I
produce at the present time 3 models of bassoon bocals. My basic model,
the " H" series, is a very rich, full toned, and responsive
bocal. It has a very even, uncompressed scale, an easy and full- bodied
high register thus making it possible to use a very open,"Bel Canto"
type of production. Intended for Heckel Series 5000-9000, Fox 220's and similar instruments.
My "CH" series is dedicated to my mentor, Don Christlieb.
It is based on dimensions and principles that Don and I worked out together
over a period of several years. The tone is somewhat more direct, a
bit brighter, and the octaves are slightly wider. This model responds
wonderfully with Christlieb’s style of reeds, with an exceptional
high register.
The Verissimo "V" series is a smaller bored crook intended
for later model Heckel, Fox, Mollenhauer instruments. The octaves are somewhat compressed,
the tone darker and with more fundamental in the sound. These crooks
play with a very even " breath envelope" and, as the name
implies, a Verissimo type of tone production, i.e. carrying the "chest
voice" well into the high register..
Feedback from my customers suggests that it is worthwhile to experiment
with various types of reeds, perhaps even lighter than usual. I have
been told by many customers that they become less fatigued playing on
my crooks. This may be due to the fact that they have to make fewer
adjustments in embrochure than with other makes.
Choice of material, and material combinations is strictly a matter of
personal taste. The different metals certainly have distinctive acoustic
properties, but I find it impossible to anticipate what will be the
best combination for a given instrument. My personal favorite on my
8000 series Heckel is 18 karat gold, due to its dark sound and subtle
nuances, great carrying power and refinement.
My bocals for oboe d’amour and English horn have a very full and
rich tone, great stability and ease of response. The octaves are true
and response is even throughout the instrument, bottom to top. These
bocals, especially in 18 karat gold, are preferred by solo players throughout
the world.
ABOUT
GOLD
Throughout history gold has been highly valued for its’ esthetic
appeal, ductility, ease of casting and malleability. It can be pounded
to a ‘leaf’ approaching one molecule in thickness, or drawn
to the thinnest wire. Through the alchemists’ pursuit of the "philosophers’
stone", attempting to transform lead into gold, there developed
the sciences of chemistry, metallurgy and physics, to name a few. I
Änd it odd that the "karating" of gold, or the fabrication
of gold alloys, both to harden it and lessen the necessary quantity,
did not develop until rather late in recorded history, the terms "karat"
and "carat" have very different meanings. The term "carat"
is a unit of weight measurement, equal to 200 milligrams, while "karat"
refers to the purity of gold, 24 karat being pure gold, while 12 karat,
for example, means half gold and half alloy.
Gold has many unique characteristics as a material in a large variety
of applications, such as electronics, for example where it is ideal
not only for its non-corrosive properties but as an excellent conductor
of electricity as well.
There are many references to "trumpets of gold" in literature
dating back to the fourteenth century. Flute makers have utilized gold
for its’ resonance and warmth of tone color for their preferred
clientele for well over a century. Many saxophonists prefer gold, or
a heavy gold plate, as a bell or neck material for its’ great projection,
as well as beauty of tone.
I Änd high-karat gold to be an ideal substance for bocals for all of
the same reasons. The ease of response, subtlety of nuance, expanded
dynamic range and, as some clients have said "buttery", smooth
elision between notes are just a few of its amazing properties.
I carefully melt the gold with other pure metals and elements, a process
known as "alloying" to obtain the desired karat, density and
color. I then hand roll the resulting metal through a rolling mill to
make sheet, the Ärst stage of making a bocal.
This labor-intensive process is why I can take only serious inquiries,
and can send only a very limited number of gold bocals at a time for
trial.
Thank
you all for your continued interest in, and support of my work!
Robin Howell
www.robin@robinhowell.com.
E-mail: www.robinhowell@rogers.com (1-416-534-6538)
