Editing Bassoon (section)

====Heckel (German) system<!--linked from 'Guntram Wolf'-->====
[[File:Bassoon 1870.jpg|thumb|[[Johann Adam Heckel|Heckel]] system bassoon from 1870]]
The design of the modern bassoon owes a great deal to the performer, teacher, and composer [[Carl Almenräder]]. Assisted by the German acoustic researcher [[Gottfried Weber]], he developed the 17-key bassoon with a range spanning four octaves. Almenräder's improvements to the bassoon began with an 1823 treatise describing ways of improving [[Intonation (music)|intonation]], response, and technical ease of playing by augmenting and rearranging the keywork. Subsequent articles further developed his ideas. His employment at [[Schott Music|Schott<!-- at the time named "B. Schott's Söhne" -->]] gave him the freedom to construct and test instruments according to these new designs, and he published the results in ''Caecilia'', Schott's house journal. Almenräder continued publishing and building instruments until his death in 1846, and [[Ludwig van Beethoven]] himself requested one of the newly made instruments after hearing of the papers. In 1831, Almenräder left Schott to start his own factory with a partner, [[Johann Adam Heckel]].

Heckel and two generations of descendants continued to refine the bassoon, and their instruments became the standard, with other makers following. Because of their superior singing tone quality (an improvement upon one of the main drawbacks of the Almenräder instruments), the Heckel instruments competed for prominence with the reformed Wiener system, a [[Boehm system|Boehm]]-style bassoon, and a completely keyed instrument devised by [[Charles-Joseph Sax]], father of [[Adolphe Sax]]. F.W. Kruspe implemented a latecomer attempt in 1893 to reform the [[Fingering (music)|fingering]] system, but it failed to catch on. Other attempts to improve the instrument included a 24-keyed model and a single-reed [[Mouthpiece (woodwind)|mouthpiece]], but both these had adverse effects on tone and were abandoned.

Coming into the 20th century, the Heckel-style German model of bassoon dominated the field. Heckel himself had made over 1,100 instruments by the turn of the 20th century (serial numbers begin at 3,000), and the British makers' instruments were no longer desirable for the changing [[Pitch (music)|pitch]] requirements of the symphony orchestra, remaining primarily in [[military band]] use.

[[File:FoxBassoon.png|thumb|upright|Two views of a Fox model 220 bassoon]]
Except for a brief 1940s wartime conversion to [[ball bearing]] manufacture, the Heckel concern has produced instruments continuously to the present day. Heckel bassoons are considered by many to be the best, although a range of Heckel-style instruments is available from several other manufacturers, all with slightly different playing characteristics.

Because its mechanism is primitive compared to most modern woodwinds, makers have occasionally attempted to "reinvent" the bassoon. In the 1960s, [[Giles Brindley]] began to develop what he called the "logical bassoon", which aimed to improve intonation and evenness of tone through use of an electrically activated mechanism, making possible key combinations too complex for the human hand to manage. Brindley's logical bassoon was never marketed.