Doublereed Archive - Posting 000038.txt from 2004/01

From: "arthur grossman" <artg@-----.edu>
Subj: Re: [DR-L] Researching Plastic Reeds
Date: Fri, 9 Jan 2004 17:00:24 -0500

I am sure you are correct about the needs. Another factor in not changing
the basic shape is that the shape seems to be necessary to produce the enti
re range of the instrument, relatively in tune. The variations in shape t
hat one finds are really pretty minor compared to what might be possible, y
et people find those minor differences noticeable and not only noticeable,
but marked.
----- Original Message -----
From: PhilFrei@-----.com
To: doublereed-l@-----.edu
Sent: Friday, January 09, 2004 12:58 PM
Subject: [DR-L] Researching Plastic Reeds

I just had a very interesting browsing session!

The Legere company (http://www.legere.com) listed its patent number. So I
went to the US Patent office website (just type US Patents in Google), and
discovered that any patent from the last 20 or 30 years is viewable online!

It seems that patents have a "Description" section and "Prior Art" sectio
n which are generally pretty readable. They also list other patents that ar
e related. In browsing through these patents I discovered people have been
very busy trying to make successful synthetic reeds.

It seems the big problem is that in order to get a man-made material to v
ibrate at a high enough frequency (necessary for high notes and overtones),
it has to be so massive that the air pressures we create with our breath a
re not strong enough to move it sufficiently. Arundo Donax is unique in its
high strength and low density.

Some of the past patents describe ideas that attempt to layer stronger ca
rbon fibre with low density filler, even air pocket layers. Others refer to
the use of stainless steel, magnesium, or even titanium reeds. I've never
seen any of these come to market, though.

However, there has recently been advances made with polyethelene. I think
the research has been driven in part by the prosthetics industry, where a
stronger plastic would allow prosthetics of less bulk. According to the bac
kground on one of the patents, polyethelene has carbon-to-carbon links, pot
entially very strong. But these connections are not organized or layed out
in a way that realizes this potential strength. Recent research has had som
e success in producing what is refered to as UHMWPE, or ultra high molecula
r weight polyethelene. There are special extrusion and cooling processes th
at I can't begin to understand or describe which somehow line up the carbon
to carbon links in a way that emphazes their strength.

Legere's patent refers to the use of such plastics in the making of reeds
. I don't know if this plastic is commercially available yet or not in a fo
rm we could use ourselves. Legere's web site claims it is not, but perhaps
it is just a matter of time, as the high-strength plastics would certainly
have a lot of commercial uses.

Another entirely different line of investigation would be to try and find
shapes that would work for other materials, not try to focus so much on du
plicating arundo donax. I am a bit skeptical about this. If a "normal" plas
tic or metal reed has to be shaped too much differently than existing reeds
, it would probably require an entirely different embouchure and set of mus
cles to control. The existing reed shape fits the body quite well right now
(assuming one has a "great" reed).

If I find out anything else, I will pass it on. But I suspect the plastic
shops don't deal with the UHMWPE plastics yet. And theoretically, the exis
ting tube plastics on market just don't have the tensile strength to vibrat
e at the higher frequencies needed for oboe playing--so I don't think I am
going to try that approach. I think it is clear there has been enough entre
preneurially interest that if such an approach could work, we would already
know about it.

Phil Freihofner
Oakland