Our philosophy

Years of experience and highest quality; transparent and affordable pricing; quick delivery.

Personal contact with our business partners is a special focus in our business relations. Our main partners are the company Rieger in Germany for tools and Glotin in France for reeds. We pay yearly visits to the Glotin family in France to choose and hand-pick the raw material for our double reeds in order to ensure highest quality levels in all phases of acquisition and manufacturing.

We want our customers to receive their orders as quick as possible, so we ship the orders within 2 to 4 workdays after we received the payment.

We expect that every bassoonist wants to work in his individual embouchure with every double-reed. For us that means that we designate the tendency of hardness of the wood, without defining the tendency for a brighter or darker tone. All our double reeds can be played across all octaves and contain enough substance for the customer to individually modify reeds.

For clients who prefer a shorter or longer shaft we also offer reed blanks. Our student reeds have a lighter tendency and are suited for advanced starters. We do acknowledge individual wishes in the finishing of your orders.

Stefan Rocke

Stefan Rocke was born in 1963 in Berlin and started his musical career in Wiesbaden in 1977. After a yearlong engagement at the Staatstheater Wiesbaden he started his studies a the Musicacademy Detmold under Professor Helman Jung. It was in Detmold where he also learned working with gouging, profiling and reed scoring machines for double-reed making. After a two-year engagement as solo-bassoonist at the 2nd German Army-Music-Corps in Kassel Stefan Rocke went to Berlin to join the Orchesterakademie of the Berlin Philharmonic Orchestra where he studied bassoon-playing and double-reed making under the orchestra’s solo-bassoonist Guenter Piesk. In 1988 he became second solo contra-bassoonist and from 1990 alternate solo bassoonist for another eleven years with the Berlin Symphonic Orchestra. Besides that he was solo bassoonist in Stockholm in 1990 and from 2002-2007 solo bassoonist at the Film Orchester Babelsberg. From 2007-2014 he was under contract at the Staatstheater Cottbus while at the same time working as a freelance musician in several jazz-bigbands and a rock-ensemble.

Georg Boese born in Karlsruhe

A quarter year before the turn oft he millennium I turned 30 and began to work at
theatres which in the following years would lead me to several cities in Germany
and Austria – mostly as an assistant director and later on as a director myself. The
performances were sometimes held in unusual places and it happened more and
more often that we side-stepped into a field that was not unfamiliar: music
Gradually I realized: sound is the colour of the scene – and what even more peculiar:
the sound of woodwinds appealed to me in a specific way that seemed to steer into
the right direction whenever a scenical decision was to be taken. Most prominent
among the woodwinds was the instrument to which Thomas Mann in a mix of
amazement and admiration once attributed a “cartoonish character”: the bassoon.
Yet, rightfully so?
I suppose, yes. The temporary peak of my inclusion of this music into the scenic
world was the involvement of Stefan Rocke in a theatre project at Berlin’s
Teufelsberg in 2013. Nowadays he is my bassoon teacher.
I am very happy that him and me came up with another idea: founding a little
artisan workshop to manufacture double-reeds.
How did this come to be? And why the two of us? Most likely not because of my
“dramatic” appreciation for the instrument. The reason was another teacher of
mine: my uncle Fritz, a mariner from Hamburg, who in the early days of my
childhood had laid another foundation – he taught me to carve intricate little ships
from the corks of wine bottles. And this earned me Stefan Rocke’s amazement. So he
taught me – who in the meantime learned to tell cork and arundo donax apart – the
art of manufacturing double-reeds, which is not just “carving” and which fascinated
me deeply.
It did so to a degree that I finished my apprenticeship and started taking bassoon
lessons from him. He even played one of the first reeds that I built under his
supervision – and it lasted more than ten weeks.