How do I think about making a replica ?

Balance of woodwind
I don’t want to make a replica with same measurements of surviving woodwind which museums have.
The tone holes, undercutting and bore of such originals may be changed by someone.
So, such originals have too light resistance to blowing and have too low the lowest note.
I think that it is not improvement.

On making a replica after J.J.Quantz@washington, I noticed the bad balance to play.
Now, I make a replica of flutes traverse with better balance.

Flute traverse after Quantz at Köpenick

Flute traverse after Quantz at Köpenick

On historical oboe (hautboy), It’s very important the measurments of staple.
I tried making the staples with various measurments.
To get good measurments of staple, The instruments should be adjusted perfectly.
However, to adjust the instruments, It needs the better Reed and staple.
I adjust one instrument for some times for some years, and I get better matching of those.

Re-re-boring resonance hole

Re-re-boring resonance hole

Bell peg for baroque oboe
There is a possibility that baroque oboe has bell peg. About this stuff are written on page 205 of the book which title is Eloquent oboe by Blues Haynes. I have never sawn surviving bell peg for baroque oboe. However it isn’t hard to make it.

Bell pegs for baroque oboe

Bell pegs for baroque oboe

My design is based on Violin’s peg. I don’t have any idea about original one.
You can see my movie about bell peg.

Length of woodwind
I always use the length of originals.
For exmaple, The length of corps de rechange made by myself for flute traverse is same to originals.
Now, 415Hz is used generally as baroque pitch. In 18c, variety pitch are used each cities and churches, country etc. Baroque flute traverse had some corps de rechange to play on variety pitch.
So, I think that a corps de rechange based on the original should be selected and used on 415hz.

Corps for flute traverse after F.G.A. Kirst

Corps for flute traverse after F.G.A. Kirst

kaizen for woodwind
Kaizen is the famous japanese word and it means impovement.
I improve some problem.

  • Keys from more thick material.

    keys of early classical oboe after Grundmann

    keys of early classical oboe after Grundmann

  • Springs of key are attached by screw. The keys of original after J.J.Quantz has pan head screws primarilly.

    screws

    screws

Re-reaming
Builting woodwinds, I re-reame the bore of woodwinds for some times. Because wooden material shrinks.
It’s need to re-reame the bore after Builting. The shinking bore produces weak resonance and too much resistance to blowing air.
I suggest to re-reame for 3 times for first 1 year after Builting. The prottype flute traverse keeps good condition by that without re-reaming after 2nd years.
I have had experiments since 2011 about shrinking of the bore. In the case of bringing my oboe and flute from Japan to Europe, The shrinking causes more early. So re-reaming is needed in the first year when it is started to play.
When we buy flute and oboe from me, Their potencial look very good, but after 3 months, the potencial will becomes lower. Re-reaming is needed to keep it as Quantz says in his book.
It will be not easy to send them to me over the ocean, because players may not notice the problem caused by shrinking of the bore. So, I can’t sell my replicas to the people doesn’t have their bases near of mine. Keeping the trust to me is out of my area which I can control.

Reamers
I designed and make a set of reamers to make bore for each models by myself. That’s very important. I mainly designed divided reamers.

divided reamers for body piece

divided reamers for body piece

Because it’s easy to re-reame the bore again by hands.
You can watch my making reamer movies on my youtube channel.
Making reamer for oboe play list

Robert Bigio and Michael Wright wrote interesting article ” On Reaming Flutes ” 2005 The Galpin Society Journal.

Temperament
I think that surviving flute’s tone holes and the undercutting is too wider.
When I researched surviving flutes ( made by Kirst and Lot III), it’s hard to get better intonation with the fingerlings that we ordinally use.
And now, we don’t have to alternative joint to change the pitch.

So, I tune my woodwinds at 415Hz or 392hz with minimum measurements of tone holes and the undercutting. In this case, Hotterre fingering becomes available on the baroque flute and on the baroque oboe, we can get more stable potential and wide dynamic. Those are interesting. I’m not interested in authentic way which is available with some alternative joints to change the pitch.

The basic key is Bb major and the opposite key is E major and the key has problem of intonation of the D#. For the reason, I always attached D# key to my flute. The tuning way was found by me. It is different with 1/6 mean tone and Mon. Beaudin’s way about Quantz’s flute which we can see on the technical drawing of Dayton Miller’s.

We can play F# major well with my flute and oboe. Quantz wrote about playing with baroque flute in F# major in his book.
Off course My replica of the baroque flute and oboe can be played all major and minor with my tuning way.

Try & try
The measurements of the staple and bocal for baroque oboes may be able to be calcurated.
However I make many staples and bocals with various measurements. By playing with them, I get good measurements.

Bocals for oboe d'amore

Bocals for oboe d’amore

potencial of bore
I noticed that it is important to draw the potencial of the bore enoughly on making them and playing them.
by that we get more expression and more good tone quality.
my replicas of historical flute and oboe

researching surviving original
When I had travel to England and the other country, I visited musical instruments to research surviving musical instruments. That’s very important. some makers have never played such surviving one.
You can see my researching movie on youtube.
Researching The Galpin

making photos and movies