Klarinet Archive - Posting 000495.txt from 2000/10

From: rgarrett@-----.edu
Subj: Re: [kl] Mouthpieces (Was: Changes to Elite and other Buffets)
Date: Tue, 10 Oct 2000 06:52:12 -0400

At 06:52 AM 10/10/2000 EDT, you wrote:
>***************************************************
>Actually, the difference between reeds dried in the cases that I describe
vs.
>them being dried on glass play so fundamentally different to me that I
cannot
>use the latter at all.
>
>Gregory Smith

I store reeds that have been already been prepared on glass. Storing them
in a case on glass is not part of my preparation, so I view it as a
separate issue. I undersatnd that you view storing your reeds on grooved
surfaces to avoid warping vs. on glass as fundamentally different
approaches to storing reeds after preparation. I cannot tell from your
post if the reeds play fundamentally different for you because of how they
were stored or because you feel those stored on glass warp more than those
stored on a grooved surface - therfore playing fundamentally differently.
Perhaps you can clarify that.

Regarding storing AND preparing on glass - one of the major theories in
reed making makes use of storage on glass. In fact, John Mohler, who
learned from Bill Stubbins, taught his students to soak the correctly
dimensioned and sanded reed blank in your mouth (saliva rather than water)
and then push it onto the glass - allowing it to dry overnight. His process
specified glass - and not plexiglass - and not a grooved surface. In the
process, on the second day, you pop the reed blank off the glass,
sand/polish it with 600 grit sandpaper, soak it again, and then push it
onto the glass. Repeat this step for five days/nights. After the final
day, polish the back with 600 grit again, then with newsprint, and begin
working on the top of the reed. If done correctly, the polish on the back
of the reed blank will be nearly as reflective as a mirror. Also - I never
had one of those reeds warp on me - even if stored in a reed box. In fact,
my guess is they could have been stored loosely in a paper bag and never
would have warped! The process insured that the blank was as sealed on the
back as it was on the vamp. The reed soaked moisture primarily from the
butt end of the reed - and when placed on a flat-table mouthpiece - sealed
(almost glued!) to the table. Not only does this prevent warpage, it
allows the reed to stay moist for a longer period while on the mouthpiece.
The theory is then to take a moist reed that comes off the flat table and
put it on another flat table - the glass. It is at this point that one may
wonder if that prevents warpage or if it is the preparation that prevents
the warpage. Sounds like a good DMA dissertation to me!

John Mohler's teaching to this process of sanding, soaking and then curing
on glass was instrumental in avoiding warpage to the reed later. I have
had very few commercial reeds warp after I have prepared them by sanding
the backs, soaking in my mouth, and sealing the top vamp area while on
glass. I repeat this for two or three days (depending on how much patience
I have that week) and then do a final sand/polish on the back before
beginning to break in and adjust/balance the top of the reed. I used to
make my reeds full time (as Bob Spring does - and I believe my process must
be very similar to his - afterall, he learned from John Mohler also), but
have since resorted to store bought reeds that I "prepare" in the way
described.

I don't know if storing on a grooved surface will avoid warpage - any more
or less than storage on glass, although I accept the premise that many
believe it will. In my mind, I picture a piece of #20, high quality
typing paper that is dipped in water and laid flat on a piece of glass. An
identical piece is also dipped in water and laid on a grooved surface.
Which one will warp (wrinkle) more? What if we take two 1/8th thick pieces
of soft wood such as cedar and soak them in water and then lay one on a
piece of glass and the other on a grooved surface......will one warp more
than the other? What causes warping? Is the warping at the tip of the
reed the issue or the warping in the main body of the reed on the back (for
me it is the latter). What about a piece of soft wood that is 1/16th of an
inch thick? Many of these questions are rhetorical in nature.

One thing is definite - we all have certain beliefs about how we prepare
reeds and store them. The bottom line is, there seems to be some value in
preparing them and storing them in specific ways.

Best wishes,
Roger Garrett

Roger Garrett
Professor of Clarinet
Director, Symphonic Winds
Advisor, IWU Recording Services
Illinois Wesleyan University
School of Music
Bloomington, IL 61702-2900
(309) 556-3268

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