R. W. Mac Gibbon with his Bassoon No. 7, taken outside his Milwaukee shop, August, 1975.
There are relatively few makers of fine quality bassoons in the world. Coming first to mind are the most famed, Heckel of Biebrich, Germany (German-system) and Buffet-Crampon of Mantes-la-ville, France (French-system). Buffet-Crampon in fact are the only producers remaining in France constructing French-system instruments. Joseph Puchner of Nauheim, Germany, and FOX bassoons of South Whitley, Indiana, are both gaining in professional use everywhere. But there are precious few other firms whose bassoons meet the exacting demands of professional bassoonists.
With so few firms making bassoons, it is always interesting to hear about individual efforts at bassoon production, and there have been some in recent years. The Netherlands have, for example, produced two bassoon players who also constructed fine bassoons: Thom De Klerk and Louis Salomons, both no longer living.
Less known to bassoonists is the work of a gifted flutist and woodwind repairer, R. W. Mac Gibbon, of Milwaukee, Wisconsin.
In August, 1975, I had the great pleasure of traveling to Milwaukee to meet Mr. Mac Gibbon and his excellent colleague, George H. Jameson (who also is an instrument maker, currently at work completing a handmade oboe of excellent appearance). I was able to take the photos included here of Mr. Mac Gibbon and his seventh bassoon produced, numbered "7." I also inspected this instrument very carefully, and found it to be of extremely clean design and finish. The key work is beautifully formed of extra strong metal (An original aim of Mac Gibbon was to produce many bassoons for school use; therefore he wanted his key mechanism and articulation to withstand hard usage), and the shape of the keys fit the hands and fingers very comfortably.
The normal rollers are missing for the low E-flat and low C-sharp keys, and for the low F, low A flat, and small finger f sharp keys as well. However, Mac Gibbon explained to me that these keys are all of a dished design which allow the fingers to slide quickly and smoothly from key to key. I found no difficulty using these keys in rapid passage work when testing the bassoon a few minutes later.
Mr. Mac Gibbon pointed out that the connecting arm for the low F key (finger touch plate) is substantially longer than average for Heckel-system bassoons - the reason for this being his intention to lighten the action of the low F key. This key does move very freely and the trill low F to G can be made very quickly.
Additional interesting points to notice about the design of this bassoon are: an A-flat/B-flat trill mechanism which can be disengaged when not required, a low C-sharp/D-sharp trill mechanism with the thumb touch plate smoothly integrated into the design pattern of the other thumb keys for the left hand; and a rapid whisper key lock mechanism for right thumb which is also extremely sturdy. All long key rods are supported by very well-designed guides, and the posts are locked to avoid slippage. The bocals are also of Mac Gibbons' manufacture, he describes their history in quotes I have taken from his letters (see below). In play-testing this instrument in Mr. Mac Gibbon's shop, I liked it immediately. The tone is resonant and warm, the scale even with no damped or unstable notes. The flexibility in expressive passage work is equal to many Heckels and other fine bassoons I know, and the dynamic range seems to be excellent also. I wish that I could play on the instrument for a longer period of time in chamber music and orchestral situations to assess its full potential, but my initial reaction was most positive. Bravo to such a difficult endeavor-- accomplished more than successfully. This bassoon is a fully professional artist instrument, without question.
Here are some comments from Mr. Mac Gibbon which explain why he did not continue expanding his bassoon-making goal, and which also describe the method of construction of his at one time very popular bocals:
Many years ago I tooled up, in between working hours, to make a bassoon. It was my hope to advance from the repair business to bassoon making. After making some (bassoons) I discovered that it was much better to continue the repair business. Why??? If they get $500 for a good clarinet and about $1000 for good flutes, it would be - at the same hourly rate - worth $25,000.00 to make a good bassoon.
I made up a total of 7 bassoons. The first six are sold and are claimed to be highly prized by their owners. I have No. 7, which I will keep until No. 8 is completed. But No. 8 is only half done, and it is (now) a moot question when and if No. 8 will be done.
I had a very fine Heckel and used it for my copy. Also a delightful Buffet full Jancourt system. Recently sold them both. The Heckel, vintage 1914, refinished and replated by me is now loved by a professional symphony player in Indianapolis.
I did make up some bocals before I got my bassoon tools completed years ago. They became much in demand. Here's why: - First I made nine different parabolic mandrels, and drew one tube to each. Then I had players try them and settled on one number. Then I went to work experimenting with the thickness of metal in the tube. First I made one of .016" soft brass - deliberately. It played loose and wobbly (would have worked OK for rock players to play out of tune). Then I began measuring thicknesses of many scrap bocals' metals in my junk box. The .016, .018, .020" walls were only too common. One Heckel had .022" (and only one). So, I purchased some .025 hard nickel-silver sheet and went to work.
In no time I found out why makers will not make thick-walled bocals: the drawing process is terrible. But I always made them like that, and they have been in demand and much liked, up to and until I quit.
Will look forward to you visiting here with no little anticipation. Will have No. 7 and a couple bocals for you to try.
Yours sincerely,
Mac