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Klarinet Archive - Posting 001093.txt from 2001/02

From: Sterkel Terrance-W15462 <T.Sterkel@-----.com>
Subj: RE: [kl] __[kl] Warped reeds
Date: Wed, 28 Feb 2001 15:59:15 -0500

to be picky, reeds are not "wood" but "reed", in other words,
"grass"

{*}
Terry Sterkel

-----Original Message-----
From: David C. Kumpf [mailto:dkumpf@-----.com]
Subject: RE: [kl] __[kl] Warped reeds

Because it's all part of the existential angst of being a musician. :-)

Seriously, I wonder if anyone has ever done comparative spectral analysis of
a clarinet with synthetic vs. wood reeds, given the same horn, mouthpiece,
ligature, etc.?

David C. Kumpf
President
Optimetra, Inc.
4420 Red Rock Ranch Road
Monument, CO 80132
mailto:dkumpf@-----.com
http://www.optimetra.com
(719) 481-2956 (voice)
(719) 487-0920 (fax)
(719) 964-8105 (mobile)

-----Original Message-----
From: Sterkel Terrance-W15462 [mailto:T.Sterkel@-----.com]
Subject: [kl] __[kl] Warped reeds

then again,
there are those non-artiste types, say engineers like myself, who wonder why
playing a clarinet requires continual carpentry. Following a lead here, I
investigated and bought Legere, and have never been happier. (My
PH.D./Clarinet instructor is horrified, but reluctantly admits I have the
best tone of his students).
cheers!
terry

{*}
Terry Sterkel
-----Original Message-----
From: David Glenn [mailto:notestaff@-----.de]
Subject: [kl] Warped reeds

rgarrett@-----.edu wrote:

> At 12:05 PM 02/27/2001 -0500, you wrote:
> >NEVER put a wet reed to dry on a flat, impervious surface like a
> >glass plate. This causes the top of the reed to dry quickly (it is
> >exposed to the air) and the bottom to dry much later (as it is not
exposed
> >to the air). Any time you take a piece of wood this thin and dry it
> >unevenly on its two sides, the reed is guaranteed to suffer internal
> >stresses, often causing the bottom to become convex as the rails pull off
> >the glass plate as they dry first. SOLUTION...dry your reed thorougly
> >before putting it away, or turn it upside on the kitchen table (label up)
> >to dry (air can now get around both sides of the vamp).
> >
> >As a result of the drying strategy in #2, I never have any warped reeds.
> >I suggest you all try "bottoms up" as an anti-warpage approach to drying
> >the reeds.
>
> Howard is advocating the same procedure as Greg Smith. Both of these
> gentlemen are top notch players and teachers.
>
> However, the procedure they recommend against is discussed at great length
> by William Stubbins in his book, "The Art of Clarinetistry," and it was
> advocated by John Mohler - who made his own reeds - and made them very
well
> (and was Bob Spring's teacher - who, like me - learned to make reeds from
> John). The storage on glass technique obviously has its believers and
> non-believers. I am one of the former, and my reeds play wonderfully when
> stored on glass!
>
> Best wishes,
> Roger Garrett
>
> Roger Garrett
> Clarinet Professor
> Director, Symphonic Winds
> Advisor, IWU Recording Services
> Illinois Wesleyan University
> School of Music
> Bloomington, IL 61702-2900
> Phone: (309) 556-3268
> Fax: (309) 556-3121
>

++++++++++++++++++++++++++++

The reed warping on glass seems to depend on whether the pores are closed
yet
or not.

*My* method is to rub down the reed with plain paper. (What would that be?
1000
grit?) Still, I don't put the wet reed onto glass until it's been played in
for
a couple of weeks, starting at about one minute on the first day and
increasing
to 10-15 minutes. Up until that point I follow the "Klug" method. (Klug is
German for clever, smart or American for great player/teacher)

The German players who make their own reeds tend to store them on glass. But
a
handmade reed has been filed and sanded down enough that the pores are
surely
closed by the time you can play on it. So it would be only logical to put it
on
glass and keep it stable.

David

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