In London there have been two efforts made in the late 20th century to reform the instrument. The ‘Logical Bassoon’
of Giles Brindley employed an electronic circuit to open and close the tone holes, thereby simplifying the fingering
whilst making possible ideal combinations of holes for each note (Brindley, 1968). Edgar Brown's promising
experimental bassoon, developed in collaboration with the bassoonist Zoltan Lukacs (1936–91), is built to a design
by the distinguished acoustician Arthur Benade (1925–87); in the interests of greater tonal homogeneity, ‘the hole
proportions are such as to give a uniform tone-holes lattice cut-off frequency’ (Brown, 1998)