Renard Model 51

by Fox

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Originally introduced in 1965, the Renard Model 51 bassoon's long bore design can be identified by its very warm "round" tone, with even balance and excellent intonation throughout the entire range. Like the Model 41, this instrument has a durable polypropylene body and a secure acoustical design. In addition, this model features a compact key mechanism that makes it a popular choice for middle school music programs, those starting on bassoon at a young age, and beginning players with smaller hands.

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Features

  • Originally introduced in 1965, the Renard Model 51 bassoon's long bore design can be identified by its very warm "round" tone, with even balance and excellent intonation throughout the entire range.
  • Like the Model 41, this instrument has a durable polypropylene body and a secure acoustical design.
  • In addition, this model features a compact key mechanism that makes it a popular choice for middle school music programs, those starting on bassoon at a young age, and beginning players with smaller hands.

Options

Body

Bore

Mechanism

Nickel silver keys with nickel plating

Keywork

Short reach keywork, for small hands

Wing joint: No high D octave key, plateau key covers the D hole to reduce finger stretch

Boot joint: No C# trill key, no thumb G#, no Bb trill key, close set keys, rollersAll Fox and Renard bassoons include four rollers for the right little finger F/G# keys and the left little finger Eb/C# keys. Many additional rollers are available for Fox models. Renard models 220 and 240 include rollers for the right thumb Bb and F# keys with the crown on the pancake key between them. Additional rollers are not available for Renard models.

Rollers are often added to keys to aid in moving between adjacent keys. Most added rollers are for keys operated by the player’s thumbs. The addition of rollers should be done with care as they can, in certain circumstances, be counterproductive. Any key that includes a roller by necessity must be made larger than the same key without a roller. Likewise, the shape of the key must be changed to include the roller, creating a different feel for the player. The combination of a larger key with a different shape can actually inhibit the player instead of aiding them. Finally, if not properly maintained, a roller can be the source of unwanted key noise. In each case, the decision to add a roller or rollers should be taken with the same care that would be used in selecting any option on the instrument. on F and Ab keys

Bass joint: Eb and Db located closer to other keys for shorter reach, rollers on Eb and Db keys

Metal tubes extending into the bore in the finger holes of the wing and boot joints to prevent water from entering the tone holes

All posts set in epoxy and spring posts are locked with screws

High D key (Optional)

C tone hole liner (Optional)

Right hand Whisper Key LockA number of mechanisms can be used to control the whisper key. Some of them lock the whisper key in a closed position. Others provide an alternative touch, in addition to the normal touch for the left thumb, with which to close the whisper key. It is recommended that only one whisper key lock be on an instrument. Having both a right and left hand lock can be confusing and might result in one of them being locked when it shouldn’t be. (The whisper key may also be call the “piano key” or the “crook key” and probably many other names as well.), Type I (Optional)

Bb Guard (Optional)

C# Trill Key Guard (Optional)

Bocals

C bore bocalsOften the most important part of the instrument, a bocal can dominate the response, resistance, and tone of the bassoon. It affects the overall pitch of the instrument as well as the relative intonation, and it should be selected with the same care that one would use to acquire the instrument itself. Even a mediocre bassoon may have a reasonably good sound and scale if it is properly fitted with a good professional bocal.

It is generally advisable to try a professional bocal on your instrument if it has wild notes in the middle register, or if the intonation or tone is not uniform in the middle or upper registers. It is also advisable to try a Fox bocal just to hear the improvement in the sound and freedom of blowing the instrument.

British Bend Bocals are available in the same bores and sizes as their standard bend, and at the same price. Specify "British Bend" when ordering. Custom bends are also available; please inquire for prices.

 

C bore:

C bore bocals are excellent for school instruments. The C bore stresses resonance and clarity of sound. It is extremely smooth and uniform in tone with excellent slightly-flexible intonation. It has an abundance of middle and upper middle partials in the sound and its smoothness contributes nicely to chamber music and to instruments with non-uniform tone and intonation. It is made in brass with nickel plating. (Standard with the Renard models 222, 51, and 41.)

 

CV bore:

The CV bore is the C bore with a variable wall thickness at some nodal points to reduce resistance. It is generally preferred by players using very soft reeds. It is made in brass with nickel plating.

 

CVC bore:

CVC bocals, both standard and double star, are designed for professional use. This design generally works best with Fox thick wall bassoons. CVC bocals are made of nickel silver which is silver plated. A brass tube is an option. Brass tends to soften the tone and increase flexibility at the expense of projection. The bore stresses the fundamental tones of the instrument, providing a warmer and heavier tone than the CVX and CTX. It has slightly more resistance in the upper end, requiring more support when playing in the solo registers, but yields more fullness in the middle and lower registers than the CVX. It fits the design of the thick wall models, and is sometimes helpful in stabilizing wild notes in the older designs. (Standard with the Fox models 660 and 601.)

 

CVX bore:

CVX bocals, both standard and double star, are designed for professional use. This design tends to work best with all standard wall Fox and Renard bassoons. CVX bocals are made of nickel silver which is silver plated. A brass tube is an option. Brass tends to soften the tone and increase flexibility at the expense of projection. The bore is similar in proportions to the C and CV bores, but it has more substance in the tone, and provides better control of the upper and middle registers. It has slightly less resistance in the high notes than the CVC and CTC, and is slightly more open in tone quality. It projects well, and particularly fits the design of the long and short bore bassoons. (Standard with the Fox models 101, 201, I, II, III, and IV, and the Renard models 240 and 220.)

 

CTX bore:

The CTX bocal is similar to the CVX, but features a thinner wall. This thinner wall results in a bocal that is less resistant. This design tends to work best with all standard wall Fox and Renard bassoons. CTX bocals are made of nickel silver which is silver plated. A brass tube is an option. Brass tends to soften the tone and increase flexibility at the expense of projection. The bore is similar in proportions to the C and CV bores, but it has more substance in the tone, and provides better control of the upper and middle registers. It has slightly less resistance in the high notes than the CVC and CTC, and is slightly more open in tone quality. It projects well, and particularly fits the design of the long and short bore bassoons.

 

CTC bore:

The CTC bocal is similar to the CVC, but features a thinner wall. This thinner wall results in a bocal that is less resistant. This design generally works best with Fox thick wall bassoons. CTC bocals are made of nickel silver which is silver plated. A brass tube is an option. Brass tends to soften the tone and increase flexibility at the expense of projection. The bore stresses the fundamental tones of the instrument, providing a warmer and heavier tone than the CVX and CTX. It has slightly more resistance in the upper end, requiring more support when playing in the solo registers, but yields more fullness in the middle and lower registers than the CVX. It fits the design of the thick wall models, and is sometimes helpful in stabilizing wild notes in the older designs.

 

Silver Plating:

The extent to which the plating on a bocal affects the feel, projection, and tone quality of an instrument depends on a player's reed style, instrument and playing method. Silver plating tends to result in a moderate level of resistance (compared with other finishes) and a soft timbre and dark tone.

 

Nickel Plating:

The extent to which the plating on a bocal affects the feel, projection, and tone quality of an instrument depends on a player's reed style, instrument and playing method. Nickel plating usually results in a feeling of somewhat greater resistance with a stronger more resonant (and rounder) sound.

 

Gold Plating:

The extent to which the plating on a bocal affects the feel, projection, and tone quality of an instrument depends on a player's reed style, instrument and playing method. Gold plating has a resistance level consistent with silver plating but will have a still softer and darker tone quality., number 1 and 2 lengthsWhen ordering bocals, be sure to specify both the bore and length. Fox bassoon bocals are available in lengths 0, 1, 2, 3 and 4. 0 is the shortest and therefore the sharpest, and 4 is the longest and therefore the flattest.

The bocal length moderately affects the overall pitch of the instrument. It most strongly influences the middle and upper middle registers because the lower register is relatively fixed by the bore of the instrument, and the extreme upper register is dominated by its own flexibility. Fox long and short bore models are normally tuned with a 3 CVX or CTX bocal. Thick wall models (601 and 660) are normally tuned with a 3 CVC or CTC. When trying Fox bocals, it is best to start with a No. 2. Changing bocal lengths is wise when small adjustments are desired for the sake of comfortably blending with other instruments. Changing bocal lengths will not help much when trying to change the pitch from A-442 to A-440. This will require changing reed designs, changing bocal bores, or changing instruments.

Other bores and sizes available

Extras

Individually hand tuned to A-440 pitch with maximum resonance and projection

Complimentary serviceWithin one year, the instrument may be returned to the factory for fine tuning, acoustical adjustment, and mechanical servicing, with costs limited to freight and parts. within one year

Plush lined case

Balance HangerThe balance hanger provides a better way to use a neck strap. The normal neck strap ring at the top of the boot joint is several inches away from the optimum balance point. The balance hanger provides a way of attaching the neck strap ring at a better position. After an initial installation, the balance hanger is readily added and removed from a bassoon. (Optional)

Cork tenonsThe use of cork or string on tenons is a matter of some debate in the bassoon world. It is generally accepted that string wrapped tenons provide greater protection for the instrument. However, some feel that cork is easier to use. As a matter of policy, all Fox bassoons are provided with string wrapped tenons, however, we would be happy to use cork on any tenon when requested. Any or all string tenons can be replaced with cork on most models. (Optional)

Palm guardThe palm guard is a very short metal handrest. Players who do not want a handrest often desire a palm guard. It prevents inadvertent contact with the C# trill key and the curl at the top end aids in positioning the hand. (Optional)

Two reeds

Two drop swabs

Seat strap