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oboist, oboe reed maker, teacher Tue, 25 Aug 2026 12:31:54 +0000 en hourly 1 32 32 70940028 How Oboe Shaper Width Controls Your Oboe Reed’s Pitch, Opening, and Scrape /how-shaper-width-controls-your-oboe-reeds-pitch-opening-and-scrape/ /how-shaper-width-controls-your-oboe-reeds-pitch-opening-and-scrape/#respond Thu, 06 Aug 2026 12:51:29 +0000 /?p=35858 How Oboe Shaper Width Controls Your Reed’s Pitch, Opening, and Scrape I own a large collection of shaper tips, which has given me a lot of hands-on experience experimenting with different oboe shaper widths.. While I enjoy displaying them in my office, they also serve a practical purpose: I use many of them to help customers explore their preferred shapes when buying shaped cane from my business. When I was in college, I loved wide shapes that could take a lot of air and required significant physical manipulation to play in tune. Today, however, I prefer the stability of a narrow shape. Understanding how these different shapes actually function is critical. When we find ourselves troubleshooting an oboe reed that sags in pitch, collapses, or feels stuffy, our immediate instinct is usually to reach for the scraping knife. But the structural reality of a reed is determined long before we start scraping. Oboe shaper width is one of the most fundamental variables we manage at the reed desk. It directly dictates a reed’s natural pitch, tip structure, and exactly where you need to focus your knife work. Understanding how shaper width alters these mechanics allows you to make precise, structural adjustments before your knife ever touches the cane. 1. How Oboe Shaper Width Affects Pitch and Intonation Shaper width establishes the baseline geometry for pitch and register response: Narrower Shapes: Historically linked to systems like the French oboe, narrow shapes naturally raise the overall pitch. They offer strong pitch stability and prevent sagging, but if you use a shape that is excessively narrow for your setup, it can choke the reed and dampen its natural resonance. Wider Shapes: Historically aligned with German-style reed making, wider shapes lower the pitch and create a larger internal volume. However, if a shape is too wide, the reed will develop a chronic tendency to play flat, making the extreme upper register incredibly difficult to speak. 2. Matching Oboe Shaper Width to Gouge Thickness Shaper width fundamentally changes how your cane utilizes the natural circular arc of the tube: Wider Shapes: These preserve a wider segment of the tube’s arc. This extra width acts like a stronger spring, naturally creating a robust, open tip. Because the extra width is doing the heavy lifting to keep the reed open, you can pair a wide shape with a gouge that has slightly thinner sides without risking structural collapse. Narrower Shapes: These utilize a smaller segment of the tube’s arc, resulting in a flatter, smaller tip opening. To keep a narrow reed open, vibrant, and rich in low-register overtones, you must pair a narrow shape with a gouge that possesses heavier sides to provide that missing structural support. (For a deeper dive into these measurements, check out my guide on understanding side thickness). 3. Adapting Your Scraping Focus for Different Shaper Widths Your shaper tip width completely shifts where you need to concentrate your scrape: Wider Shapes: Because the wide geometry naturally maintains openness and vibration, you don’t need to thin the sides as aggressively. Instead, you can shift your focus toward thinning and clarifying the tip to maximize response and articulation. Narrower Shapes: Because the structure is inherently flatter and less open, you must carefully balance the sides and back so the reed speaks freely without choking. Precise knife control is essential here to prevent the tone from becoming shallow or overly bright. Key Takeaway for the Reed Desk Before reaching for the gouger or switching shapers entirely, evaluate your setup as a complete ecosystem. Your oboe shaper width, the side thickness of your gouge, and your scraping focus all work together in harmony to determine how your reed performs on the instrument. ]]> /how-shaper-width-controls-your-oboe-reeds-pitch-opening-and-scrape/feed/ 0 35858 Oboe Reed Gouging: Understanding Side Thickness for Better Reeds /oboe-reed-gouging-understanding-side-thickness-for-better-reeds/ /oboe-reed-gouging-understanding-side-thickness-for-better-reeds/#respond Mon, 20 Jul 2026 15:45:28 +0000 /?p=35834 Oboe Reed Gouging: Understanding Side Thickness for Better Reeds When we find ourselves troubleshooting an oboe reed that leaks, runs flat, or collapses under pressure, our immediate instinct is usually to reach for the scraping knife. But the structural reality of a reed is determined long before we ever tie cane to a staple. It all begins with proper oboe reed gouging. Among all the variables we manage at the reed desk, oboe reed gouging and side thickness are critical—and most frequently overlooked. This is especially true for oboists using a double radius gouging machine. While some oboists like the control and variation they get from a double radius oboe gouger, these machines can also introduce a lot of variability in the side thickness of the cane The sides of your gouge dictate the foundational structure, tip opening, pitch stability, and overall playability of the finished reed. When your center-to-side proportions are off, you are essentially fighting a losing battle against the physics of the cane. Troubleshooting Oboe Reeds: When Your Gouge is Too Thick or Thin When adjusting your oboe gouging machine, hitting the correct side-to-center ratio is everything. Straying too far in either direction creates immediate structural issues. Here is why your reeds might be failing at the desk: Why does my oboe reed play flat? (Sides are too heavy): If the sides of your gouge are too thick, you will almost certainly struggle with air leakage along the rails. Additionally, a reed with excessively thick sides has a strong, chronic tendency to play flat in pitch. Why does my oboe reed collapse? (Sides are too thin): If the sides are too thin, the finished reed will lack the structural resilience to stay open, causing it to pinch shut and collapse. Furthermore, thin sides place the corners of your tip dangerously close to the hard outer bark of the cane. Instead of scraping the softer, vibrant inner cortex, you will find yourself battling the dense, water-repelling outer layer—making the final stages of the tip incredibly difficult. How Center-to-Side Balance Affects Pitch and Stability Even if your overall measurements are close, how that thickness transitions from the center to the sides is just as important as the numbers themselves. Asymmetry makes it nearly impossible to achieve a symmetrical opening at the tip. If the sides are uneven, scraping the reed evenly from side to side becomes an uphill climb, directly compromising the evenness of the vibrations. To prevent this, the center of your gouge must possess enough strength to balance the sides. If this balance is incorrect, the sides of the reed can easily pull apart as the cane dries out, resulting in “loose sides”—one of the most common causes of structural failure. To ensure a smooth, stable response, avoid any sudden drop-offs in thickness. A gradual, seamless transition from the centerline to the sides is essential for oboe pitch stability. Adjusting Your Gouge for Shaper Tips and Climate Because the gouge establishes the foundation of the reed, your measurements shouldn’t be entirely static. Matching Your Shaper Tip: The gouge must balance your chosen shaper. As a general rule, the narrower the shaper tip, the heavier the sides of the gouge need to be to maintain a healthy opening. Wider shaper tips naturally allow you to use a gouge with thinner sides. Adjusting for Winter Climates: Humidity dictates how cane behaves. In dry winter climates, building more strength into the reed by utilizing a gouge with slightly heavier sides helps the tip maintain a proper opening and keeps the cane vibrating freely in dry air. What is the Ideal Oboe Gouge Thickness? To keep your oboe reeds stable and vibrant, standard manuals generally recommend aiming for the following proportions: Measurement Area Ideal Thickness Centerline 0.58 mm – 0.60 mm Sides 0.45 mm – 0.50 mm Center-to-Side Difference 0.10 mm – 0.15 mm For most setups, a centerline of 0.60 mm and side measurements of 0.45 mm (a clean 0.15 mm difference) serves as an incredibly reliable, safe baseline. The next time you are sitting down for a tying session, take a moment to run a micrometer down the sides of your gouged cane. Tuning this balance at your gouging machine can save you hours of frustration with the knife. ]]> /oboe-reed-gouging-understanding-side-thickness-for-better-reeds/feed/ 0 35834 Oboe Reed Scraping for Beginners: A Three-Line Method /oboe-reed-scraping-beginners-three-line-method/ /oboe-reed-scraping-beginners-three-line-method/#comments Mon, 08 Jun 2026 20:59:56 +0000 /?p=35806 Oboe Reed Scraping for Beginners: A Three-Line Method Learning to scrape an oboe reed is often the most intimidating part of becoming an oboist. Many students struggle with knowing where to remove cane and how deep to go. By visualizing the blank reed as a series of distinct, proportional sections, you can move away from guesswork and start building a professional-grade oboe reed with confidence. Find more about tying oboe reed blanks here The Oboe Reed Architecture: A Simple Map While every cane is unique, you can use these three visual markers to maintain the correct proportions for a responsive reed: Line 1 (Bottom of the Heart): Place this halfway between the thread and the tip. This serves as the foundation for your heart scrape. Line 2 (Back of the Blend): Mark this halfway between Line 1 and the tip. This defines the back of your blend area. Line 3 (The Tip Area): Place this between Line 2 and the tip. This is where your thinnest cane will reside. The Key to Resonance: The Progressive Taper The golden rule of oboe reed-making is the taper: your reed must be the thinnest at the very tip and become progressively thicker as you move toward the heart. Mastering this gradient is the most important skill for achieving consistent vibration and tone. Step-by-Step Scraping Workflow Follow these stages to build your blank systematically: Define the Tip: Start by scraping back to Line 3. Ensure you remove the bark (epidermis) and the milky-colored cortical parenchyma layer. Define the Blend: Once the tip is clear, extend your scrape to Line 2. Remember to carry your strokes all the way off the tip of the blank—never stop in the middle of a stroke. Define the Heart: Finally, lengthen your scrape up to Line 1. Maintaining a smooth transition here is vital for a responsive reed. Pro-Tip for Better Reeds Allow your cane to rest. I strongly advise letting your reed dry completely after these initial steps. Returning to your reed a day or two later allows the internal stresses of the cane to stabilize, which leads to a more stable, longer-lasting, and better-playing instrument. Learn how to tie an oboe reed blank ]]> /oboe-reed-scraping-beginners-three-line-method/feed/ 1 35806 The Art of the Perfect Wrap: A Step-by-Step Guide to Tying Oboe Reeds /art-perfect-wrap-step-step-guide-tying-oboe-reeds/ /art-perfect-wrap-step-step-guide-tying-oboe-reeds/#respond Sun, 07 Jun 2026 23:53:02 +0000 /?p=35789 The Art of the Perfect Wrap: A Step-by-Step Guide to Tying Oboe Reeds For every oboe player, the journey from musician to craftsman begins at the tying block. Tying—or binding—your own reeds can feel incredibly daunting at first. You are managing wet cane, high-tension nylon thread, a brass staple, and a mandrel, all while trying to maintain precision down to the millimeter. If you’ve ever wound up with a pile of split cane or a reed that leaks like a sieve, you aren’t alone. The secret to mastering this process isn’t just manual dexterity; it’s understanding the mechanical relationship between the cane and the brass tube. Here is a comprehensive, easy-to-follow breakdown perfect for keeping open on your workbench. Phase 1: Preparation & Setup Before you touch a spool of thread, your materials need to be perfectly prepped. Shortcuts here will ruin the reed before you even begin wrapping. Soak the Cane: Immerse your gouged, shaped, and folded cane in warm water for 15 to 20 minutes. If it’s too dry, it will split down the center the moment you apply thread pressure. If it’s over-soaked, it becomes mushy and won’t hold its structural memory. Prepare the Thread: Ensure your nylon thread is unspooled slightly and anchored securely to your tying table or peg. You need enough resistance to pull against to create maximum tension. The Mandrel Handle: Place your brass staple securely onto the mandrel. This isn’t just a placeholder; the mandrel acts as your handle, giving you the leverage needed to handle the high tension of the wrap. Phase 2: The Step-by-Step Guide 1. Mount and Fold Take your soaked cane and fold it precisely over your thumb or a folding knife. Slip the bottom tabs of the cane over the top of the brass staple. Slide the staple onto your mandrel so you have a solid, steady grip. 2. Align and Measure This is where patience pays off. Look down the sides of the reed to make sure the two blades are perfectly parallel and aligned—this prevents “slippage” where one blade shifts left or right. Use a ruler to set your total starting length. For standard staples, you are aiming for a total length of 72mm to 73mm from the very bottom of the cork to the tip of the cane. 3. The Anchor Wrap Hold the cane firmly against the staple with your non-dominant hand. Take your thread and wrap it around the cane just below the top of the staple. Make a simple crossover knot to anchor it. Keep a firm grip on the thread to maintain high tension from this moment forward. 4. The Critical Ascent Begin wrapping upward toward the ears of the cane, keeping each rotation of the thread perfectly flush against the last. The Golden Rule: You must stop wrapping exactly at the top edge of the internal brass staple. If you tie even a hair past the brass, you will “choke” the reed, sealing the sides together and ruining its opening. If you tie too low, the reed will leak air from the sides, and it won’t speak properly in the low register. Finding this exact boundary line is the hallmark of a great reed maker. 5. Lock and Cast Off Once you hit that sweet spot at the top of the brass, reverse direction. Wrap back down over your initial threads to lock them in place. Finish the reed with three or four half-hitch knots (casting off) at the base of the cane to secure it completely. Trim the excess thread cleanly with a sharp knife or razor. Pro-Tips for Troubleshooting Watch the Opening: If you notice the cane opening is dropping flat or closing up as you tie, your tension might be uneven, or your cane wasn’t centered on the staple. The Leak Test: Before you even think about scraping, seal the bottom of the staple with your finger and suck the air out of the reed tip. If it holds a vacuum and “pops” when you let go, you’ve got a perfect, airtight seal. If it doesn’t hold air, the thread didn’t cover the overlap correctly Learn how to begin scraping oboe reeds in the next post ]]> /art-perfect-wrap-step-step-guide-tying-oboe-reeds/feed/ 0 35789 Reed Knife Sharpening, A Guide For Reed Makers /reed-knife-sharpening-guide-reed-makers/ /reed-knife-sharpening-guide-reed-makers/#comments Fri, 15 Oct 2021 15:38:16 +0000 /?p=25909 I am very grateful to be able to share this incredibly helpful sharpening guide with website visitors. Thank you to Daryl Caswell for writing this amazing little reed knife sharpening guide, the oboe community really appreciates you for sharing your great knowledge of sharpening with us. I am especially fortunate to have been given permission by Daryl Caswell and Barbara Schneider to scan and post a PDF version of this book. I hope that you find this manual as helpful and enlightening as I did when I first stumbled upon it years ago. Printed copies of the book are available through ALakotareeds.com by following this link. Buy Landwell Reed Knives here 1. Introduction This guide provides an analytical, scientific approach to sharpening reed knives. By understanding the metallurgy of your knife and the physics of the scraping process, you can adapt your sharpening technique to different cane qualities, humidity levels, and stages of reed making. 2. Key Sharpening Concepts Understanding these fundamental terms is crucial for successful sharpening: * Rake Angle: The angle at which the scraping burr cuts into the reed. * Chip Thickness: The amount of cane removed per stroke. * Scraping Force: The downward and horizontal pressure applied to the knife. * Lift Angle: The angle at which the spine of the knife is raised from the stone. * Burr Root Thickness: The thickness at the base of the burr, which determines burr strength and flexibility. 3. The Sharpening Process (Double Hollow Ground) Step Purpose Tool 1 Set the first angle (for completely dull knives) Fine diamond stone 2 Form a rough burr Fine diamond stone 3 Smooth the burr Fine India oil stone 4 Stiffen the burr Fine India oil stone 5-6 Remove/Refine the burr Fine India oil stone 7-8 Set the scraping profile Fine India oil stone 9 Final cleaning stroke Fine India oil stone 4. Troubleshooting Problem Likely Cause Suggested Solution Burr crumbles Burr breaks instead of bending (root too thick) Reduce root thickness by grinding on a diamond stone Edge skates/chatters Improper rake angle Repeat refinement steps with lighter pressure Edge wears quickly Root thickness too small Wear edge down, then restart sharpening process Landwell reed knife sharpening guide copy ]]> /reed-knife-sharpening-guide-reed-makers/feed/ 1 25909 Review of the Fox-Laubin oboe /review-fox-laubin-oboe/ /review-fox-laubin-oboe/#comments Wed, 26 Oct 2016 17:49:53 +0000 /?p=1123 Two Great American Oboe Makers Into One; A Review Of The New Fox-Laubin Professional Oboe I recently had the opportunity to try a couple of the new Fox-Laubin oboes. I have been wondering about these instruments since I saw the release on the Fox website months ago. Being a long-time fan of everything Laubin since I was twelve years old, I wanted to get my hands on one of these new oboes. My first teacher played on Laubin oboes and I knew the name from an early age. They have always been the gold standard of oboe within my mind and for good reason. I have a long and wonderful relationship with Fox products as well. I grew up playing a Fox Renard 330 intermediate oboe from the time I was 14 until well into my third year of college. The 330 is the best intermediate oboe on the market in my opinion. Whenever I am asked by band directors or students what they should purchase I without hesitation advise them to purchase Fox 330s. They sound good, have a good scale, are very durable and hold a very high resale value. I am a total “gearhead” when it comes to oboe related products. When presented with the question “What would you do if you were rich” my answer is, exactly what I do now, but I would have hundreds of oboes and reed making machines, ohh and I would probably buy a new car. I love trying new toys and I like to see what new developments are happening in the oboe world in terms of instrument design or reed making tools. When two of the great U.S oboe makers came together in collaboration I knew I wanted to see and hear what was happening. I was very excited to hear that two of the companies with the greatest influence on my oboe education were going to collaborate on a project together. I wanted to know a bit more about this instrument, and I wanted to try the Fox-Laubin oboe myself. I reached out to Fox in an attempt to have them send me an instrument to try and review. Sarah at Fox and Alex Laubin worked with me to try the oboes and share my thoughts with the oboe community. I am grateful for the generosity of time and resources provided by both companies. An introduction to Laubin and Fox oboes I am sure most oboists will be familiar with both Laubin and Fox. They have both been making high quality products for the better part of a century. For anyone new to either maker let me share a little history and my thoughts about the individual makers. A.Laubin Inc “The story of A. Laubin, Inc. began in 1931 when Alfred Laubin, a professional oboist and instrument repairman, dissatisfied with the quality of professional oboes available at the time, built his first oboe. After several attempts, Mr. Laubin was able to make an oboe which met the demands of his own playing career. A painting of Al Laubin at work. The intonation and reliability of his instruments impressed his professional oboist friends, many of whom began requesting and playing his oboes. By the 1950’s, oboe-making had become a full-time occupation, and more musicians had the opportunity to own Laubin instruments. Around 1956, Alfred’s eldest son Paul joined the business, doing repair work and eventually learning every aspect of oboe-making before taking over the business when Alfred died in 1976.” (taken from ) The two most important oboe makers in the united states historically are Loree and Laubin. Loree became the choice instrument for many oboists due to the influence of Marcel Tabuteau. He brought the American school of oboe playing to the United states and along with it the Loree oboe. Loree was prominent within most professional orchestras until Laubin started making oboes to compete with the French maker. I have heard and read on several occasions that until recently (1990’s or so) it was said that 80% of American players used Loree instruments, and the 15% played on Laubin oboes . Laubin’s smaller market share being limited to their output of only a few instruments being produced every year. I currently play a rosewood Laubin made in 1985. The instrument I play is actually the first oboe I ever heard played in live performance. It was my teacher, Tamara Field’s instrument, she gave it to me as a gift several years ago. “Rosie” as it has been named, was the instrument that brought a tear to my eye and made me understand that I was going to be an oboist. The Laubin oboes I have tried over the years have a certain difficult to describe characteristic within the sound. The sound is complex and resonant within the whole overtone spectrum. To my ears I describe the quality like this; Laubin oboes do not filter overtones out of the sound, which I find to be the case with some other makers, which I feel leaves a stuffy feel and sound. The Laubin oboes I have tried seem to resonate within the core and center of the sound not filtering out undesired sound but amplifying the desired sounds. The oboe unifies the whole overtone spectrum within the sound into one homogeneous sound. The sound has more dimensions to it than simply “dark” or “bright” two terms I attempt to avoid when I describe sound. Where I would describe some sounds to be flat or two-dimensional in terms of depth of sound, Laubin oboes always seem to have a third dimension in the sound that is difficult to describe in words. This is an ill-articulated description of my own perception of the sound I hear, every oboist may hear and describe it differently. Sound and Perception Ramble I recently came across a book which describes the painting techniques of Leonardo Da Vinci. He was able to produce images with great depth and life-like qualities, unlike any other painter before him. He succeeded in this by layering many very thin sheets of color which varied in pigment, one on top of another. This layering created a shimmering effect in the paints that brought spirit into the work. When I came across this information my mind went to sound and music and I began drawing comparisons between the layers of thin color and sound quality. I often describe the overtones within a tone as “the sound within the sound” to my students. They are the layers within the sound , like the thin layers of paint one on top of another. Dependant on how these layers are placed the artist can create different effects. My own taste in tone wants to hear a sound that is made up of many different layers to create a complex and rich sound. To me, this richness brings more life to the sound and music. Like a painter, we oboists must discover our own styles to bring life into what we do. I perceive some oboes create a sound which is flat, like one color mixed and spread onto the canvas. The color itself may be gorgeous to look at on a wall but does not bring life into a work of art. The sound quality is not only about the presence of overtones within the sound, but how those overtones blend together within the sound. Some oboes have a very complex and rich sound but the overtones all sound like separate entities to my ears when I play the instrument. I would describe it as too much distance between the different overtones. For me it decreases the dolce quality within the sound and limits my feeling of expression. When I try different oboes I am attracted to an instrument that produces a sound that is rich in many thin layers and not a solid color. This is a matter of taste and perception and not advice or a rule so much as sharing my own preferences. This may give an idea of how I am evaluating the Fox-Laubin oboes. The other characteristic I have always admired in Laubin oboes is the is not just the sound and even scale, but the connection between notes. How fluidly an instrument connects one note to the next, is a quality I always listen for whenever I am trying any oboe. I find Laubin oboes have a very fluid connection from one note to the next. I understand this quality has a lot to do with with the undercutting of the tone-holes and bore design in the production of the instruments. Fox Products “Fox Products Corporation is an American manufacturer of bassoons, contrabassoons, oboes and English horns. The founder of the company, Hugo Fox, was an American bassoonist. In his time as principal bassoon of the Chicago Symphony (1922-49), he conceptualized the possibility of world-class bassoons made in the United States. During the summer after his retirement in 1949, Mr. Fox returned to his hometown of South Whitley, Indiana, where he opened shop in pursuit of this goal. After two years of arduous tuning and acoustical work, he finished the first Fox bassoon in 1951 In the 1960s Hugo’s son, Alan, began to learn the art of instrument manufacturing. Alan led Fox Products Corporation for more than fifty years and oversaw developments in both the company’s acoustical and manufacturing capabilities. In the years since its initial offering of bassoons, Fox Products has developed a contrabassoon (1970), a complete line of oboes (1974) and English horns (1999)”. (Taken from the Fox Website ) I will admit that I have not played on too many professional Fox oboes. I did try the new Sayen professional oboe a couple years ago and I was very happy with the quality. I found them to have a rich sound, be very comfortable in the hands, and visually appealing with their gold posts. I was trying them at the University of Massachusetts double reed day, so I did not have a chance to give them the full run down. I recently had a short conversation with Pedro Diaz about the Sayen oboe and he said “ The tone is robust, even, the scale is easy. It has just the right amount of resistance for me.” The Fox-Laubin oboe I took a trip to the Laubin shop recently with Basil Reeve and had an opportunity to talk about the Fox-Laubin oboes with Paul and Alex Laubin. Alex told me a little about the collaboration between the two makers. The initial woodwork and keywork are done by Fox. The Oboes sent to Laubin have a smaller bore than a finished oboe . The instruments have the tradition cork and skin pads that all Laubin oboes are made with. Unlike the standard Laubin oboes, the Fox-Laubin has a third octave key, a feature many oboists have come to expect from elite level instruments. Laubin then finishes the bore and tone holes with their tools and machines, a process that takes many hours of precise work. The result is an instrument that feels and looks like a professional Fox oboe, but has a sound and playing quality more similar to the Laubin oboe. There were not any finished Fox-Laubin oboes at the Laubin shop when I visited , but Alex kindly agreed to send me a couple upon completion in a few weeks. 6 weeks later I would receive the instruments for trial. Arrival of the Fox-Laubin oboes I heard the knock on my door, signaling the arrival of my new toys for the next week. I order and receive supplies for my reed making business nearly every day, but I still get excited opening those packages up and pulling out the contents. I sometimes joke that the only reason I make oboe reeds professionally is to support my oboe reed making habit. Sometimes I feel as though I play the oboe to support my oboe reed making habit, I am not sure my priorities are straight. I was looking forward to receiving this package from Laubin all day and I quickly skipped into my home and opened it up. I pulled the two cases out from the sea of packing peanuts and examined the sleek french style cases. I have seen the Fox-Laubin logo several times up to this point, but it still surprises me to see the two companies marked as one on the case cover. There is a fresh turkey feather nestled between the case and case cover, a tool Paul Laubin swears by in the cleaning of oboes. I open the cases to see a couple shiny brand new oboes in front of me. The fresh silver keywork against an ebony and red back drop is a beautiful sight to my eyes. I can’t help but think “ahhh pretty”. I had a few colleagues over to try the oboes over the next week and their reactions were similar. What is it about those new, untouched keys that are so visually appealing, Something lodged within our psyches saying “shiny is goooood”. The oboes rise from their slumber to play a few minutes of long tones before I need to leave to teach a lesson. I bring one of the oboes with me. I arrive at my student’s house and rush inside to have him try my new toy. I explain why I have the instrument and let him try it. He plays a few notes and expresses that he likes it. I sit and listen for a couple minutes and get a sense of the resonance as an observer. This student is an advanced high schooler and he currently plays on a Fox 330. He plays beautifully on that instrument. We talk a bit about the instrument and compare it to his oboe. He expressed that it feels very similar to his ergonomically, but is heavier due to the grenadilla wood body. I try both oboes and agree that that do feel very similar, which I would have expected since the keywork is made by the same maker. I find both oboes to be very comfortable to play ergonomically. There is not too much reach for the pinkies, a characteristic that can vary a lot between different oboes. The student asks about the third octave key, and I explain that it is an option that is standard on most professional oboes and is expected by many oboists .The recent Fox Renard 330 oboes also include a third octave key but his does not. I explain to him that Laubin does not usually install a third octave key due to the impact it has on the bore of the instrument, but in this collaborative effort they agreed to include it since it is something many oboists expect. I pry the oboe from his hands, we finish the lesson and I return home I play the other instrument at home and leave them both for the next day. Over the next week I play both instruments for small amounts of time each day, listening and evaluating them against my own taste, but also what I might expect from the two makers. I also made a few reeds for each instrument, trying to figure out what type of oboe reed works best for these specific instruments. I sent these along with the instruments when I returned them, so you may receive one of these reeds with your trial of the instruments from Laubin. ( oboe reeds available at ALakotareeds.com) My Evaluation of the Fox-Laubin oboes I received. Tone- The tone of both instruments was very rich, complex and beautiful. I would describe them to have the quality of depth in the sound I hear within the other Laubin oboes I have tried. Neither of the Fox-Laubin oboes I tried felt stuffy or had a “dead” sound. The sound was even and balanced within all octaves. I thought the overtones blended nicely allowing a lot of flexibility in tone color. Pitch- Both instruments played right at pitch for the reeds I use on my Laubin and Loree oboes. I did not need to adjust my reeds for the overall pitch of the instruments. Scale- When I first received and tried the instruments there were a few notes that did not seem to “lock in” in terms of the scale with my reeds. The scale observations are to be expected to some extent with any variation in oboe and reed. Over the week I made a few different reeds for the instruments and I was able to find a solution with just reeds. The reeds I settled on were a bit thinner on the side integration of the tip to heart with slightly less taken from just behind the heart an area I like to really dig out for depth of tone. This is a reference to my own reed making so your results may vary. There are likely as many ways to a similar outcome as there are oboists. As I reflect on the oboes and how they felt I think I would try using a shape with slightly narrower throat and more flare at the tip. A Pfieffer/Mack shape comes to mind… don’t mind me, I am thinking out loud.. well in text. Body and Keywork The keywork is very comfortable. I would describe it as having a slightly lower profile than Laubin oboes, meaning the keys feel slightly closer to the body of the instrument. This a professional level oboe with all trill, third octave and alternate keywork (no left C# just in case you were wondering). The Grenadilla wood was very smooth and tightly grained. Connection of notes I had no problem phrasing from one note to the next with either oboe. The oboes allowed subtlety of phrasing and smooth core sound connection between notes. The low profile keywork adds a great feeling of connection with the sound for me. Smooth fingers and keys equal smooth sound within my mind. I have my theories that this quality has to do with the undercutting of the tone holes bore design and the skin pads. I feel the skin pads may offer slightly more cushion in contact which transfers into the sound quality. I am hypothesizing here and may be outrageously wrong. I am interested in experimenting on my Loree oboe (blasphemy?!?) Overall impression I think these oboes are worth a look for anyone in the market for a new professional level oboe. They are expertly made inside and out. With a price tag under $7000 they are slightly more affordable than some other makes of professional level oboes. Laubin oboes currently have an 8-10 year wait and cost over $12,000 each. I have been on the list for a few years now and am currently looking for a buyer for one of my kidneys on the black market for the time when my name finally comes up. Private message me if you are interested in a slightly used organ. (This is a joke please do not message me about black market organ sales). These instruments will provide a great upgrade to any student playing on the intermediate Fox Renard instruments. They feel very similar ergonomically and will provide a very smooth transition. These oboes are available in limited quantities through Laubin and Fox Dealers. Please find more information on the website links provided. If you have tried the new Fox-Laubin oboes and care to share your own impressions please feel free to do so in the comment section below. Also feel free to share your thoughts on the other Laubin and Fox products you have tried if you feel so inclined. I am always interested to hear everyone else’s thoughts and opinions. Happy oboe-ing. /* ]]> /review-fox-laubin-oboe/feed/ 3 1123 An Introduction To Breath Support For Oboists. /introduction-breath-support-oboists/ /introduction-breath-support-oboists/#comments Sun, 18 Sep 2016 17:07:28 +0000 /?p=1107 What is breath support/Air support? Recently, I had a brief interaction with a young oboist on the IDRS Facebook page about feeling discomfort while playing the oboe. The conversation went into the topic of breath support and how to breathe properly into the oboe. I spend a lot of time thinking about this topic since it has been a rather tough lesson for me to learn. I work very hard to find proper breathing and support strategies. I attribute improper breathing and air support to a lot of the challenges I had early on in my playing. it is something that must be felt to understand. It is one of those concepts that a teacher may try to explain for years, but the student will not understand until they find the correct sensation. Perhaps I am projecting my own difficulties onto others, and this is not such a challenge for other oboists. I hope the oboists struggling with support and tension might find my perspective helpful. The oboe has been described as “the ill winded instrument that no one blows well.” I take this to refer to the somewhat counter-intuitive process of supporting without overblowing. I find it helpful to separate the concept of breath support from the air itself. The support controls the air but it is not the air. The support is the bodily sensations and muscles that pressurize the air within the system. I like to relate breath support and air to an air compressor. The body system is not so different than an air compressor in function. The compressor pressurizes the air to a certain level within the air tank and it is released through a small valve. The oboe player pressurizes the air similarly with their body and the air is released through a small valve, the lips, and the oboe reed. Each system must pressurize the internal environment to a certain level to function optimally. The oboist must use their muscles to pressurize the air to the needed level. The support is the system within the body that creates the pressure. The air is affected by the support, however, I feel the two can and should be separated conceptually. Another way to say this is “you can still support even if you are not pushing air”. Find the sensation of support and the air will flow better. A visual and mental representation of breath support I like to use is a hand squeezing a balloon ( courtesy of my mentor Fredric Cohen). Imagine a balloon is inflated but not tied. When the nozzle of the balloon is released the air will move out of it at a certain speed. When the hand is placed on the bottom of the balloon and gently squeezes the air pressure within the balloon increases and causes the air to escape at a faster speed. Supporting can be compared to the

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Aaron Neville Official Site of Aaron Neville Wed, 06 Sep 2023 19:55:14 +0000 en-US hourly 1 Tell It Like It Is – OUT NOW! /news/tell-it-like-it-is-out-now/ Wed, 06 Sep 2023 19:53:29 +0000 Aaron Neville shares his story, complete with stories of overcoming struggles and finally achieving success, in his debut memoir ‘Tell It Like It Is’: now available! Read all about Neville’s incredible path through life and own the book here. Also, check out some of the events and media celebrating the release! Some early reviews are in… “Iconic New Orleanian, platinum-record singer and songwriter Aaron Neville, a Grammy Hall of Famer… candidly reveals his little-known personal and professional struggles.” – Booklist “A gratifying, spiritual, and hopeful against-all-odds memoir.” – Library Journal (Starred Review) “The author’s life has been an inspiration…A worthwhile musical survivor’s story.” – Kirkus ]]> Aaron Neville will ‘Tell It Like It Is’ at the San Diego Festival of Books August 19th /news/aaron-neville-will-tell-it-like-it-is-at-the-san-diego-festival-of-books-august-19th/ Wed, 09 Aug 2023 19:45:00 +0000 Appearing virtually at the San Diego Union-Tribune’s Festival of Books, Aaron Neville will recall some of his most fascinating stories from his brand new memoir, ‘Tell it Like it Is’ in conversation with George Varga of the San-Diego Tribune. For more information, click here! ]]> TELL IT LIKE IT IS: My Story – Available Everywhere September 5th! /news/tell-it-like-it-is-my-story-available-everywhere-september-5th/ Mon, 10 Jul 2023 19:34:55 +0000 HACHETTE BOOKS: For the first time, legendary singer and songwriter Aaron Neville tells his personal story of overcoming poverty, racism, addiction, and loss through faith, family, and music. “When Aaron Neville sings he is the mightiest of Archangels. The truth he’s written in these pages is no less powerful. He tells his riveting story with all the triumphs and sorrows, joys and frustrations he has experienced in his eight decades of life.” — Linda Ronstadt “[Neville] leaves readers sharing his conviction that his life has been something of a miracle and that ‘my voice was my salvation.’…The author’s life has been an inspiration….A worthwhile musical survivor’s story.” — Kirkus With a career that spans six decades, Aaron Neville’s many accomplishments include four platinum albums, three hit #1 songs on the Adult Contemporary chart, and the 2014 Grammy Hall of Fame induction of his R&B classic “Tell It Like It Is.” Despite this massive success, Neville never thought he’d be here for this long. Instead, his road to acclaim is a circuitous one, fraught with challenges. Born in a housing project in New Orleans of Black and Native American heritage, Aaron Neville – known for his trademark falsetto – began singing in the projects of New Orleans. But although he always wanted to sing, life often got in the way of this dream. A married father by the age of eighteen, Aaron had a family to care for and often couldn’t support them through music alone. So while he had a national Top 10 with “Tell It Like It Is” in the ’60s, Neville didn’t return to the spotlight until the late 70s with the Neville Brothers, the “First Family of New Orleans Music.” In between his times in the public eye, Neville worked a wide variety of jobs—loading cargo, painting houses, digging ditches—to care for his family. He also served a six-month stint in Orleans Parish Prison for car theft at the age of 19, was later sentenced for burglary, and struggled with a heroin addiction into the early ‘80s. Neville again reached the top of the charts in 1989 with his album of duets with Linda Ronstadt, Cry Like a Rainstorm, Howl Like the Wind. The album featured the #1 Grammy-winning hits “Don’t Know Much” and “All My Life.” Neville followed this with a string of hits including “Don’t Take Away My Heaven,” “Even If My Heart Would Break,” and a hugely popular cover of the Main Ingredient’s “Everybody Plays the Fool.” Aaron’s story is one of overcoming incredible odds. By all accounts he should not have made it in the music industry. Yet, here he is. Even more remarkably, Aaron’s story has never been told in full until now. TELL IT LIKE IS: My Story (Hachette Books, 9/5/23) marks the first time the award-winning artist showcases the entirety of his career and life. Aaron adds, “To all my fans and friends, I hope that you enjoy reading about my journey through life. All the ups and downs, ins and outs… buckle up, stay in the saddle, while I tell it like it is…and like it was.” With raw and unflinching honesty, Neville’s reflections shed light on a life not usually chronicled in literature: that of a mixed-race Black man overcoming incredible odds through faith, family, music and resilience. ]]> Best American Roots Performance – 65th Annual GRAMMY Awards /news/best-american-roots-performance-65th-annual-grammy-awards/ Fri, 10 Feb 2023 16:08:16 +0000 First of all, I want to thank God, St. Jude, and everyone involved in this song about my life and stompin’ grounds. Thank you to my team from Red Light Management; Marc Allan, Daniel Romanoff. Deep gratitude and congratulations to the producers: Eric Krasno, David Gutter, Martin Shore and Take Me to the River. Thank you to the musicians who played on the recording, The Dirty Dozen Brass Band, Charlie the horn man, my son Ivan Neville, my nephew Ian Neville, George Porter Jr. Thank you to the Recording Academy / GRAMMYs, my friends, the mighty Neville Brothers and to my dynamic wife Sarah A. Friedman, who without her I don’t think I’d be here. ]]> /news/2021/ Thu, 06 May 2021 15:00:34 +0000 ]]> Aaron Neville at 80 /news/aaron-neville-at-80/ Sun, 24 Jan 2021 14:58:06 +0000 Ahead of his big 80th birthday, Aaron was interviewed by TIDAL Magazine about his career, influences and his imitable singing style. Check out the full piece here. ]]> AARP Magazine – Coping With Quarantine /news/aarp-magazine-coping-with-quarantine/ Tue, 16 Jun 2020 20:41:48 +0000 AARP – David Hochman: As America (and the world) continues to shelter in place to stem the spread of COVID-19, we are discovering that social media offer more glimpses than ever into the lives (and living rooms) of actors, musicians and journalists. Hear more on how some famed personalities are coping during the pandemic — and what they’re learning about the world and themselves in the process. Aaron Neville, 79, soul and R&B vocalist and musician Currently sheltering: At home with his wife, Sarah Ann Friedman COURTESY OF SARAH A FRIEDMAN Aaron Neville watering plants inside the greenhouse at his New York farm. “They said that being almost 80, I would be a prime candidate to get the virus. Plus, I have asthma. I don’t want to get sick. So, I canceled my tour dates and we’ve been home and isolated on our farm in New York. Sarah runs the farm. I do the watering in the greenhouse and whatever else I can. We have about 100 chickens, plus strawberries, tomatoes and honeybees. We have enough food in our freezer thanks to two cows we used to have. Their names were T-Bone and Ribeye. Being from New Orleans, I make a lot of red beans. “Our living room is now a recording studio. I have my piano plugged into the computer and I play free concerts on Sunday on Facebook. I’m drawn back, almost in a reverie in my mind, to playing the stuff I heard when I was a kid. I play spiritual music. I play doo-wop. It’s what I’m connecting with the most, and it’s bringing so much comfort right now. “The rest of the time I’m doing what everybody else is doing. I’m staying in. Playing solitaire sometimes. Playing dominoes. Walking out in the yard with my dog, Apache. He’s a shih tzu Pomeranian. About 15 pounds, but he thinks he’s 100 pounds. In the afternoons, I watch my soaps. The Young and the Restless and The Bold and the Beautiful. “We have a plethora of trees here. I call them my cathedraI. I’ll sit out there and I’ll pray. I pray all the time lately. I pray for my family. I pray for New Orleans. It’s sad what’s going on in my city. So many people sick. I feel for them. I feel for the whole world, wherever people are suffering. I pray and I sing. That’s getting me through. They say he that sings prays twice. What else can you really do?” Read the full piece on AARP.org. ]]> Jazz Festing In Place – 2020 /news/jazz-festing-in-place-2020/ Thu, 23 Apr 2020 18:41:24 +0000 Thanks to WWOZ, this year we’re ‘Jazz Festing In Place’ for everyone’s health and safety. Join me Friday, April 24th at 11:00am (NOLA time) to hear my Gospel Tent set from 2010. And tune in all weekend and next for broadcasts from the last 50 years of Jazz Fest! Listen live here: ]]> Warm Your Heart – Live Stream /news/warm-your-heart-live-stream/ Sat, 21 Mar 2020 13:36:18 +0000 Please join me this Sunday for a live stream from Freville Farm, LLC, at 1pm ET. Attending Church is very important to me. In absence during this time, I have been tuning into Mass on TV and the internet like many of you. I’m looking forward to bringing you all some spiritual music in hopes that it adds to our unified healing. ]]> Jazz Fest & Tampa Bay Blues Festival – Postponed /news/tampa-bay-blues-festival-postponed/ Fri, 13 Mar 2020 20:19:14 +0000 My performances at this year’s New Orleans Jazz & Heritage Festival & Tampa Bay Blues Festival has been officially postponed. Jazz Fest is being postponed to the Fall (official dates will be forthcoming) and the Tampa Bay Blues Fest will be taking place in April 2021. See full statements below from the festivals with more details for ticket-holders. *** JAZZ FEST 2020 TO BE RESCHEDULED FOR THE FALL At the direction of City of New Orleans authorities, in response to ongoing COVID-19 health concerns, the 2020 New Orleans Jazz & Heritage Festival presented by Shell will not occur this April and May, as scheduled. The health and safety of the community, our musicians, Festival fans, participants, sponsors and staff are paramount, and we urge everyone to follow the guidelines and protocols put forth by public health officials. Jazz Fest 2020 will now take place in the fall. We will announce exact dates and additional details soon. All purchases for the original dates will be honored for the fall dates. Thank you for your support and patience, and we look forward to seeing everyone this fall. *** TAMPA BAY BLUES FESTIVAL After consultations with the Mayor’s office for the City of St Petersburg, we have learned that our festival scheduled for April 3, 4, 5, 2020 must be rescheduled for a later date. We did everything within our power to save the event, but the corona virus and health concerns in Florida have mandated this result. All ticket and VIP buyers will be honored on our rescheduled date. We do believe the festival will return on April 9, 10, 11, 2021. For those desiring a refund, arrangements will be made to return monies paid to us through Etix or otherwise. Details will be provided here, as soon as we have more information. We are very saddened by this development, but these circumstances are beyond our control. Our City manages the use of Vinoy Park, and has removed the venue as an option for us. We are so very grateful for our tremendously loyal fans and sponsors who support us every year. Your well-being is paramount in our thinking and we hope you’ll join us again at the next Tampa Bay Blues Festival. Please stay safe and know that we truly care about each of you. Best wishes! ]]>

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The Brock News A news source for Brock University, St. Catharines, Ontario Thu, 24 Sep 2026 10:57:33 EST en-CA hourly 1 wp-content/uploads/2025/09/FallDrone2024_50-1-600x450.jpg A green university campus is pictured from the sky. Save the date: President’s update to the Brock community set for Oct. 8 2026/09/save-the-date-presidents-update-to-the-brock-community-set-for-oct-8/ Wed, 23 Sep 2026 16:16:51 EST ?p=111763 This past year has marked important progress as Brock University moves from vision to action in bringing priorities of its Institutional Strategic Plan to life. To celebrate the momentum building across the University, President and Vice-Chancellor Lesley Rigg, senior leaders and special guests will deliver an update to the Brock community on Thursday, Oct. 8 from 2 to 3 p.m. in the Goodman Atrium. “Our faculty, staff, students and partners are driving initiatives that strengthen the University today while opening new possibilities for how we teach, learn, conduct research and contribute to the communities we serve,” says Rigg. “I look forward to recognizing and celebrating our success.” All members of the Brock community are invited to attend the Oct. 8 event and are asked to RSVP through ExperienceBU by Monday, Oct. 5. For any inquiries, please contact president@brocku.ca ]]> wp-content/uploads/2026/09/RainGarden_37-600x450.jpg A group of people cut a green ribbon at an opening ceremony for a rain garden. Public rain gardens – and urban flooding solutions – blossom through community collaboration 2026/09/public-rain-gardens-and-urban-flooding-solutions-blossom-through-community-collaboration/ Wed, 23 Sep 2026 14:26:02 EST ?p=111769 When Lindsay Taylor (BA ’19) saw an opportunity to help her community, she didn’t hesitate to dig in. Now, her sustainable stormwater management research has grown into a community-powered project creating on-the-ground impact in downtown St. Catharines. The Brock Earth Sciences master’s student gathered with University and community partners to celebrate the official launch of her rain garden study during a public event at the FirstOntario Performing Arts Centre (PAC) on Tuesday, Sept. 22. Rain gardens are shallow, vegetated depressions designed to capture stormwater runoff, giving water more time and space to infiltrate into the soil rather than immediately entering storm sewer systems. Through Taylor’s project, rain gardens have been created on City of St. Catharines property, including the PAC, as well as at Silver Spire Church in downtown St. Catharines. In addition to a ribbon-cutting ceremony to mark the opening of the green spaces, the event also unveiled Potential, an art installation created by Taylor in collaboration with volunteers from Brock’s Department of Earth Sciences Landscape Hydrology and Restoration Group, Niagara Green Herons and Taylor’s husband, Dorian Cannon. Potential uses a recovered root ball and painted soil profile to reveal the layers usually hidden beneath a rain garden. “The piece explores the tension between opportunity and unintended consequences,” says Taylor. “It’s a reflection of a lesson applying to environmental work: interventions require careful observation and a willingness to adapt.” A QR code incorporated into Potential allows visitors to learn about the rain garden project and complete a brief survey to help the research team understand public awareness and perceptions of rain gardens. Under the supervision of Assistant Professor of Earth Sciences Kelly Biagi, Taylor is monitoring rainfall, infiltration, soil moisture, water movement, soil and water chemistry and vegetation establishment under real-world conditions at the rain gardens installed downtown. “Rain gardens have tremendous potential as a nature-based approach to stormwater management, but we need to better understand how they perform under real-world conditions,” Biagi says. “Lindsay’s research is helping bridge that gap by generating the field-based evidence municipalities need to make informed decisions about green infrastructure. This project also demonstrates what can be achieved when university research and community partnerships come together.” The project has been supported by Niagara Community Foundation (NCF) and TD Friends of the Environment Foundation, whose funding helped make installation of the rain gardens possible. “Today is a beautiful expression of what happens when the community comes together. This summer taught us that flooding impacts us all and so the research will inform municipalities on how to prevent what happened this summer from ever hopefully happening again,” says Bryan Rose, NCF’s Executive Director. “As many of us know, intense rainfall and flooding have become a growing concern in communities across the region. These events can affect homes, businesses and public spaces, creating real challenges for residents,” says Pallvi Arora, Branch Manager for the TD branch on Queen Street, St. Catharines. “What makes this project so exciting is that it brings together community partners, research and volunteers to explore practical, nature-based solutions that can help manage stormwater and build more resilient neighbourhoods. We are especially encouraged that the research from this project may provide valuable insights that can help inform future stormwater management approaches for residents and communities beyond St. Catharines.” Alongside Brock researchers, students and the University’s Facilities Management and Machine Shop teams, the project has also garnered support from the City of St. Catharines, 1st St. Catharines Girl Guides, Meridian Centre, Niagara Artists Centre, Niagara College, Niagara Green Herons, Off Campus Niagara, Silver Spire Church, St. Catharines Downtown Association, the PAC and Walker Industries. The project has already uncovered an important lesson for Taylor. “We don’t always have to wait for somebody else to begin,” she says. “We can also look at the place immediately in front of us and ask: What can we do here? Potential exists within us, too — in our curiosity, our willingness to care, our courage to begin and our responsibility to consider what our actions might set in motion.” #gallery-1185972637 { margin: 0 auto 50px auto !important; } #gallery-1185972637 ul { margin: 0 !important; padding: 0 !important; list-style-type: none; } #gallery-1185972637 li.gallery-item { /* margin: 0 !important; padding: 0 10px 10px 0 !important; */ float: left; text-align: center; /* width: 33% !important; */ box-sizing: border-box; } #gallery-1185972637 img { border: 0 !important; width: 100% !important; height: auto !important; box-sizing: border-box; } #gallery-1185972637 img.widthauto { width: auto !important; max-width: 100%; max-height: 100%; } /* Column layouts */ #gallery-1185972637.columns-1 li.gallery-item { margin: 0 0 0 0 !important; padding: 0 0 2% 0 !important; width: 100% !important; } #gallery-1185972637.columns-2 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 49% !important; } #gallery-1185972637.columns-3 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 32% !important; } #gallery-1185972637.columns-4 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 23.5% !important; } #gallery-1185972637.columns-5 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 18.3% !important; } #gallery-1185972637.columns-6 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 15% !important; } #gallery-1185972637.columns-7 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 12.5% !important; } #gallery-1185972637.columns-8 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 10.7% !important; } #gallery-1185972637.columns-9 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 9.3% !important; } /* last thumbnail */ #gallery-1185972637.columns-1 li.gallery-item:nth-child(1n+0), #gallery-1185972637.columns-2 li.gallery-item:nth-child(2n+0), #gallery-1185972637.columns-3 li.gallery-item:nth-child(3n+0), #gallery-1185972637.columns-4 li.gallery-item:nth-child(4n+0), #gallery-1185972637.columns-5 li.gallery-item:nth-child(5n+0), #gallery-1185972637.columns-6 li.gallery-item:nth-child(6n+0), #gallery-1185972637.columns-7 li.gallery-item:nth-child(7n+0), #gallery-1185972637.columns-8 li.gallery-item:nth-child(8n+0), #gallery-1185972637.columns-9 li.gallery-item:nth-child(9n+0) { margin-right: 0 !important; } @media only screen and (max-width: 840px) { #gallery-1185972637 img.widthauto { max-height: 69px; } /* Enforce 3 across layout on mobile */ #content #gallery-1185972637 ul li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 32% !important; } /* reset right margin */ #content #gallery-1185972637 li.gallery-item:nth-child(3n+0) { margin-right: 0 !important; } } jQuery(document).ready(function(){ jQuery('a.gallery-1185972637').featherlightGallery({ previousIcon: '', nextIcon: '', closeOnClick: 'background', galleryFadeIn: 300, loading: '', openSpeed: 300, afterContent: function() { // Add a div for the caption if needed: this.$caption = this.$caption || jQuery('').insertAfter(this.$content); this.$caption.text(this.$currentTarget.attr('title')); } }); }); ]]> wp-content/uploads/2026/09/IMG_5272-copy-600x450.jpg Hannah Sharp and Julia Baird look at a digital tablet Augmented reality research brings climate futures to life 2026/09/augmented-reality-research-brings-climate-futures-to-life/ Wed, 23 Sep 2026 13:54:43 EST ?p=111789 Visitors to St. Catharines’ Lakeside Park are getting a glimpse of possible climate futures thanks to the fieldwork of Julia Baird’s Empathy for Sustainability research team. Anyone over the age of 18 is invited to participate in data collection for Virtual Water Futures, a 15-minute experience that allows viewers to observe the park as it is today and then, using augmented reality (AR), see what the area might look like in the future as climate change causes rising lake levels and more frequent storm surges. Baird, Professor and Director of Brock University’s Environmental Sustainability Research Centre (ESRC), says the goal is to understand whether AR can encourage climate action now by “bringing the future to the present.” “Climate impacts happen in the future, but we need to take action now, and that’s a really challenging space for people to be in psychologically. Most of us know things are going to happen that will be deeply unpleasant and really challenge the places we love in ways that are not desirable,” she says. “We focused this AR work on Lakeside Park specifically because it’s such an iconic place in St. Catharines, on the shore of Lake Ontario.” In addition to ESRC researchers, students and affiliates, the team also includes hydroclimatologist Scott Steinschneider from Cornell University and collaborators from several community partners, including the City of St. Catharines. Olivia Groff, Climate Change Adaptation Co-ordinator with the City of St. Catharines, is among those working with the team and says she is eager to see the results of the study. “The use of augmented reality to help demonstrate possible climate scenarios and associated impacts to our own Lakeside Park here in St. Catharines is quite unique,” Groff says. “Flooding events have occurred in the park before, which may be familiar to survey participants, while the added layers and highlighted features of the AR future scenarios hopefully resonate with them.” Master of Sustainability student Alicia Rauth (BA ’25) will be using the data to support her thesis research into how people recognize changes in their local environment and whether those insights inspire them to become more involved in community-based natural resource management. She says research participants acknowledged that their perspectives on flooding scenarios had likely changed following the severe storms and significant flooding that led the City of St. Catharines to declare a State of Emergency in August. “We had already been out collecting data about a month prior to the flooding,” Rauth says. “We had a lot of participants verbally express that had they answered our survey before the flooding, their answers would not be the same.” While the AR scenarios developed for the study are more focused on the longer-term impacts of repeated flooding events from lake storm surge than on extreme rainfall events like those of the past summer, Baird says it will be interesting to analyze the data collected before and after the events that had such a serious impact on participants, as well as their friends and neighbours. Baird, who holds a Canada Research Chair in Human Dimensions of Water Resources and Water Resilience, also looks forward to seeing AR’s potential as a tool in support of sustainability measures. “We’re hoping that this is a starting point for something much larger,” she says. “And we hope that augmented reality, if we show that it’s effective, can be implemented in other situations and applied more broadly for the same purpose in various locations.” People are invited to visit Lakeside Park before the end of September to take part in the research. The project is supported by the Social Sciences and Humanities Research Council, which is funded by the Government of Canada, as part of Baird’s 2025 Insight Grant “Building Empathy for Sustainable Water Futures.” ]]> wp-content/uploads/2026/09/LacrosseWorkshop_39-copy-600x450.jpg A man holds a lacrosse stick with both hands as he stands on an outdoor athletic field, beside a goal net. Lacrosse workshop to explore culture, craft of ‘Creator’s Game’ 2026/09/lacrosse-workshop-to-explore-culture-craft-of-creators-game/ Wed, 23 Sep 2026 12:31:51 EST ?p=111783 While lacrosse may be Canada’s national summer sport, Kaitlyn Austin says many consider it to be much more than a game. “It’s known to many Indigenous peoples as the Creator’s Game or the Medicine Game. It is a sacred gift with deep cultural, spiritual and healing significance,” says Austin, the Indigenous Health and Wellness Navigation Coordinator at Brock’s Hadiya’dagénhahs First Nations, Métis and Inuit Student Centre. Developed by First Nations people across Turtle Island, Austin says lacrosse – North America’s oldest team sport – has brought communities together for hundreds of years through ceremony and healing, restoring balance by helping to uplift spirits and resolve conflicts. “It’s a living tradition that continues to support cultural continuity, resilience, holistic wellness and the revitalization of Indigenous knowledge and practice,” says Austin. The Brock community will have the opportunity to learn more about the game, including how to play it, at the Lacrosse FUNdamentals workshop on Friday, Sept. 25 from noon to 2 p.m. Workshop facilitator Bronson Rowsell, a Peer Assistant at Hadiya’dagénhahs, says the afternoon will begin with a conversation about the significance of lacrosse. “It’s the only game on two feet that comes from no one. It comes from the Creator, not a human being,” he says. Hosted by Brock Sports and Recreation and Hadiya’dagénhahs, the event is open to all skills level. In the past, participants have ranged from those who have never touched a stick before to people who have played recreationally or at an elite level. A member of Brock Men’s lacrosse team, Rowsell shares his love for the game through the workshop, helping others to learn the basics such as stickhandling, passing and throwing and the rules of the game. “Everyone gets a feel for what it is like to play lacrosse,” Rowsell says. “We just try to do it at a level where everyone understands. They can go to a game and be like ‘I know a little about this, how awesome.’ For others, it’s about being able to hold a stick and have a little bit of fun.” Participants will be able to familiarize themselves with the sport ahead of a pair of Every Child Matters lacrosse games against Toronto’s Varsity Blues, hosted by Hadiya’dagénhahs and Brock Sports on Wednesday, Sept. 30 to mark the National Day for Truth and Reconciliation. “It really is fun when you know what’s happening and you understand the game. You enjoy it a lot better,” says Rowsell. The Brock Women’s lacrosse team will play at 4:30 p.m. and the Men’s lacrosse team will take to the field at 7 p.m. Taking place at Alumni Field, both games will feature drummers, dancers, an opening address followed by a land acknowledgement and the raising of the Every Child Matters Flag on the field. Attendees are encouraged to wear orange shirts in honour of Orange Shirt Day. Orange shirts are available for purchase in the Campus Store, with a portion of proceeds going to Hadiya’dagénhahs, and will be sold at Alumni Field during the games. Admission for both games is free. ]]> wp-content/uploads/2026/09/AlumniRecognition_150-copy-600x450.jpg A man and a woman stand in front of a red backdrop. The woman is holding an award. Distinguished grad celebrates decades of leadership, community impact 2026/09/distinguished-grad-celebrates-decades-of-leadership-community-impact/ Wed, 23 Sep 2026 11:27:38 EST ?p=111756 Diana Huson (BA ’11, MA ’13, MBA ’17) knows there is no single path to success. Her own Brock journey took 17 years to complete while she worked full time and raised a young family. She would eventually earn three degrees from the University, build a career at Brock, enter municipal politics and move into senior leadership roles, all while becoming a passionate advocate for other women. Through it all, her belief in the value of education remained constant. “You can lose a job, but no one can ever take away your education,” Huson says. “That is your superpower.” Huson has been recognized with the 2026 Brock University Alumni Association Distinguished Alumni Award, which celebrates graduates who have made significant contributions through their careers and service to their communities. She says the recognition is especially meaningful because Brock has been part of so many chapters in her life. Huson first came to the University as an undergraduate student, completing a bachelor’s degree with double majors in Political Science and Business before going on to earn a master’s in Political Science specializing in public policy and an MBA with a concentration in marketing. She also spent 15 years working at Brock, including as Manager of Curriculum Management, Policy and Outreach. “Those experiences have taught me adaptability, helped me develop skills to navigate change, build relationships, take risks, and have the ability to be curious and learn constantly.” That willingness to work hard, commit to a goal and continue learning led Huson to public office. In 2018, she was elected Regional Councillor for Pelham, becoming the first woman to represent the municipality at Niagara Region. She went on to chair the Region’s Planning and Economic Development Committee for six years and served four terms on the Federation of Canadian Municipalities Board of Directors. Huson’s experience in politics also showed her how much work is still needed to empower women as leaders and decision-makers. In response, she helped establish Niagara Region’s first Women’s Advisory Committee, expanded the Seat at the Table initiative and later founded Equal Voice Niagara, helping women and diverse candidates learn more about public office and see themselves in those roles. Today, Huson is Head of Corporate Affairs at Conservation Halton, continuing a career that has moved between education, government, community service and organizational leadership. Looking back, she has come to see detours in her path as opportunities for growth. Her willingness to keep learning started at Brock and has never really stopped. That message of flexibility and resilience is one she hopes future Badgers and fellow Brock graduates will take to heart. “Some of life’s most important opportunities arrive disguised as uncertainty. The moments that shaped me most began when I chose to raise my hand, put my name forward or say yes to something outside of my comfort zone,” she says. “You don’t have to have everything figured out. Growth often begins the moment we step beyond our comfort zone and give ourselves permission to try something new. That’s when we often discover that we’re capable of far more than we ever imagined.” Nominations for the 2027 Brock University Alumni Association Awards can be submitted through the Brock University Alumni Awards website. ]]> wp-content/uploads/2026/09/IMG_5994-600x450.jpg The Schmon Tower with fall trees in front of it. Public event aims to inform Niagara voters ahead of fall election 2026/09/public-event-aims-to-inform-niagara-voters-ahead-of-fall-election/ Tue, 22 Sep 2026 17:03:51 EST ?p=111750 As Niagara residents prepare to head to the polls for municipal elections on Monday, Oct. 26, Brock University experts are hosting an event to demystify recent changes to regional governments and illuminate key local issues elected officials will need to address. The Niagara Community Observatory (NCO) will host Niagara Elections 2026: Changes and Challenges, a free public event featuring municipal politics expert David Siegel and a panel discussion moderated by NCO Director Kyle Rich, on Monday, Oct. 5 from 7 to 9 p.m. at Brock’s main campus. Because the Ontario government’s recent changes to regional governance will take effect after the fall election, Rich says the NCO event is an opportune time for voters to learn what the changes could mean for them. “By hosting a non-partisan event on campus, we hope to engage with community members who want to feel better equipped when making their choices at the ballot box,” says Rich. Siegel, NCO founder and Professor Emeritus of Political Science, will speak to the upcoming changes in regional governance structures and the impacts of those changes on local residents. Following that, Professor of Political Science and former NCO Director Charles Conteh and NCO Research Associate Joanne Heritz will speak to economic development and housing respectively, two key topics on the minds of voters. Associate Professor of Recreation and Leisure Studies Martha Barnes will be joined by Sarah Ane, Acting Chief Executive Officer of Parks and Recreation Ontario, to discuss issues in the parks and recreation sector. Public health, another key voting concern, will also be up for discussion. The event will be accompanied by the publication of a series of fact sheets that will document key trends related to these issues in Niagara. Time will be allotted for questions from the audience, and light refreshments will be served. Paid parking is available. Those interested in attending are asked to register in advance. ]]> wp-content/uploads/2026/09/App61.jpg-copy-600x450.jpg A hand holds a smartphone displaying the Microsoft Authenticator app on Brock University's campus, with a campus building and Brock banner blurred in the background. Set up Microsoft Authenticator app now to avoid access disruptions 2026/09/set-up-microsoft-authenticator-app-now-to-avoid-access-disruptions/ Tue, 22 Sep 2026 16:58:34 EST ?p=111747 Important changes are coming to multi-factor authentication (MFA) options for Brock University students, faculty and staff. Microsoft is retiring the use of short message service (SMS) messages and voice (phone) calls for MFA on Feb. 1, 2027. SMS and voice MFA will no longer be available for signing into Brock applications that require MFA after this date. Beginning Thursday, Oct. 1, users who rely on SMS or voice MFA will be prompted to download and register the Microsoft Authenticator app when signing into Microsoft tools administered by Brock. “If you currently use text messages or phone calls to verify your identity, we encourage you to set up the Microsoft Authenticator app well before February to avoid any disruption to your access,” says Associate Vice-President of Information Technology Services Anthony Betts. For step-by-step instructions on adding the app, please see the Adding-the-Microsoft-Authenticator-App guide. If you are a staff or faculty member who is unable to use the app, Information Technology Services (ITS) can provide a physical token for MFA. If assistance is needed to activate the app, a physical token is required or any issues arise, please contact the ITS Help Desk at 905-688-5550 x4357 or ithelp@brocku.ca ]]> wp-content/uploads/2026/09/QuinnBrock_66-600x450.jpg A group looks over a digital glass table featuring human anatomy. Ontario invests $60M to support Brock students pursuing in-demand careers 2026/09/ontario-invests-60m-to-support-brock-students-pursuing-in-demand-careers/ Mon, 21 Sep 2026 15:54:11 EST ?p=111724 A $60-million boost from the Ontario government will fund 2,565 seats at Brock University in applied health, education and STEM (science, technology, engineering and mathematics) programs. The funding is part of the province’s broader $1.7-billion investment in 70,000 new post-secondary seats supporting in-demand careers across Ontario. “Our province’s greatest strength is our highly skilled workforce — and those workers are trained at our world-class colleges and universities,” said Nolan Quinn, Minister of Colleges, Universities, Research Excellence and Security. “This investment is supporting the largest seat expansion in Ontario in more than a decade and will ensure more students have the opportunity to train for good-paying careers that protect and strengthen our communities, industries and province.” Minister Quinn shared news of the Brock allocation while touring the University’s main campus on Monday, Sept. 21. Joined by Brock senior leaders, the Minister engaged with students in the University’s musculoskeletal assessment and human systems anatomy labs, taking in demonstrations and learning about the innovative techniques that are preparing students to have an immediate impact in the workforce upon graduation. “From the shores of Lake Ontario, Brock University applauds the Ontario government’s investment in new post-secondary seats that enables us to strategically grow our STEM and applied health programs to develop world-class graduates that serve local community and regional workforce needs and fill in-demand careers,” said Lesley Rigg, the University’s President and Vice-Chancellor. “This investment comes at an important time in helping the province stand up to Protect Ontario in building a highly skilled workforce and enhancing Brock’s capacity to drive economic growth and prosperity in Niagara and beyond.” Brock’s funding — which will support 1,183 seats for STEM programs, 801 for health programs and 581 for education programs — is the result of a call for proposals launched after Ontario announced allocation of the first 30,000 post-secondary seats in May 2026. Colleges and universities worked with their local communities and industries to identify programs that will prepare students for in-demand jobs and meet regional labour market needs. Ontario evaluated proposals based on institutional capacity, local industry needs and student demand to ensure the greatest impact on workforce development and economic growth. In addition to seats at Brock, the region saw support from the province with 1,021 new seats announced at Niagara College, totalling $76 million in funding between the two institutions. “This increase in high-demand post-secondary seats at Brock University and Niagara College will help prepare students in our region for the jobs of tomorrow,” said Sam Oosterhoff, Member of Provincial Parliament for Niagara West. “This unprecedented investment of $76 million in our region is part of the largest seat expansion in the province in more than a decade and will help protect Ontario by training the next generation of leaders in science, technology, engineering and math — as well as health care and the skilled trades — as they enter the workforce.” #gallery-575133934 { margin: 0 auto 50px auto !important; } #gallery-575133934 ul { margin: 0 !important; padding: 0 !important; list-style-type: none; } #gallery-575133934 li.gallery-item { /* margin: 0 !important; padding: 0 10px 10px 0 !important; */ float: left; text-align: center; /* width: 33% !important; */ box-sizing: border-box; } #gallery-575133934 img { border: 0 !important; width: 100% !important; height: auto !important; box-sizing: border-box; } #gallery-575133934 img.widthauto { width: auto !important; max-width: 100%; max-height: 100%; } /* Column layouts */ #gallery-575133934.columns-1 li.gallery-item { margin: 0 0 0 0 !important; padding: 0 0 2% 0 !important; width: 100% !important; } #gallery-575133934.columns-2 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 49% !important; } #gallery-575133934.columns-3 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 32% !important; } #gallery-575133934.columns-4 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 23.5% !important; } #gallery-575133934.columns-5 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 18.3% !important; } #gallery-575133934.columns-6 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 15% !important; } #gallery-575133934.columns-7 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 12.5% !important; } #gallery-575133934.columns-8 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 10.7% !important; } #gallery-575133934.columns-9 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 9.3% !important; } /* last thumbnail */ #gallery-575133934.columns-1 li.gallery-item:nth-child(1n+0), #gallery-575133934.columns-2 li.gallery-item:nth-child(2n+0), #gallery-575133934.columns-3 li.gallery-item:nth-child(3n+0), #gallery-575133934.columns-4 li.gallery-item:nth-child(4n+0), #gallery-575133934.columns-5 li.gallery-item:nth-child(5n+0), #gallery-575133934.columns-6 li.gallery-item:nth-child(6n+0), #gallery-575133934.columns-7 li.gallery-item:nth-child(7n+0), #gallery-575133934.columns-8 li.gallery-item:nth-child(8n+0), #gallery-575133934.columns-9 li.gallery-item:nth-child(9n+0) { margin-right: 0 !important; } @media only screen and (max-width: 840px) { #gallery-575133934 img.widthauto { max-height: 69px; } /* Enforce 3 across layout on mobile */ #content #gallery-575133934 ul li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 32% !important; } /* reset right margin */ #content #gallery-575133934 li.gallery-item:nth-child(3n+0) { margin-right: 0 !important; } } jQuery(document).ready(function(){ jQuery('a.gallery-575133934').featherlightGallery({ previousIcon: '', nextIcon: '', closeOnClick: 'background', galleryFadeIn: 300, loading: '', openSpeed: 300, afterContent: function() { // Add a div for the caption if needed: this.$caption = this.$caption || jQuery('').insertAfter(this.$content); this.$caption.text(this.$currentTarget.attr('title')); } }); }); ]]> wp-content/uploads/2026/09/AlumniReunion_44-600x450.jpg A group of older men sit at a table at a university reunion. Gallery: Homecoming brings Badgers back to Brock 2026/09/gallery-homecoming-brings-badgers-back-to-brock/ Mon, 21 Sep 2026 14:41:51 EST ?p=111706 Brock graduates returned to campus over the weekend to reconnect with friends, celebrate shared memories and showcase their enduring Badger pride. During the University’s 2026 Homecoming celebrations, which took place Sept. 18 to 20, alumni and their guests enjoyed signature events such as the annual Steel Blade Classic hockey game, which saw the men’s hockey team defeat the Guelph Gryphons 5-1, a 25- and 50-year reunion and an Alumni Recognition Reception honouring 10 exceptional graduates. Attendees also explored a family fun zone and participated in campus tours. “Homecoming is a celebration of the lifelong connection our alumni share with Brock and with one another. Whether returning for a milestone reunion, reconnecting with former classmates or creating new memories with family and friends, the weekend highlights the pride, relationships and sense of belonging that make the Brock community so special,” said Kim Post, Director of Alumni Relations. #gallery-700385504 { margin: 0 auto 50px auto !important; } #gallery-700385504 ul { margin: 0 !important; padding: 0 !important; list-style-type: none; } #gallery-700385504 li.gallery-item { /* margin: 0 !important; padding: 0 10px 10px 0 !important; */ float: left; text-align: center; /* width: 33% !important; */ box-sizing: border-box; } #gallery-700385504 img { border: 0 !important; width: 100% !important; height: auto !important; box-sizing: border-box; } #gallery-700385504 img.widthauto { width: auto !important; max-width: 100%; max-height: 100%; } /* Column layouts */ #gallery-700385504.columns-1 li.gallery-item { margin: 0 0 0 0 !important; padding: 0 0 2% 0 !important; width: 100% !important; } #gallery-700385504.columns-2 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 49% !important; } #gallery-700385504.columns-3 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 32% !important; } #gallery-700385504.columns-4 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 23.5% !important; } #gallery-700385504.columns-5 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 18.3% !important; } #gallery-700385504.columns-6 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 15% !important; } #gallery-700385504.columns-7 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 12.5% !important; } #gallery-700385504.columns-8 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 10.7% !important; } #gallery-700385504.columns-9 li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 9.3% !important; } /* last thumbnail */ #gallery-700385504.columns-1 li.gallery-item:nth-child(1n+0), #gallery-700385504.columns-2 li.gallery-item:nth-child(2n+0), #gallery-700385504.columns-3 li.gallery-item:nth-child(3n+0), #gallery-700385504.columns-4 li.gallery-item:nth-child(4n+0), #gallery-700385504.columns-5 li.gallery-item:nth-child(5n+0), #gallery-700385504.columns-6 li.gallery-item:nth-child(6n+0), #gallery-700385504.columns-7 li.gallery-item:nth-child(7n+0), #gallery-700385504.columns-8 li.gallery-item:nth-child(8n+0), #gallery-700385504.columns-9 li.gallery-item:nth-child(9n+0) { margin-right: 0 !important; } @media only screen and (max-width: 840px) { #gallery-700385504 img.widthauto { max-height: 69px; } /* Enforce 3 across layout on mobile */ #content #gallery-700385504 ul li.gallery-item { margin: 0 2% 0 0 !important; padding: 0 0 2% 0 !important; width: 32% !important; } /* reset right margin */ #content #gallery-700385504 li.gallery-item:nth-child(3n+0) { margin-right: 0 !important; } } jQuery(document).ready(function(){ jQuery('a.gallery-700385504').featherlightGallery({ previousIcon: '', nextIcon: '', closeOnClick: 'background', galleryFadeIn: 300, loading: '', openSpeed: 300, afterContent: function() { // Add a div for the caption if needed: this.$caption = this.$caption || jQuery('').insertAfter(this.$content); this.$caption.text(this.$currentTarget.attr('title')); } }); });

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