Breaking in your new oboe. How to do it right
Grenadilla wood is dense, heavy and extremely sensitive to moisture. Playing a new oboe at full intensity straight away asks more of the wood than it can handle. The difference between an instrument that lasts for decades and one that cracks early lies in the first weeks of use. A good break-in schedule takes little time and prevents a great deal.
Why does an oboe crack faster than a clarinet?
The bore of an oboe is conical — narrow at the top and wider towards the bell. This has acoustic advantages, but it also exposes the wood to higher internal pressure fluctuations during playing. In the upper joint, condensation builds up rapidly while the outside of the instrument is still dry.
That tension between a moist interior and a dry exterior causes the wood to work. If that happens too quickly, it cracks. Grenadilla wood (Dalbergia melanoxylon) is hard enough to withstand this — but only if the wood has time to adjust gradually. Clarinets have a cylindrical bore and a larger total volume. The pressure build-up per surface area is significantly lower.
Dry winters in Western Europe
Central heating quickly reduces indoor humidity to 20 to 30 percent. Grenadilla wood performs best at a humidity level between 45 and 55 percent. Below 40 percent it becomes critical — the wood shrinks and the risk of cracking increases rapidly. Also watch out for air conditioning: an air conditioner dries the air just as effectively as central heating and poses an equally serious threat to the instrument.
The break-in schedule for a new oboe
The principle is simple: play briefly, let the wood dry, repeat. Build up the playing time gradually over the first months. Play varied repertoire and alternate between registers and dynamics, so that moisture is absorbed evenly throughout the wood.
Begin each playing session with a warm-up. Hold the upper joint in your hands for a few minutes or press it against your body. Never blow warm air through a cold instrument to bring it up to temperature. A stream of warm, moist breath through a still-cold instrument is exactly the situation that causes cracks.
The First Month: Gentle Build-Up
- Week 1: Limit playing time to 10 to 15 minutes per day. Always warm the instrument from the outside first using your hands or body, and play exclusively in the low register at a gentle pace. Avoid high notes and loud dynamics during this phase. End each session by thoroughly drying the inside with a swab.
- Week 2: You can extend playing time slightly to 20 to 25 minutes per day. This week you may introduce more variation in register, provided you dry the instrument thoroughly with a swab immediately afterwards.
- Week 3 and 4: Playing time may increase to 30 to 35 minutes per day. You can now begin your normal repertoire and carefully extend the dynamic range during playing.
Month 2 to 3: Acclimatisation
- During this period, daily playing time can be increased to 45 to 60 minutes.
- Although the instrument is now becoming more accustomed to use, it remains essential to stay alert to sudden temperature changes.
From Month 3: Regular Use
- After three months the instrument is basically broken in and normal use is permitted. Bear in mind, however, that fully breaking in an oboe typically takes six months to a year.
- Ongoing advice: Even after the break-in period, warming the outside beforehand and carefully drying the bore after each playing session remain the most important steps to prevent cracking.
The oboe humidifier: from autumn to early spring
A humidifier regulates the humidity around the instrument when it is not being played. In the winter months, this is not a luxury. Below 40 percent humidity it becomes critical — grenadilla wood shrinks visibly, even in instruments that have been played for years.
Think of it this way: the humidifier does at night what the break-in schedule does during the day. The wood is not exposed to dry heating or air conditioning, but to a stable environment of 45 to 55 percent humidity. Use a Boveda humidity pack in the case.
Wood oil / bore oil: what it does and how to apply it
Wood oil slows down how quickly the wood absorbs moisture during the first notes of a session. It creates a thin film over the pores on the inside of the bore, so that condensation is absorbed more gradually. It does not "feed" the wood — grenadilla has no need for feeding.
Make sure the bore is thoroughly dry before applying oil. Then place a few drops on a swab and gently work the inside of the instrument with a light coat. Never apply oil in or around the tone holes — this damages the pads.
During the first three months, we recommend oiling the instrument approximately once a week. After that, gradually reduce to once every two months until halfway through the first year. From the second year onwards, one to two times per year is sufficient.
With a second-hand instrument, this varies per oboe. How old is it? How has it been maintained? How dry is the wood at this point? A new owner is advised to have the instrument checked by a specialist first. They can assess on the spot how much oil the instrument needs and how best to proceed.
Too much oil is not harmless. The wood becomes saturated, the bore starts to stick and the pads can come loose. The tone also becomes duller — and that cannot be reversed. Less is consistently better.
Only use wood oil specifically developed for woodwind instruments. At Adams we stock the Mancke almond oil, suitable for oboes, flutes and headjoints. Other oils can damage the wood or the mechanism.