![loree oboe serial numbers year loree oboe serial numbers year](https://images.reverb.com/image/upload/s--owm2BN9w--/a_exif,c_limit,e_unsharp_mask:80,f_auto,fl_progressive,g_south,h_620,q_90,w_620/v1471922025/mkkaakdmwockiejzmthp.jpg)
- #Loree oboe serial numbers year cracked
- #Loree oboe serial numbers year full
- #Loree oboe serial numbers year series
#Loree oboe serial numbers year cracked
It has never been cracked and has been cared for very well by the previous owner (who bought it used in 2005). This places its manufacture date around early 1993.
#Loree oboe serial numbers year series
KRxx Serial This used Loree Rosewood oboe is a KRxx series serial number. Serial Number, Year Manufactured, -, Serial Number, Year Manufactured. I suspect that the reeds have to be like feather to work on these instruments.Oboes - English Horn - Oboe d'Amore. But that is audience aesthetic of course.I still do not like Howarths and have not much to say about these instruments.Įxtremely well built, no doubt about it. A good Marigaux apparently solves this problem. I cannot explain why, but even when the tone of the Buffet seem to be a little on the light side, the audience notices it less but on a Loree, it spells disaster. Easier for the oboist but in my experience, never more pleasant for the audience. The instability caused by lightening the heart/side of a short scrape reed results in the instability of these notes but somehow, the flexibility allows you to always learn where the notes should sit.
![loree oboe serial numbers year loree oboe serial numbers year](http://test.woodwind.org/clarinet/BBoard/download.html/10,567/20190328_091615.jpg)
They can be very tiring to play!Loree Royals (and AK for that matter) on the other hand, although they exhibit a similar trait as all oboes, because they also have a kind of flexibility built into them, you can always make the sound smaller so that they 'work'. The moment you lighten your reeds in a slightly more compromising way, everything goes haywire, the tone abrasive and the intonation crazy especially in the 2nd octave and E-G. They are too stable, as Cooper says and don't want to change for tone color. Said.The Buffet oboes are very very dark. There are a few experts in the USA and Europe who would be able to identify that. But it played really very well - on par or better than brand new instruments (minus some needed mechanical work), so I suppose it had to be the real thing. So I'm guessing it was on the earlier half of that range.Actually, the wood work might make one think it was a copy-cat instrument (not really made by Loree, just stamped to sell it at the same price). But the wood work was really light and the crown looked more like a Fox than a Loree.
#Loree oboe serial numbers year full
Said.Excellent question! I wish I had written down the full serial number, because according to it's either the 1880's or anywhere between 19.This instrument was not from the 1880's because it had a full Conservatoire covered plate key system. In fact, they're the hardest to make reeds for.Green lines are a tricky bunch, but I always feel they are too stable in tone color and response.Anyways, just some of my observations, take them or leave them. Loree Royals and AK's tend to be pitched slightly lower (Royal lower than AK even), while the Howarths tend to ride on the upper side of the pitch.)Some other observations:Lorees are harder to slur down on, (say middle E to low A) particularly at a quieter dynamic.Older Lorees are more flexible, newer Lorees are more stable as you noticed with your own Loree.Coveys have some of the clearest, purest tone, and are EXTREMELY difficult to make reeds for in my book. In the long run, I've settled on a Howarth because it seems to do the things that my professor wishes me to strive for easier than the Loree, but this is no doubt because he plays on Howarth and is familiar with its profile.One thing you should pay attention to next time is pitch placement as well. Personally, I've played on old and new Lorees for a long time as well as my howarth now, and they both have sizeable advantages and disadvantages which you have accurately assessed. The E-G's are often foggy and unstable when a short scrape reed is played on a long scrape bore, so again the necessary undercutting is performed in order to gain the stability and clarity needed. The high A with short scrape reeds will naturally play lower, so european models are purposed turned higher on the A. The wobble and instability/stability of the notes of 2nd octave A, and 2nd octave E, F#, G, are all reed related, and specifically need to be tuned based upon short scrape/long scrape. Said.I think all of your observations are very accurate.