Repairing extreme wood damage in a bassoon boot joint

September 24th, 2013 by Trent

We recently encountered a student bassoon that had an extremely bad case of rot in the boot joint. Here are some pictures of the affected area when we received the instrument and after our repair tech Matt was done with replacing the rotted section of the boot and cleaning up the bracket. The bore has been lacquered, so it reflects the light in unusual ways. There is also some sealing wax visible around the area. You can see the line where the new wood meets the old all the way past the G tone hole (the one that is closed when you depress the F key)! Nearly 5 inches of the bore was replaced. Read the rest of this entry »

Free Shipping on Instrument Accessories!

September 16th, 2013 by Jeff

Free Shipping on all domestic instrument accessories via phone and webstore, now through the end of September.

Including, but not limited to: Woodwind care accessories like Loree Polishing Cloths, Loree Screwdrivers, Music Stands and more.


IDRS 2013 Interview – Peter Wolf of Wolf bassoons

September 6th, 2013 by Trent

Peter graciously took some time out of the usually hectic conference to speak with bassoon specialist Trent Jacobs about Wolf bassoon design philosophy, and new innovations from his firm in Kronach, Germany. For more information on Wolf bassoons and bocals call or email Trent or Jessica.

Video Transcript:

Trent: “Hi, this is Trent Jacobs at Midwest Musical Imports. I’m here with Peter Wolf of the Wolf Bassoon Company.  Peter, could you tell us a little bit about how you make your instruments?  You do something a little different than other manufacturers, I believe, yes?”

Peter: “Hi, yes, I would not say, I think every kind of bassoons are made in a very similar style, all the works on it.  We have one advantage I would say, we came not over a hundred years old tradition, we come more from the side, and that’s the reason why we do some things a little different. Like we start very early with, for example, with milling machine, or, I don’t know, C and C technology to reproduce very exactly the parts of a bassoon.  Works like this make, it’s the process after the, making a body, the other works on it much easier, much more exact that way.”

Trent:  “Yeah.  Instead of using reamers and tools that you have to make, that create the bore, you tell the computer what, or you can, you’re more flexible?”

Peter:  “It makes you more flexible, but not with all works on a bassoon.  I would say bore is a special thing, and normally you make the bore in the traditional way, and the traditional way is normally you use reamers for the long joint and bow, and for parts of the foot.  Sorry, yeah.”

Trent:  “Okay, and now this year, you’ve been making bassoons out of different woods than other different manufacturers, the Birdseye maple instrument, and you make a bassoon of yew, but now you have a new bassoon, the Redline.  Can you tell us what’s different about the Redline from your previous offerings?”

Peter:  “The Redline is now a new series from us where change a little bit the treatment of the wood, and additional key work on it, and the Redline LT is an instrument which is very new to the music fair in Frankfurt; we represent it the first time.  It’s a lightweight instrument with a very light mechanic on it.  The wood is the same, like the normal Redline, but the mechanic is complete made by lighter materials.”

Trent:  “Yeah, so you have carbon fiber and some kind of aluminum alloy in the key work. I wish that you could hold this bassoon, it weighs so, it weighs like an English horn.  Can you tell us what is the exact weight difference between the normal and this, do you know?  You said it’s about, that’s okay . . .”

Peter:  “I don’t know in your English or American.  In Germany, it is, you can say this one, the weight from this one is around three kilogram, and the weight of this is around two kilograms.  You see it’s a little. . .”

Trent:  “A third, one-third.”

Peter:  “. . . a third from this, because it’s very much, yeah . . .”

Trent:  “Yeah, and it may not seem like much, but when you actually hold it, it’s really quite amazing.  So, and you’ll always use the carbon fiber, or do you have, people have concerned about how you would repair such a thing if you don’t know the metal, can you say anything about how it’s, how you connected it together, how that would make . . .”

Peter:  “Good.  Normally when you use new materials that the way is different, sure, it’s normal.  All the changing in doing something, this is the normal way, I think, sure.  You can not use the traditional things for repair work now, but this is normally not a problem.  It needs for some repairment a little time, but to ask us, or I don’t know what they have to do.”

Trent:  “Yes.”

Peter:  “Normally you can not bend a mechanic, which is made from parts like carbon, because you know it’s from a tent or something, they can not broken, not really, you have to work very hard that it can broke.  And you use different kind of glues and yeah, sure, it is a little different the way of handling this instrument, but not for the player, for the player it’s the same.”

Trent:  “Yeah.”

Peter:  “The player only, the . . .”

Trent:  “It only feels . . .”

Peter: “. . . positive effects from the lightness, yeah.”

Trent:  “Feels so much lightweight.  Well, thank you very much, Peter, always innovating, with the Contraforte, and the Lupophone, and now the Redline LT, thank you very much.”

Peter:  “Yeah, thank you very much too.  You’re welcome.”

IDRS 2013 Interview – Renaud Patalowski from Marigaux oboes

September 6th, 2013 by Trent

Oboe specialist Jeff Marshak had the opportunity to interview Renaud Patalowski from Marigaux at the 2013 IDRS conference in Redlands, California. We’re very happy to carry Marigaux oboes. For more information on Marigaux oboes call or email Jeff or Steven.

Video Transcript:

Jeff: “Hi guys, Jeff Marshak, one of your oboe specialist with Midwest Musical Imports, here the 2013 IDRS conference.  I’m here with Renaux Palowski and Jean Marc of Marigaux. Thank you, first of all, for taking the time to meet with us today.  We’re please to be carrying Marigaux’s oboes again after a while, and our customers would like to know a little bit more about Marigaux.  So what is it that you pride yourself in as a firm of one of the world’s leading oboe makers?”

 Renaux: “So, Marigaux was created in Paris in the 1930s.  So it’s a company which has been building musical instruments, oboes and also clarinets, flutes at the beginning, and even saxophones, for many decades.  Now we are only concentrating on the family of the oboes.  As you just said, it’s a brand which is played by mostly professionals in every part of the world.  We are very proud of that.  We have musicians from very famous orchestras from Paris, in Sydney Australia, in Tokyo, in Los Angeles, in South America.  It’s a very famous brand, and I would bet that every oboist in the world knows Marigaux.”

 Jeff: “Can you tell us a little bit about the history of Marigaux?  How you developed the instruments that you’re playing today?”

Renaux: “The instrument that is the most famous of them all is called the 901.  It’s the standard Marigaux, it’s the one which was the origin of everything.  Now we have a range which is his brother, the 2001.  The 2001, is for instance, is played by Peter Cooper, who is normally here at IDRS with us.  We have created a very innovative oboe, which is the M2, which was launched in 2004, so almost 10 years ago, and it’s a very successful oboe.  We’ve very proud to be the only maker in the world to make such an oboe.”

Jeff: “You were telling us the other night at dinner a little bit about the success of the Marigaux oboes around the world, and how a lot of competitions across the country actually, most if not all the finalist, including the Gillet competition this year, four of the five finalist were Marigaux players.  What would you say attributes to the success of the Marigaux oboes?  What do you think makes it stand out from the many oboes that are on the market today?”

 Renaux: “First, just to take your sentence, it’s true that we have been proud and lucky that among the prestigious competitions around the world, we always have many Marigaux players in the finals and many Marigaux players winning the competition.  The best example is today, we just learned that Lin Shing, who is a Chinese musician, has just won the Gillet competition with a Marigaux M2, the oboe I just mentioned.  So if you take the various competitions which exist around the world, famous ones like the Sony in Japan, you had like five or six finalist who were all Marigaux players.  You had a very famous competition in Switzerland in Muri, which just took place a few months ago, all the finalist were Marigaux players.  We are very proud.”

“I would never say, and nobody on the team would say that these are good musicians because they play Marigaux.  But I think that they rely on Marigaux to be good artist.  They like what the instruments provide.  I think they like what we try to bring to them.  Marigaux is a very small company.  I feel that every player who plays a Marigaux is part of the family.  And if the musician who play the instruments feel that way, then we are very happy about it.  I think it’s a success.  This is what we are looking for.”

Jeff: “Well, thank you Renaux. I really appreciate it, and Jean Marc, thank you for taking the time. We’re pleased to be part of the Marigaux family once again at Midwest, and enjoy what’s left of the conference.  Thanks guys.”

I've only heard great reviews about this trial procedure with [Midwest Musical Imports, it was very convenient.