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ADJUSTING THE OBOE
ADJUSTING THE OBOE
Keeping the oboe in good adjustment is more important than for any other woodwind instrument because of the complexity of the mechanism, and the covered keys. When the oboe is out of adjustment, it can cause poor response and even pitch issues.
Many oboists learn how to do their own adjusting, and are at least comfortable enough to do the most common adjustments.
Before starting, it is useful to understand the distinction between adjustment screws, and the screws and rods holding the keys on the instrument. Generally, adjustment screws stick up and away from the instrument, while structural screws run parallel to the keys. When turning adjustment screws go slowly. No more than a ¼ turn at once. Adjust one at a time so it is easy to undo as necessary. Avoid screwing the screws into the bumper corks.
Keys close in relation to each other. Generally smaller keys close less strongly than larger keys. Use a piece of cigarette paper, or feeler gauge, to determine the differences in strength of closing. Finger the notes in question with normal finger pressure, and pull out the cigarette paper from under the keys.
Testing for suction
The easiest way to find out if the oboe, particularly the top joint, is leaking is to test the suction. With just the top joint, cover the keys and the end of the oboe, then suck the air out of the top joint through the reed well. When there is some pressure, slide the opening on to the lip, and check how long the top joint can be “stuck” on the lip. If the oboe has great suction, it can be many seconds, and if it’s leaking badly, it may not stick to the lip at all.
Occasionally a weak spring is the cause of a leaky top joint because the air pressure overcomes the strength of the spring. If this is the case, carefully bending the spring to strengthen it may be all that is needed. Springs can break, so this may be better done by a repairperson.
Most common problems to look for first
If the low register is responding poorly, and it’s not the reed or the embouchure (admittedly not always easy to determine), try checking the issues and adjustments below first.
1. The middle tenon joint is wobbly and loose leading to intermittent response problems in the low register.
2. The articulated F#/G# is improperly adjusted leading to poor low register response (This adjustment can also be affected by the middle tenon wobbling). If the screw is too tight, the F# key won’t close; if the screw is too loose, the G# key will open if F# and G# are pressed at the same time.
3. The “little keys”, C and Bb in the top joint, may not be closing properly. They may need to be adjusted in relation to the bigger keys, the A and G that close them. To check their relationship, with the oboe together, press the F# to raise the little keys, then while holding the F#, use
either the G or A key to close the associated little key. If the screw is not tight enough, the little key will remain a bit open, and if it’s too tight, the A or G won’t close. The little key can be “tapped” to check for any movement if it is not closing completely.
4. The E key may not be closing the “little F#” key properly.
5. The F resonance key, balanced in relation to the E key, may not be closing enough, or too much, when playing a D4 or lower.
For more information about adjusting, see the resources section below.
Other possible repair work on the oboe
Many oboists have their instrument overhauled every several years depending on how much the instrument is used. Overhauling includes cleaning and oiling the mechanism to keep it running smoothly. Also, replacing damaged and old pads and missing bumper corks, and refacing tone holes so the ring is more sharp to eliminate the many small leaks created by normal wear and tear. Swedging the keys, often commonly done when the instrument is overhauled, expands the key arms or rods so they wiggle less. This helps the instrument seal better since the keys are moving sideways less and creating a smaller, more consistent ring where the pad meets the tone hole.
Sometimes oboists have pads changed to either cork or to skin because they prefer how one or the other seals and feels.
Reshaping the bore, tone holes and tone hole undercutting can change the pitch of specific problem notes.
Keys can be bent and even reshaped to accommodate different hand sizes or injuries, or new keys added for different alternate fingerings.
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