Loree Oboe Serial Numbers Year
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I own an F. Loree AK Oboe, NE-37, which was made in 2000. I was contemplating having a custom fiberglass case made for my Loree AK, and had to take dimensions. Below are some numbers of dimensions for a typical Loree oboe. Also below are serial numbers and years of make:
A note about Loree serial numbers: Loree serial numbers can tell you when your instrument was made. The Loree serial number consists of two letters followed by two numerals. The letters are the key. Below is a general guide to instruments and their years:
'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.
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.
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. From the c. 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.
F. 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.'
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
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.
Established in 1881 by Francois Lorée, the firm F. Lorée was instrumental in the many innovations and developments of the day resulting in the introduction of the French Conservatory Plateau system. Upon his death in 1902 Francois's son, Lucien takes over the factory until 1925 when instrument maker Raymond Dubois purchases the company. Lucien Lorée remains with the firm and in 1945 is joined by Robert de Gourdon, M. Dubois's son-in-law. Collaborating together they work on the many refinements and nuances that make the instruments of F. Lorée truly works of art. In 1967, Alain de Gourdon, Robert's son and current Chairman of the Firm begins his tenure. As the creative and business leader of F. Lorée, he propels the company to prominence in the oboe world. Anne de Gourdon, Alain's sister, plays an integral part in the running of the business and is a most engaging and charming representative of F. Lorée.Tradition and InnovationThe reputation of F. Lorée instruments is based on a tradition of meticulous attention to detail as well as one of research, development and innovation. The wood, carefully selected pieces of Grenadilla from Mozambique, is aged for more than five years in a temperature and humidity controlled environment. The keys are forged from solid nickel silver, then plated with such a thick coat of silver or gold that it could bear the official French hallmark.The exacting tolerances kept to when fitting the mechanism results in a highly dependable mechanism. Cork pads seated on airtight tone holes produce the ease of response and ability to achieve the subtle nuances that have been synonymous with the mark F. Lorée for decades.A permanent staff training program and active participation of the technicians in a quality control program insures that Loree strive for perfection remains constant. It is only after passing numerous stringent final tests that the instrument deserves to be stamped with the name F. Lorée. 153554b96e
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