Woodwind Workshop

Clarinet Disassembly

I'm posting these lecture notes for the convenience of the NYCDOE Band directors attending a seminar on woodwind maintenance.

These are my lecture notes from a clarinet maintenance class I used to give at MSM. It quickly outlines disassembly and reassembly and some basic solutions to problems you might be able to work out for yourself.

MSM Repair Seminar 2014

Mechanics of the instrument: Terminology

pivots and rods

Pivot screws are the small pointed screws at each end of the key. Most of the lower joint keys are held on by pivot screws.
Rods are the cylindrical, smooth screws that span the entire distance from post to post. Top joint is mostly held together using rods.

flat springs and round springs

Flat springs are found on the register key, side trills, and throat A key. One end is attached to the key and the other contacts the body of the instrument.
Round springs most often protrude from posts and need to be secured behind a “catch” at the opposite end.

closed keys and open keys

Closed keys are keys that are sprung with the pad touching the tonehole. The key movement opens the key. Closed keys need to have sufficient spring tension for the pad to seal securely against the tonehole.
Open keys are sprung with the pad sitting away from the tonehole, and the key action brings the pad down to the tonehole. Open keys need only be sprung heavily enough to raise the weight of the key itself. A heavier spring tension can improve key response speed, but too much tension is tiring to the hands.

binding and free

A key is considered to be binding if it doesn’t move completely freely when assembled without spring tension. A bind can be caused by wood shrinkage, causing the space between the posts to be too short for the key. It can also be caused by corrosion, congealed oil, or a bend in the rod or key. A key is free when it falls of its own accord when assembled without spring.

Mechanical Disassembly:

Tools of the trade:

Screwdrivers - Use the largest screwdriver you have that will fit in the screw slot. Screwdrivers that are too small can mar the screw slot.
Pliers - Use only smooth jawed pliers, and be gentle. Pliers should only be used to remove rods, never to bend keys. Grip the rods with the plier jaws at each edge of the screw slot to avoid squeezing the screw slot closed.

Notes:

Rods: unscrew until you hear/feel a click, gently remove with pliers, wipe off oil on paper towel, and immediately place back into key.
Pivots: replace in post when not assembled.

Never leave pivots or rods on a table, they may get mixed up. Although they look similar, pivots and rods are not interchangeable.

Only work on one section at a time. Fewer disassembled parts=less confusion. Don’t clean the oil off the rods with tissue or toilet paper, it’s too linty. Use a paper towel, washcloth, or old tshirt.

Reassembly:

As you reassemble the instrument, make sure all the parts are clean. Position the key on the body of the instrument and add a small bead of oil inside the post at the rod entry point. For keys held on by pivot screws, add a bit of oil at each end of the key. Line up the rod or pivot screw by hand, then pick up the screwdriver and gently tighten. If it feels like it is being forced, remove it and try again.

Rods should be tightened until they stop. Do not overtighten.

Buffet pivot screws for instruments 15 years old and younger have an orange or black plastic ring that permits it to sit in the post in a variety of positions. When reassembling the key, tighten the pivot screws until the key binds slightly, then back off a bit until the key is free. Try to keep the pivot screws at either end more or less even.

Selmer pivot screws, older Buffet pivot screws, and most bass clarinet screws don’t have this plastic sleeve and should be tightened in the post until they stop.

Engage each round spring as the key is being assembled. Be careful not to overextend springs or you might change their tension. Try to handle round springs as little as possible, and use a spring hook or crochet hook.

As you reassemble, be sure the tip of flat springs make contact with the metal plate on the body. This is especially tricky with the side trill keys.

Order of operations to reassemble top joint:

sliver D#/A#
C#/G#
Thumb ring and index ring key
D/A ring key
Throat A, then Throat G#
Top 3 side trill keys all at once
Side Bb/Eb
Register key

Order of operations to reassemble lower joint:

LH C key
F#/C# (tricky spring! Use spring hook.)
E/B
F/C, then Ab/Eb
Right hand sliver key
Right hand rings
Left hand pinky spatulas

Common problems and simple solutions:

Joint Assembly: Tenon Corks:

Tenon corks should have friction through the entire width of the cork and should fit firmly but not tightly. Tenon corks are a gasket, meaning that they create a seal between the two parts. Cork is not airtight on its own, it needs cork grease to make a complete seal.

If your tenon cork has friction through the entire width but the joints still do not fit together well, you may need to fit the tenons. Brush a light coating of nail polish on the wood part of the female tenon (the part with the cork), both above and below the cork gasket. Be sure to go all the way around, and try not to get the nail polish into the corner where the tenon meets the body.

It may take several layers to do the job properly. Let each coating dry for a few hours before adding the next coat. If you rush it you’ll end up with a gooey mess.

If you go too far, either sand the spot lightly or use nail polish remover or acetone to remove the excess.

The best way to tighten loose tenon corks until you can get to the repair shop is with Teflon plumbers tape. One or two times around should do it. If you don’t get to the repair shop you may need to keep adding more and more as each layer compresses. Dental floss also works (preferably the waxed old school string kind), as does electrical tape.

Throat G#/A Key Adjustment:

Poor adjustment of the throat G#/A can cause the G# key to remain open even when it is in the closed position. When pressing the A key, there should be a minute amount of movement before the G# begins to come up. If you aren’t sure if there is enough play, raise the G# key, put a cigarette paper feeler under the adjusting screw, and pull out the paper, feeling for friction. If there is friction on the paper, turn the screw a minute amount (one minute if it were the minute hand of a clock) and repeat with the feeler gauge.

Bridge key adjustment:

The “1 and 1” Bb bridge key adjustment is important but is also the moodiest adjustment on the clarinet. Too loose and this fingering for Bb is ineffective, too tight and the right hand ring key pad won’t close. Your center tenon must fit perfectly in order for the 1 and 1 fingering to be reliable.

Symptom: 1+1 Bb not working

Try twisting the tenon slightly to change the bridge key contact point. Still not working? Add a piece of tape to the bridge key cork.

Symptom: 1+1 Bb working, but slight movement is felt in LH ring key

Try twisting the tenon slightly to change the bridge key contact point. Still not working? Use a razor blade to shave a paper thin amount off the bridge key bumper cork.

Symptom: Bb working, nothing in right hand working

Identify that this is a bridge key problem by twisting the tenons so the bridge key is no longer engaged. If the instrument works again, then you have a bridge key problem. Use a razor blade to shave the bridge key bumper cork until the right hand rings will close again.

Crow’s Foot Adjustment:

Symptom: Long B won’t play without the C being held down also

Add a piece of scotch tape to the right side of the Crow’s Foot (arm under the RH E/B touchpiece that is the shape of a pizza with one slice removed). Depress LH B key, test B and C keys with cigarette paper feeler, continue adding scotch tape in layers until they are as even as possible.

Symptom: Long B won’t play at all, adding the C doesn’t help

Solution: Shave a paper thin piece of the crows foot bumper cork. Depressing LH B key lever, feel B and C pads with cigarette paper. Continue until they are as even as possible.

Binding Keys:

If a key won’t move freely of its own accord or has a sluggish, scratchy feeling as it moves, first figure out whether the key is held in by a rod or a pivot screw.

If it is held by a rod, remove the rod, clean and oil, and replace. If it still binds, try loosening the rod ¼ turn. Be sure to tell your repair person at your next appointment. Keys held by a rod that are the most likely to bind are the throat A and top joint index finger rings.

If it is held by pivot screws, try loosening the pivot screws ¼ turn, one side at a time. The keys with pivot screws that bind the most are the left hand C, right hand rings, and E/B key.

Sadly, you can’t expect to be able to fix binding keys yourself every time. Sometimes they require shortening of the key, which should only be done in the repair shop. Let your repair person know your instrument is binding, it is a repair that typically doesn’t take very long.

Tuning:

Many clarinetists attempt to change the tuning of particular notes on their instruments. Tuning is achieved by changing the dimensions of a specific tonehole.

When considering making a tuning adjustment, remember that any adjustment you make will affect all notes with the same fingering. Upper register fingerings will be affected by tuning adjustments more than lower joint adjustments.

Logically, adding material to a tonehole reduces its size, thereby lowering the pitch. You should only work on adjusting sharp notes to be flatter. Raising the pitch of a flat note requires enlargement of a tone hole and should only be done by a competent repair person.

Remember that a note speaks primarily out of the first open tonehole, not the hole covered by your finger! For example, to lower the thumb F/C note, you would need to add material to the LH index finger chimney.

When adding material to a tonehole, be sure the material is trimmed properly so it doesn’t protrude into the bore or stick out over the edge of the tonehole. Add material only to the top half of the tone hole (closest to the mouthpiece). This effectively moves the tonehole down the bore slightly, with the least amount of dulling of the note. If the note is both sharp and very bright you can try adding a thin layer of material all the way around the tonehole.

In order to do tuning work you have to be comfortable with disassembling and reassembling the instrument. I recommend using materials that are self sticking and that can be easily removed for tuning, such as electrical tape (layered several times as needed) or new mouthpiece patches. Clear nail polish works well and is more permanent than tape, but you have to have the time and patience to do several layers without rushing. Gooey nail polish will ruin a pad in an instant, so if you go this route don’t rush it.

Emergencies:

Every now and then we will all be in a place where we have an urgent problem and nobody is available to help us. Here are a few tricks to help:

Bumper cork fell off, key is noisy

If you still have the bumper cork, reattach it using a gel super glue. If you don’t have it, or can’t glue it, trim a green furniture velvet to the proper size and use the self stick glue to stick it to the the key or to the body. Layer if necessary to achieve proper thickness.

Broken Springs:

Broken springs can usually be temporarily remedied by judicious placement of a rubber band. Be sure to consider whether the spring needs to be sprung open or closed. Remember to use other posts as an anchoring point if necessary. Don’t keep rubber bands inside your case compartment, the sulfur in the rubber corrodes the keys. For the same reason, don’t leave a rubber band on your instrument for an extended amount of time.

Torn Skin pad:

Wrap a single layer of Teflon tape around the pad and tie in a neat knot on top of the pad cup. Trim the tails completely. If no Teflon tape is available, use a strip of Saran wrap.

Pad Fell Out (but you still have it!)

Replace the pad in the pad cup, attempting to get it back in it’s original position. Use a safety pin if you have to to turn it in the cup. Tie a single layer of Teflon tape around the pad and knot on top of the key cup, using the same procedure as a torn skin pad.

Pad Fell Out (and is lost forever!)

Roll a bit of poster tack or chewing gum in your fingers to make a ball the size of a pea (for top joint pads) or a bit larger for lower joint pads. Place into the pad cup and wrap with a layer of Teflon tape or saran wrap, knot it neatly on the top of the pad cup and trim the tail. Press the key snugly against the tone hole so the poster tack can take the shape of the tone hole.

Horn fell over and keys are bent!

If the instrument still plays, leave it as it is! It’s possible you might make a bigger mess if you try to straighten it out. If it doesn’t play at all and you want to try to straighten keys, use only your bare hands to move the metal back to its original position. You don’t own the proper pliers to use for this purpose, trust me, and you’ll only make it worse by trying. Eyeball key placement, if it looks right, it probably is.

Oh no, it’s cracked!

Repair people don’t like you to repair your own cracks because our materials are always stronger and work better than what you would have on hand. If at all possible, leave the crack alone. It may be leaking, and play it if you have to. If it is absolutely necessary, glue the crack with Krazy Glue but for heavens sake don’t glue the pad to the tonehole. Remember, the glue will run along the crack by capillary action, so take the key off first, or at least wedge the pad open. Use just a thin layer of glue. A heavier dose of glue does not increase the strength of the job.

Do NOT put cork grease, beeswax, or anything oily into a crack. It will prevent the proper glue from sticking later on.

Remember, cracks are a rite of passage for woodwind players, and usually are a minor inconvenience other than the rather steep repair bill.

In your painfully incomplete repair kit:

Teflon tape, crochet hook, screwdriver, plier, safety pins, green velvet bumpers, key oil, razorblades, rubber bands, a bit of poster tack, and my cell phone number (I don’t always answer, but text me for advice!)

You should also add cigarette paper, nail scissors, q-tips, scotch tape, electrical tape, super glue, and a pair of pointed tweezers to your repair kit.

Resources for purchasing tools and supplies:

I buy most everything at Metalliferous, a jewelry supply store at 34 W 46th St # 2,
New York, NY 10036-4520 (212) 944-0909. They have all the glue, hand tools, and polishing cloths one could ever hope for. For tools manufactured specifically for musical instrument repair visit ferreestools.com or jlsmithco.com.

Tools and Supplies for Band Directors

This is a list I put together for the NYCBOE band directors attending a seminar with me. If anyone else finds it useful that's great!

Tools and Supplies for Band Directors:

Tools:

Culinary Torch - be sure to adjust the flame extra small
Screwdrivers - 1.8mm and 2.5mm, plus 4mm for bass clarinet and bassoon
Spring hook - I made you one!
Pad slick
Pliers that have smooth jaws
Tweezers that are pointy
Bench peg for sanding tenons
Neoprene Plugs with hole and without hole to test pressure without putting your lips on the instrument! (The “with hole” link is sized for clarinet upper joint, without hole is a set.)
Brass calipers for measuring tenon cork width, pad cups, and pad sizes

Supplies:

Shellac or Glue Gun Glue (I like shellac best)
Razor blades (I like Gem brand best but I’m a razor blade snob)
Gel super glue (I like the Loctite Precision Pen best)
Contact cement (in a small bottle, it needs to be thinned or replaced often)
Key oil
Bumper material

Firm material – like tech cork ideally in .5, 1, and 1.5mm thicknesses
Soft material – like synthetic felt (this link is for an assortment of thicknesses. You can also buy them Ala carte. .5 and 1mm thicknesses would be most useful)

Other more mundane supplies: paper towel, q-tips, ruler.

Pads:

Clarinets:

Valentino greenbacks .110 thickness (but use a backing and buy undersized)
Valentino masters pads for clarinets (already have a backing but more $$)

Oboes use cork pads, and it’s typically not reasonable to expect a band director to change a cork pad. Sometimes a Valentino can be used on the larger keys.
Bassoons use white leather kidskin pads, ($$) but sometimes a Valentino can be used on the smaller keys, especially on the wing joint.

Tenon Cork:

Sheet cork in 1/16 and 3/32 thickness (I like natural cork best)
Sanding Screen 320 grit is very efficient for sanding corks. Trim it with a razor blade or scissors to the width of the cork. It can be reused many times.

Supplies for temporary repairs “on the fly”

Waxed dental floss (to tie a tenon cork back on)
Saran wrap (to wrap around a torn skin pad)
Sticky-tack and saran wrap or teflon tape (to replace a missing pad)
Scotch tape (to tape off a missing pad, grossly leaking pad, or crack)
Clear rubber bands (the type for hair) for temporary spring replacement
Green velvet sticky pads

Note regarding vendors:

Most of the links on this page will take you to either JL Smith Co. or Amazon.com. There are lots of suppliers to the woodwind repairman, but some require a business license and others won’t sell pads in small quantities. JL Smith will sell pads in small quantities and has a website that is navigable even for the layperson.

Other suppliers for tools and supplies:

Ferrees Tools, Inc. - Toolmaker for the wind repair trade. Also sells supplies like pads and corks.
Allied Musical Supply - Tools and supplies, also OEM parts. Requires business license.
Music Medic - Tools and supplies. Especially great for pad sets.
Kraus Music Products - High end tools and supplies. Requires a business license, doesn’t take credit cards.

Tuning and Voicing Your Clarinet

What is Tuning and Voicing?

It is sometimes possible for your technician to customize your instrument to your specific tuning preferences. We refer to this as “Tuning”.

It is also possible to change the sonority of specific notes, and we refer to this as “Voicing”. Adjectives such as resonant, bright, stuffy, buzzy, or dead to describe the voicing of a particular note. It is important that you use descriptive words that your technician can understand and quantify it for him or her, especially if you are not present for the tuning or voicing session.

Tuning and Voicing go hand in hand, because many of the techniques we use to improve the sonority of a tone hole will also affect the pitch. It is important to know the voicing characteristics of a note while tuning it so that we don’t exacerbate undesirable characteristics further while attempting tuning.

Setting Realistic Expectations:

It helps to have realistic expectations and to go in with your “wish list” prepared. I like it when my clients have a form filled out that shows the tuning relationships between registers. Keep in mind that often times the relationship between notes within a scale is more important than achieving “just intonation” according to a tuner.

How does Tuning and Voicing Work?

Most often intonation adjustments affect two notes, the fundamental and the overblown twelfth. The approach your technician takes to improve intonation discrepancies depends on the relationship between the fundamental and the upper partial, since we can make different modifications that will affect the fundamental more than the upper partial and vise-versa.

When determining the tuning tendencies of a particular instrument it is important to try the instrument with equipment that is familiar to you. If you are using a clarinet mouthpiece that is new to you it might be wise to wait a bit before tuning your instrument to suit it. The same goes for reeds and barrels. While barrels will affect the tone quality of the entire instrument, the length of it tends to affect the notes closest to it, meaning that the throat tones and upper left hand notes are more likely to come into tune with barrels of differing lengths.

It is common for clarinetists to add fingers to open tone holes to improve the tuning and voicing of the instrument on their own, especially for throat tones and left hand fingerings. It is important to work this out in advance also so that further tuning and voicing does not affect your preferred fingerings.

Come Prepared to your Tuning and Voicing Appointment:

Here is a link to the form we like clients to fill in at home and bring to their tuning appointment:

Printable Clarinet Tuning and Voicing Survey

Work in Stages:

Be prepared to continue tuning and voicing your instrument at future sessions. You may find that the adjustments you initially requested are not ideal, or maybe your needs have changed. No worries, we can revise it!

Tuning and Voicing Your Oboe

What is Tuning and Voicing?

It is sometimes possible for your technician to customize your instrument to your specific tuning preferences. We refer to this as “Tuning”.

It is often possible to change the sonority of specific notes, and we refer to this as “Voicing”. Adjectives such as resonant, bright, stuffy, buzzy, or dead to describe the voicing of a particular note. It is important that you use descriptive words that your technician can understand and quantify it for him or her, especially if you are not present for the tuning or voicing session.

Tuning and Voicing go hand in hand, because many of the techniques we use to improve the sonority will also affect the pitch. It is important to know the voicing characteristics of a note while tuning it so that we don’t exacerbate undesirable characteristics further while attempting tuning.

Setting Realistic Expectations:

It helps to have realistic expectations and to go in with your “wish list” prepared. I like it when my clients have a form filled out that shows the tuning relationships between octaves. Keep in mind that the relationship between notes within a scale is more important than achieving “just intonation” according to a tuner.

How does Tuning and Voicing Work?

Most often intonation adjustments affect two notes, the fundamental and the overblown octave. The approach your technician takes to improve intonation discrepancies depends on the relationship between the fundamental and the upper partial, since we can make different modifications that will affect the fundamental more than the upper partial and vise-versa.

When determining the tuning tendencies of a particular instrument it is important to try the instrument with several of your own reeds. If you do not make your own reeds, try to settle in with reeds from just one or two makers that you are familiar and comfortable with before requesting tuning. Similarly, if you are experimenting with staples or reed styles it may be best to wait for your routine to become more consistent before requesting tuning. Similarly, for English horns and Oboe D’Amores it’s important to have your bocal choice solidified.

It is easiest to tune notes where the fundamental and first upper partial have the same tendency. It is common for tuning discrepancies to be more pronounced in the upper octave than the lower, and this is good because most tuning operations affect the upper register more than the lower register anyway.

It is important to make sure your oboe is sealing and well adjusted before tuning and voicing. Some notes rely upon screw adjustments to be in tune, especially in the third octave.

Come Prepared to your Tuning and Voicing Appointment:

Here is a link to the form we like clients to fill in at home and bring to their tuning appointment:

Printable Oboe Tuning and Voicing Survey

Work in Stages:

Are You Thinking About Becoming a Repair Technician?

One of the questions I’m asked most often is how one gets started in instrument repair. There is no doubt that we need more workers in this field, for both high end professional repairs and school music specialties.

How do I know if I’m suited to be a technician?

Aptitude and ability is important to prospective technicians. Successful technicians have a craftiness and curiosity that aids them well in the trade.

If you are detail oriented, love to work with your hands, don’t mind making a mess (and cleaning it up), and have a real appreciation for the instrument itself as well as the music it makes you may be well suited to be a technician.

How does one begin the process of becoming a technician?

There are typically two main paths to becoming a repairperson: trade school and apprenticeship. Most technicians enter into either trade school or apprenticeship after completing at least a bachelor’s degree in music. Obviously, competency and sensitivity on one’s instrument is imperative.

There are several trade schools that teach instrument repair. These programs vary in length and cost but are generally less than two years and very well priced. They are a great way to learn general instrument repair and basic machining techniques. They are geared toward general band instrument repair, not mastery of one specific instrument. These are typically certificate programs and with your certificate you will be easily employed by a general music shop (under a master technician’s purview.)

The other path is apprenticeship with a master technician. Many people do repair school first, then move on to apprenticeship afterward, especially if they would like to specialize in high end repair of professional instruments. The cost, length, and availability of apprenticeship varies from shop to shop.

In the last few years some master technicians have also been offering online courses in instrument repair. This seems like a great way to start out, especially if you are unsure of your suitability to the craft or if relocation is not an option for you. Some of our supplies and equipment manufacturers also offer clinics and courses. I have found that it is best to stay away from YouTube! There is a lot of sub-par repair content online and it’s difficult for the layperson to distinguish the good from the bad.

How do I approach a master technician about a potential apprenticeship?

Ideally, it is best to have a relationship with your technician before broaching the topic of an apprenticeship. Make an appointment to have your instrument repaired, show up on time, and take an interest in the repair of your own instrument. Most technicians are more likely to accept a potential apprentice if they were an easy client to work with. Shops are small and space is limited so it is important to demonstrate an easygoing personality, dedication, and gratitude for the opportunity.

Keep in mind that many technicians (myself included) don’t want to take the time to train apprentices who are not completely invested in developing their skills to a professional level. We don’t like to train people who only “moonlight” or dabble. It feels like a waste of time and energy. Dedication is key, as with all worthy endeavors.

What are the different specialties of instrument repair?

Within instrument repair there are several different specialties. Some specialize in families of instruments, such as general woodwinds or general brass instrument. Some do them all!

There are also sub-specialties of high end or student instrument repair. Both are valuable and well needed in the community! You have to know yourself and your preferences in order to find your true path. If you prefer variety and like to do several smaller projects in a day then school music repair may be ideal for you. If you like to obsess over one instrument for a full day (or several days) then professional instrument repair might be a good fit for you.

What are some of the more surprising aspects of instrument repair?

When I started out as a technician I was surprised by the brute strength that is sometimes required, even on small, fragile instruments like oboes and clarinets. I thought it would be all small, careful motions, but was surprised that sometimes the only technique is to muscle it back into conformity!

I was also surprised by how often I would be poked by springs. I assumed that this only happened to apprentices, but NOPE, it happens Every. Single. Day.

I was surprised that many of our tools and supplies are not available for sale and must be made by hand by the technician. I actually really love this!

It was also surprising how many acoustical techniques seem random and without logic, especially with conical instruments like Oboes. This is why it is imperative to study with a master craftsman for high end repair and take careful notes along the way.

Here is the takeaway:

Musical instrument repair is a path that can lead you to a corporate position, a posting in a small shop, in a university, in instrument manufacturing, and even self employment. Competent technicians are needed in the biggest cities and smallest towns, all across the world.

Resources:

Trade Schools

Online Schools

Repair Tools and Supplies

Trade Associations

NAPBIRT

A Parent’s Guide to Choosing an Oboe

I recently had to buy my son a larger violin. We were borrowing one from his teacher, and it was time to move up a size. I had no idea where to start and was reliant upon the trust and good name of a local high-end string specialist to guide me in making the right decision. They helped steer me toward a good quality lightly used instrument that was within my budget and would resell well. I feel like with their help, I did ok!

The good news is, like I did, you’re already seeking the help of a specialist. A specialist won’t let you choose an instrument that is of insufficient quality or one that isn’t suited to your needs. You’re on the right track.

First Consideration: Renting an Oboe

We do offer rentals here at Woodwind Workshop. For our rentals we offer European made intermediate instruments that have all of the proper keywork, a decent tone, and a reliable mechanism. Oboes are easily misunderstood by the big box stores, especially those with large rental programs. They tend to rent out poor quality oboes that aren’t equipped with a full mechanism and even worse, they don’t have the capacity to be sure that they’re in good working order before they rent them to you. Then, they sell you an additional maintenance plan for an instrument that was poorly manufactured and in bad playing condition to begin with.

Our oboe rentals typically cost around $65/month and require a minimum six month term. To keep the paperwork at a minimum we don’t require a contract beyond the initial six month term. We’ll simply charge your credit card for rental fees on the 15th of each month until you give us 30 days notice of termination. Our rentals also include any maintenance the instrument may require. Just give us a call and make an appointment for servicing.

Renting is a great choice, especially when the student is a complete beginner and is just being introduced to the instrument. The student can give it a try without a large financial obligation. Renting can also be a longer term solution for families with dedicated students but who are on a strict budget.

We don’t do rent to own agreements. We’d rather sell you a brand new instrument at the best price we can. Read more about “rent to own” and how it rarely benefits the consumer. However, if you decide to purchase a new instrument during your rental term we will apply up to three months rental fees toward the purchase.

In addition to oboes, we also rent English horns and Oboe D’Amores, typically by the week or the month.

Buying an Instrument:

There are four considerations when buying an instrument: Price, Longevity, and Resale, and Maintenance.

Price:

Oboes are expensive! They’re expensive because they’re made in Europe from exotic imported materials and require lots of hand finishing. Prices for used intermediate oboes start at around $1800, while a new premium intermediate oboe is closer to $3500. Entry level professional oboes start at $4000 for a used instrument and top out at $6700, while new professional oboes start at around $7400 and top out at $9500. That’s quite a range of prices! It’s fair to say that you’ll need the help of a specialist (and hopefully also the student’s teacher) to decide which instrument is best suited to your family.

Longevity:

For younger students, lighter weight, more basic oboes are easier to assemble and to maintain. The keywork is designed for smaller hands with a shorter reach. Students age 13 and under should pretty much always go for an intermediate model instrument. Examples of good quality intermediate oboes are the Howarth S20 and Howarth S40.

For older students, especially those very dedicated to the instrument, it might be advisable to choose a new or used professional instrument. This way the student wouldn’t have to upgrade the instrument again. The Howarth S50 is an excellent option, as would be a used Loree, used Howarth XL, or new Howarth XL. The choice of instrument would depend on whether the student is on a college track to be a music major and the family finances.

It’s an inspiring and exciting moment for a student when they are able to upgrade their instrument. We do our best to help families to find the instrument that fits the student at the best possible price, and for new instrument purchases we include a Two Year Full Service Warranty in addition to the manufacturer’s warranty.

Resale:

The last consideration when buying an instrument is the cost of maintenance and eventual resale of the instrument. Because the price of new high quality European made oboes typically rises 3-5% every year, oboes maintain their value surprisingly well. If you keep your oboe more than 5 or 6 years (and of course maintain it thoroughly the entire time) you can reasonably expect to sell your instrument for the price you initially paid. Of course, this applies mostly to the most popular models of mainstream brands. Off brand (even high quality) and less popular models may be harder and less valuable to resell.

Maintenance:

Like any new high ticket item, new instruments initially depreciate in value. It takes time for the value to “catch up” to what you initially paid. However, new instruments come with a two year warranty (saving you probably $750 in repair charges) and tend to need less maintenance even after the initial two years is finished. Used oboes typically do not come with either a manufacturer’s or dealer’s warranty and require more maintenance year to year. It is reasonable to budget $400-500 annually to maintain your professional oboe, and $150-$300 for an intermediate model.

Why “rent to own” isn’t such a great deal:

The chain retailers have done very well with their “Rent to Own” models. It gives the customer a feeling like they’re not throwing their money away, but rather slowly investing it in an instrument. This would be great if the instrument was of sufficient quality that you’d actually want to buy it, and if the “Rent to Own” price were the same as the price you’d pay if you had bought the instrument up front.

Typically, rental instruments are sturdy, low cost, student model instruments. Under the “Rent to Own” model, the rental charges are deducted from the FULL RETAIL PRICE of the instrument, not the discounted “sale” price you’d typically pay had you initially just bought it outright. In other words, you pay a premium for the privilege of renting it before buying, which is not altogether unfair since you may also decide not to buy the instrument at the end of your rental contract. With the “rent to own” model you may end up getting a slightly better deal on the eventual buyout of the instrument, but the rental charges are pure profit on top of the sale.

At Woodwind Workshop we believe in offering all of our customers the best possible price. We also only offer superior quality instruments and backed by a two year full service warranty. However, we do reward our rental customers for their loyalty by applying up to three months rental credit toward the purchase of any new instrument.

Quick guide to oboe shopping:

DO buy an instrument in current production, preferably European
DO choose an instrument under 20 years old
DO buy an instrument that will challenge your student to grow
DO ask your teacher or repairperson for advice on instrument selection
DON’T buy a high end professional oboe for a very young beginner
DON’T purchase your oboe from a general music store

Woodwind Workshop

Clarinet Disassembly

MSM Repair Seminar 2014

Mechanics of the instrument: Terminology

pivots and rods

flat springs and round springs

binding and free

Mechanical Disassembly:

Tools of the trade:

Reassembly:

Order of operations to reassemble top joint:

Order of operations to reassemble lower joint:

Common problems and simple solutions:

Joint Assembly: Tenon Corks:

Throat G#/A Key Adjustment:

Bridge key adjustment:

Crow’s Foot Adjustment:

Binding Keys:

Tuning:

Emergencies:

Broken Springs:

Torn Skin pad:

Pad Fell Out (but you still have it!)

Pad Fell Out (and is lost forever!)

Horn fell over and keys are bent!

Oh no, it’s cracked!

Recommended Reading:

In your painfully incomplete repair kit:

Resources for purchasing tools and supplies:

Tools and Supplies for Band Directors

Tools and Supplies for Band Directors:

Tools:

Supplies:

Pads:

Tenon Cork:

Supplies for temporary repairs “on the fly”

Note regarding vendors:

Other suppliers for tools and supplies:

Tuning and Voicing Your Clarinet

What is Tuning and Voicing?

Setting Realistic Expectations:

How does Tuning and Voicing Work?

Come Prepared to your Tuning and Voicing Appointment:

Work in Stages:

Tuning and Voicing Your Oboe

What is Tuning and Voicing?

Setting Realistic Expectations:

How does Tuning and Voicing Work?

Come Prepared to your Tuning and Voicing Appointment:

Work in Stages:

Are You Thinking About Becoming a Repair Technician?

How do I know if I’m suited to be a technician?

How does one begin the process of becoming a technician?

How do I approach a master technician about a potential apprenticeship?

What are the different specialties of instrument repair?

What are some of the more surprising aspects of instrument repair?

Here is the takeaway:

Resources:

Trade Schools

Online Schools

Repair Tools and Supplies

Trade Associations

A Parent’s Guide to Choosing an Oboe

First Consideration: Renting an Oboe

Buying an Instrument:

Price:

Longevity:

Resale:

Maintenance:

Why “rent to own” isn’t such a great deal:

Quick guide to oboe shopping: