The Selmer one I bought a while back is probably only good for parts as the tenor joint was badly crushed but the ebonite lining was surprisingly still in one piece. But that's a risk we all have to take with older instruments. I saw one recently that had split all the way through, and after pinning it was playable. Not a problem if it is unlined as being rosewood it should be easier to look after than unlined maple, and a good oiling should make it safe enough to use. Looks to be in relatively good nick from the photos, but I'm not sure if the tenor joint on these is lined with ebonite (it has a nickel silver crook socket - ebonite lined joints have an ebonite socket which is in the top part of the liner) - some are and some aren't, I reckon this one is unlined, but I'll have to wait and see when I get it next week. I just bought this one off the famous auction site: So what's the mechanical difference between a french-system bassoon and a german-system? doesn't the french one have fewer keys and a slimmer build? just want to get a mental picture here. If you fancy learning this system go for it! and without sounding less than beautiful. My last teacher, Cecil James, played the French instrument all his life and could cut through a 100-piece orchestra with no difficulty.
However the French bassoon is less easily played than the Heckel if the reed is not quite as it should be, I often regret changing from "basson" to "Fagott" ' but as I was studying in Berlin at the time the move was inevitable. Although I felt I was playing louder than he was musician friends in the audience found his sound carried better than mine. I played alongside a French bassoonist a couple of years ago. There's some info in The Art of Bassoon Playing about the differences re: French vs. Terry, you're correct that French bassoons have a lighter tone. I've read that a different cut/style reed is in order, but little more than that. The German clarinet is different than the French style Boehm horns, no doubt about that. But, that's just supposition on my part, and it could be that I'm reading more into what I hear than I should. Some of the recordings that I have heard where the bassoons might have been expected to be French style (for example, the Sourcer's Apprentice by a French orchestra) seem to have a lighter, less reedy quality. There is still lots of music extant for these bassoons. I seem to recall reading somewhere that the French bassoons, which were of course here before the German ones, don't have as robust a sound as the German bassoon, and that is perhaps why they are not used as much in orchestras today. Leader of Houston's Sounds Of The South Dance To Message Has anyone here had experience with one of these beasts? What bassoon playing I've done over the years has always been either on Heckel or on Heckel-"system" instruments, and I can see from photographs that a Buffet horn is a different kettle of fish altogether.
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