe Related

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Choosing the Perfect Double Reed Instrument: A Parent and Teen Guide

When you or your child are in the market for a double reed instrument—such as an oboe or bassoon—it’s important to know what to look for and how to test each instrument before making a decision. This guide will help you navigate the process with confidence.

Key Considerations Before You Begin

– Budget: Set a budget that includes both the cost of the instrument and any necessary accessories (reeds, cases, etc.).
– Skill Level: Consider whether the instrument is for a beginner, intermediate, or advanced player.
– Personal Preference: Remember, this is a personal choice—what feels and sounds right to one person might not be the same for another.

Attributes to Look For

Sound Quality
– Clarity: Does the instrument produce a clear, resonant sound?
– Tone: Is the tone warm and consistent across all registers?
– Projection: Does the sound carry well in different settings?

Ease of Play
– Response: How easily does the instrument respond to breath and finger movements?
– Intonation: Does the instrument stay in tune across its range?
– Comfort: Is the key action smooth, and does the instrument feel comfortable to hold?

Build Quality
– Materials: Check the quality of the wood or synthetic materials used.
– Craftsmanship: Look for smooth, well-finished surfaces and precise key mechanisms.
– Durability: Consider the reputation of the brand for long-lasting instruments.

Aesthetics
– Appearance: Does the instrument look visually appealing to you?
– Finish: Is the finish smooth, even, and free from blemishes?

Value
– Is the brand well known?
– Does this brand retain its value over time?

How to Test the Instrument

Warm-Up:
– Spend a few minutes getting comfortable with the instrument. Play some long tones and scales to start.

Test the Range:
– Play notes across the entire range of the instrument, from the lowest to the highest notes.
– Listen for consistency in tone and intonation across the range.

Dynamics:
– Try playing at different volumes—soft, medium, and loud.
– Notice how the instrument responds and whether it maintains a good sound quality at all dynamic levels.

Articulation:
– Test different types of articulation (staccato, legato, etc.).
– Check for clarity and ease in executing each articulation.

Play a Piece:
– If possible, play a piece of music you’re familiar with.
– This helps you assess how the instrument handles more complex passages and transitions.

Sample Graph: Comparing Instrument Attributes

Note: The ratings are just an example. Use this as a model or template to rate your own findings.

Attribute Instrument A Instrument B Instrument C
Sound Quality ⭐⭐⭐⭐⭐ ⭐⭐ ⭐⭐
Ease of Play ⭐⭐⭐ ⭐⭐⭐⭐⭐ ⭐⭐⭐⭐
Build Quality ⭐⭐⭐ ⭐⭐⭐⭐ ⭐⭐⭐
Aesthetics ⭐⭐⭐⭐ ⭐⭐⭐⭐⭐ ⭐
Overall Rating ⭐⭐⭐⭐ ⭐⭐⭐⭐ ⭐⭐

 

 

 

 

 

 

 

 

 

Final Thoughts: Trust Your Instincts

Choosing a double reed instrument is a personal decision. While these guidelines are here to help, the most important factor is how the instrument feels and sounds to you. Take your time, try out several instruments, and choose the one that feels like the best fit.

Remember, the right instrument can inspire years of musical growth and enjoyment, so make sure it’s one you or your teen will love playing!

Good luck with your selection! If you have any questions or need further guidance, feel free to reach out to us or your instructor.

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A student asked: “why do my oboe reeds play flat?”

If the reeds are not super long, generally, this means more breath support is needed. An indelicate test for this is to play into a tuner, and squeeze the reed harder with your lips while you’re playing. If the pitch is uncertain or swoops upward, the reed is too easy for you, and your concentration of breath is not sufficient to make it work consistently.

A common misconception is that softer reeds means easier reeds. Actually, the softer (easier, less resistant) a reed, the more embouchure control and breath support are needed to produce a good, consistent and in-tune sound.

Always consider that the instrument may be having a problem, too. If all your reeds are flat, or weird, it’s probably not you, or the reeds. Get your instrument to a repair technician.

If you have an experienced teacher, they will be your best resource. If not, try asking around and see if you can find someone to work with you in person.

There’s a great book on this subject that can help out. The Breathing Book, by Stephen Caplan, is a guide we trust. 60 pages of detailed instructions, illustrations, explanations, and examples. It’s helped out many a flummoxed reed player.

There’s a so much more to share on this topic – this little explanation barely scrapes the surface (hehe). I’ll write more sometime soon.

Have any questions? Let me know. I know a lot of stuff, and I’m eager to share.

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A Question About Ponte Oboes

“Mitch the Multi Instrumentalist” from Oregon posed a great question:

“Who really made those Ponte oboes?”

Well Mitch, I spent more than a few years at Charlie Ponte’s midtown Manhattan shop as the reedmaker (and floor sweeper, truth be told). During that time, I saw dozens of new Ponte oboes come in and go out. You would think I would know everything about them, right? I honestly think that no one knows the full story except Charlie, and he’s been gone a while.

In the photo above, Charlie is the man on the left. Bennie Fairbanks is further down the counter. My reed making counter was just to the right of this photo. Unfortunately I don’t know who the customers are.

People have been sending them to me for many years, and I’ve repaired and sold dozens and dozens of them. From what I’ve seen, there are three main types of “Ponte Oboes.” None of them were made in Manhattan, of course.

There’s the lighter, thinly plated version, which is often stamped “made in Italy” somewhere on the body. These resemble the Prestini oboes from that time period. I believe those were made by Chasserini, a relative of Prestini’s who turned out a lot of stencil instruments. Remind me to tell you about old man Prestini sometimes. He came from Italy to Ponte’s shop every few months to wine and dine with Charlie, Sam, and Benny. Quite a character.

The mama bear versions are marked “made in France” and seem uncannily like older Kreul instruments. They have familiar intonation quirks, and the key structure is very similar. The overall dimensions, weight, and feel are like Loree oboes from that period, but I don’t think there is any connection there.

The big bruisers are the “made in Germany” models, which are most probably from Malerne. They’re heavier, more richly plated, and often have a really dark, chocolaty tone.

Like many smaller companies, Charlie imported instruments with no name on them from quality manufacturers. He then stamped his mark on them, and gave them serial numbers. I swear the numbers make no sense at all, so don’t even bother trying to date an oboe by that method. These, as you know, are called stencil instruments.

The best of Ponte oboes can be extremely good instruments and I’ve performed on them over the years. Charlie retired in 1983, and didn’t produce very many oboes at the end of his run, so you can count on all of them being from before 1983.

Thanks for asking! If you ever want to try one, we have models for sale pretty regularly. Visit our used instrument pages to see what’s available.