Klarinet Archive - Posting 000497.txt from 2000/10

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] Mouthpieces (Was: Changes to Elite and other Buffets)
Date: Tue, 10 Oct 2000 08:25:29 -0400

I would like to know the (or an?) answer to this, too. Surely, though,
paper is a bad analogue for a reed? For one thing, it is conspicuously
difficult to wet paper uniformly, and how it dries depends on tiny
fluctuations in air currents. I should think the same applies to the
softwood,
largely.
Yours,
Roger S.

On Tue, 10 Oct 2000 rgarrett@-----.edu wrote:

> Date: Tue, 10 Oct 2000 05:39:47 -0500
> From: rgarrett@-----.edu
> Reply-To: klarinet@-----.org
> To: klarinet@-----.org
> Subject: Re: [kl] Mouthpieces (Was: Changes to Elite and other Buffets)
>
> 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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