 The Clarinet BBoard
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Author: angela53072
Date: 2006-07-05 03:53
I question my technique of breaking in reeds, I think I need some help. The first week I soak each reed for a few seconds, play on it 1 minute, and put it in a plastic bag. I got the plastic bag idea from my teacher who got it from someone in the milwaukee symphony. Anyway, the next week I complete the same procedure, except I play on each reed for about 5 minutes. From there, the time is about 10-15 minutes on each reed until it is dead. 1 rotation consists of 10 reeds. This rotation is okay, though I seem to go through too many reeds in a short amount of time *vandoren v12/rue lepic*. Does anyone have a new method or a way to improve this one?
Thanks,
Angela
U.S., Wisconsin
muzicmaniac089@netscape.net
Current set up: Selmer Recital, Vandoren leather ligature, B45 13
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Author: John O'Janpa
Date: 2006-07-05 19:41
It sounds to me as though your procedure never allows the reed to dry completely and lacks any way to "seal" the reed.
It seems to me that the object of breaking in reeds is to allow any warping that may take place, to happen before final adjustments, and to seal the pores in the reed fibers so they don't absorb excessive moisture, thus changing, and become mushy, as you play.
One way to seal these pores is to play a new reed for short periods of time allowing the moisture, and whatever dissolved solids it contains, to dry between playings.
Burnishing the reed, mentioned in a recent post, is another way to seal a reed.
I've read that Bonade rubbed dirt (sometimes cigarette ashes) into reeds to seal them.
Mazzeo sealed reeds by rubbing oil from his skin (nose oil) into the reed.
I borrow from Pino, Bonade, Mazzeo, and Ridenour when breaking in and adjusting reeds.
I use a ten day procedure playing sucessively longer each day. One minute the first day, two minutes the second day, etc.
After playing, I lightly burnish the reed between my thumb and index finger
from vamp to tip to dry it. Then let it dry completely overnight.
I start adjusting (removing small amounts of wood) on the fourth day.
Depending on what the reed needs, and the mood I'm in, I use a knife, sandpaper, Vandoren ground glass wand, flat ground glass plate, or Ridenour ATG system. I adjust in small increments over the next few days.
Once the reed is playing the way I want it to, I step up the effort to seal it by using grease from my nose, dirt from my fingers, and heavier burnishing, either with my thumnail, or the smooth part of the glass wand. Besides sealing the vamp, I also seal the butt end of the reed.
How much of this procedure is scientific, and how much is superstition is anybody's guess, but it works for me.
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Author: Bassie
Date: 2006-07-05 22:13
This fascinates me - because I've never done it!. When I practice, if I'm a bit short on 'good' reeds, I get a new one out of the box , moisten the working bit thoroughly in the mouth (on the flat side of the reed, that means all the way to where it seats on the mouthpiece - very important, that; a dry reed won't play right in my opinion) , and play it for a bit. Then put it away. After a few goes it will either settle down or be a dud. I'm too lazy to sand duds, so they eventually get chucked - but only after I've really run out of patience with them. Most reeds (of my chosen brands ;-D) will eventually 'bed in' for me. Sometimes if a reed is really rough on the flat side I'll swipe it lengthways across a shirt sleeve or trouser leg to remove loose material. But that's about it. What all this business with soaking is all about perplexes me.
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Author: Martha
Date: 2006-07-05 22:46
This seems a bit much, very time consuming, maybe I should try it!
Well, I just take a reed out of the box (V12) and work with it a bit each day. If it just isn't a good reed I set it aside for different weather and if that doesn't work, it is demoted to an old mayo jar.
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Author: angela53072
Date: 2006-07-06 02:58
Lovely suggestions...ima try some of them right now. thanks
U.S., Wisconsin
muzicmaniac089@netscape.net
Current set up: Selmer Recital, Vandoren leather ligature, B45 13
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