This contraforte is rentable! I have been so lucky in the last few years to get some great gigs but I can’t do every one of them. Many times there are enough bassoon players in the section to cover all of the parts but no one has a contra. So I rent out the contraforte on a short term basis. To rent the horn I need a few weeks notice and the player is required to come to the house for a brief lesson on assembly and maintenance. The rental is for use in California only, pricing is based on the project.
If you are interested in renting the contra just send me a message through the “connect” page
Recently I have been teaching my students lessons that have been based around their own interests. A few of my students have been interested in contra and so I’ve brought in the contra for them and some of my student have been interested in reed making so I taught them about reed adjustment.
I think that it is important to break up the gloom and doom of regular lessons, etudes, and scales with something that really pique students’ interests. Most bassoonists think its very fun to try new equipment, and playing contrabassoon is a useful skill for learning bassoonists.
I have the great advantage of living by a field of naturally occurring Arundo Donax. My mother lives in Ventura, California and the Ventura river, from the Ojai river, is infested with an unending source of cane. The easiest place for me to collect this cane is where the river meets the Ocean. The is however a problem with this cane, since it grows basically on a beach, it is very weathered and dry. From what I have experienced so far, much of this damaged cane makes very soft reeds. The sun, sand, salt, wind, humidity, and temperature take much of nutrients from the cane and leave it very porous and soft. The best cane is in the middle of the fields, so it takes a bit of work to get to, but this cane is the most protected.
All of the pieces I have cut are in different phases of the drying process. I have read many articles about the drying process and what some of the big cane producers do. First I have read from two separate sources to harvest cane the day after a full moon. “the pitch is up” and something about the gravitational difference of having the moon high in the sky during the day pulls resources from the roots into the fibers. From there on the process is very different company to company. Most french companies keep the cane outside to dry in a “teepee” formation for a whole year. Where as the Rico company keeps the freshly harvested cane outside in the sun for 10 days and then moves it all into huge indoor storage facilities and large ventilator fans.
For my part I am going to harvest enough cane to allow me to try a number of different methods. Some I will leave outside, others will stay mostly inside, and others I might cut to shorter segments to see if it will dry faster. Most of the pieces I cut are 5-6 segments long and so ill have different sections of the same cane to work with.
Ill be sure to post pictures of the reeds made from this harvested cane!
A few years ago, around 2008 I purchased my current bassoon. I had an intermediate bassoon up until that point and I decided to shop around for something new. I was going to attend the San Francisco Conservatory of Music that fall and so I needed an instrument that was going to help me learn.
I had a great time shopping around! I justified to myself that since this instrument was going to be my main instrument for the next few years, I should try as many as I want. I had many bassoons sent to my house to play test and I had a few of the overlap. I used a few different websites as well as a few players that I knew were selling. In total I tried 3 Fox 601s, 2 Heckels, a Püchner 5000, a Moosmann 222A, and a Bell.
I initially really gravitated towards one of the Heckels based on sound alone. However It didn’t have the modern extras that I knew I needed, it didn’t have high E or any rollers. The other Heckel I tried had a very even scale and came with a few amazing bocals but it was very stuffy and and had little projection. The Püchner and Moosamann were actually sort of similar and I was very impressed by the Moosmann. It had many extras , extra keys and such but I found the instrument to be very heavy and the sound took a bit more work to get going. I felt like I had to push make it sing.
As a note about my “process” for testing bassoons. I had each bassoon at my house for at least 5 days. I used different reeds and played a lot of different rep. I also recorded myself for most of my playing as not all of the bassoons overlapped for side by side comparisons. I used a Fox CVX2 on each bassoon but also used the vocals that came with them. Some bassoons sounded much better with their own bocals especially the Heckels. They needed special bocals to help the sound out. (not that all Heckels do)
The 601s were the most fun for me, I was surprised at how different they were from each other. The Fox 601 has a great projection, tone, and it’s very flexible. The Fox had that bright sparkling core of sound that drew me to play the bassoon in the first place. Now between them I found that the oldest one was the better one. The Fox i chose was is from 1997. The others were from 1998 and 2002. I know that the new 601s are a bit different especially with brighter tenor register.
I have a french whisper key, A flat B flat trill key, and the A flick key to whisper key bridge on my bassoon. I have really been impressed with it so far. My playing has completely changed while Ive been in school, and I seem to appreciate it’s sound more and more.