 The Clarinet BBoard
|
Author: GBK
Date: 2006-08-16 20:44
After going through a brutal month in the Northeast USA of very hot and excessively humid days, and with many important solo and orchestral performances to play, I thought that a few tips on how to have success through those conditions, is in order.
1. Forget about any humidity controlled reed case, zip lock bag, humidor or any other contraption. After 10 minutes of being exposed to current humidity conditions, your reeds will still need attention. For greater control over the task at hand, it is better to let the reeds be exposed and stabilize to the current conditions and adjust them once, as needed. A reed coming out of a (for example) zip lock bag is only going to play well for a few minutes, before adapting (for the negative) to the prevailing humidity levels.
2. Keep a few boxes on hand of reeds in strengths lighter than your usual preferred choice. Since your normal reeds will most likely play 1/2 to 1 full strength harder in high humidity, drop down at least 1/2 strength. Why fight a balky, non-responsive reed? It only fosters over-blowing and saps your embouchure strength.
There is no shame in temporarily playing a softer reed. Just like in golf - it doesn't matter what club you use, as long as the ball gets on the green. No one will ask what strength reed you are using - especially if the resulting sound is vibrant, responsive and easily controlled. During this past month, I have frequently used 2 1/2 or 2 3/4 reeds instead of 3 or 3 1/2.
3. Purchase a good quality reed knife or (my personal choice) a Vandoren glass reed resurfacer and wand. Use it and carry it with you at all times. Often, just a very light scrape over the entire vamp and/or the back of the reed, removing a tiny bit of material, will make a huge difference in the reed's response.
4. Don't forget about the rails. A single light scrape down the left and right rail will often free up a balky reed. Also - try taking off a minute amount of material off each rail by holding the reed perpendicular to the resurfacer and making one or two passes. This, in essence, narrows the reed, but almost always improves response.
5. Always carry with you 4 - 6 well used, broken in, reeds which normally would be put into your practice reed rotation. In emergencies, when none of the above work, a well sealed, used, "battle worn" reed may just do the trick.
6. Always carry with you 4- 6 brand new reeds, never played, in varying strengths. As a last resort, a brand new reed can get you through the first hour of a performance, before getting totally waterlogged. It will then be permanently damaged from overuse, but may save you in an emergency.
7. Do not throw away unresponsive reeds. Instead, (after cursing at them) store them and retry when drier conditions prevail. A gem may be found among the bunch. If none work at that time - toss the batch. Don't waste time trying to make something out of nothing.
8. Don't change your set-up. Your current mouthpiece and ligature got you up to this point. Don't further confuse the issue by inserting a new variable. Have faith in your current equipment and choices.
9. This may be controversial to some - but, if you find a reed which is working perfectly and you have a few back to back performances, leave the reed on the mouthpiece. Just place a cap on the mouthpiece to let the reed mostly dry out overnight. Chances are high that it will be fine for the next day or two of playing. Why fix something that isn't broken? Leave well enough alone.
10. A plastic reed? Certainly a possibility, but for me, on clarinet, I think there is something lacking in the sound. I do carry 2 of them with me at all times, but never had the reason (or courage) to use one for a performance.
Having successfully made it through another rough summer of reed woes, I hope some of the above advice is useful in your quest to having a good reed, day after day.
Additional suggestions and/or comments are always welcomed...GBK
|
|
Reply To Message
|
|
Author: FDF
Date: 2006-08-16 22:03
A very interesting post for me. As a recently returned clarinetist, I have been struggling with finding the right reed strength, finding a new mouthpiece that would help along my redeveloping embouchure, and playing weekly summer concerts.
Trying to find appropriate reeds has been a day by day trial. Fortunately, one ripe banana looking reed has miraculously carried the day, while initially better looking and sounding reeds have not followed their promise.
Trying to play altissimo has been a constant problem for me, as I adjust reed strength to play in hot and humid weather with a redeveloping embouchure. Ouch!
Anyway, thanks for your observations, they encourage my attempts by redefining some of my problems..
|
|
Reply To Message
|
|
Author: Alseg
Date: 2006-08-16 22:10
GBK
Ya forgot #11........Pray. (or desire Luck for those not spiritually inclined)
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
|
|
Reply To Message
|
|
Author: L. Omar Henderson
Date: 2006-08-17 00:23
Georgia summers present a similar and common set of problems. I keep a separate stash of reeds that I audition out on the back patio while soaking up some sun and mint julep beverage. Reeds come from my regular roatation but usually 1/2 strength softer. These reeds I will give a code inscribed on the back of the reed as to performance characteristics. I'll keep them stored dry (otherwise the mold villain will attack), take them out and let them soak up the atmospheric humidity for about 1/2 hour and then try them out again the next day and compare the performance with the previous trial. If they are pretty consistent for this couple day trial I'll put them back into my dry storage bag and keep them for outdoor use. I'll take the reeds out of the bag about 1/2 hour before playing to soak up the atmospheric humidity and heat and then try a couple out quickly before the performance to see if they are working well. Just my approach - YMMV - Prayer does not hurt either!
L. Omar Henderson
Forgot to say - all good and useful suggestions GBK - combat tactics for the clarinetist!!!, also too many mint juleps make all the reeds sound good!
Post Edited (2006-08-17 01:37)
|
|
Reply To Message
|
|
Author: Hank Lehrer
Date: 2006-08-17 01:14
GBK,
I liked the golf analogy. I did not know you played!
I once saw John Daly hit a ball 195 yards from the tee to the green on the par 3 third hole at the LPGA course in Daytona Beach. You are right, no one cared which club he used.
It was pretty funny that by the time John got done that day, he had given all his equipment away to fans as well as his shoes. He is a crowd pleaser. I think he might have been drinking that day!
HRL
|
|
Reply To Message
|
|
Author: Katrina
Date: 2006-08-17 02:33
I would like to mention, though, GBK, that sometimes if you keep the reeds that don't work (#7), in storage for years and years and years, that sometimes they may end up working ok later...
Of course, I don't play cane anymore, so if anyone wants to try my 15+ year old V12's....
(Just kidding)
Katrina
|
|
Reply To Message
|
|
Author: Roger Aldridge
Date: 2006-08-17 13:23
GBK,
This is exactly why I decided to see if I could get Legere reeds to work for me last summer when I was facing a series of outdoor performances and the heat and humidity were absolutely terrible.
It took me about 2 weeks of heavy shedding to get used to the playing characteristics of Legere reeds and to find the reed cut and strength that works best for me. After some trial & error I settled on a #3 Quebec and I discovered that I really like this reed. As I expected, my woodwind buddies had all kinds of problems with their reeds during the performances. On the other hand, I breezed through and had a completely positive experience with the Legere reeds. I followed Guy Legere's advice about rotating reeds after playing on them for an hour. Interesting, no one in the ensemble could tell that I wasn't using cane.
Since last year I discovered that I can get a better level of response with the Quebec reed by making a subtle adjustment to the tip area with the ATG Reed Finishing System. I make a similar adjustment to my Legere bass clarinet reeds and also have better results. Interestingly, I find that Legere tenor sax reeds (regular cut) work best for me right out of the box...without the tip adjustment.
All of that said, it always comes down to personal preference. It's entirely possible that Legere won't do anything for you.
Good luck with the rest of the summer!
Roger
|
|
Reply To Message
|
|
Author: GBK
Date: 2006-08-18 02:48
Roger Aldridge wrote:
> Interestingly, I find that Legere tenor
> sax reeds (regular cut) work best for me right out of the
> box...without the tip adjustment.
The Legere Studio Cut tenor sax reeds are terrific. For me, they are a perfect compliment to the Link metal mouthpiece which I use. After using them for the past few years on tenor sax, I have yet to go back to cane.
On clarinet, I've been less successful and (to my ear) think there is something lacking in the sound.
In the future I plan on spending more time with them to see exactly what is missing...GBK
|
|
Reply To Message
|
|
Author: Roger Aldridge
Date: 2006-08-18 10:57
GBK,
Please let us know what you discover.
Here are several things that I found with Legere.
1.) The FL ligatures that I had been using for 3-4 years didn't work as well with Legere as with cane. I encountered problems with Legere reeds not sealing properly along the lower tip rail area. It's my thinking that this had to do with the smaller reed plate of the FL lig....that it wasn't providing a large enough of a pressure area. After trying a number of other ligatures I settled on the Vandoren Master's.
2.) I initially started working with the regular Legere clarinet reed. As I mentioned above, it took me a couple of weeks to adjust my chops to Legere as they play differently from my favorite cane reeds. After starting to feel comfortable with Legere I then tried a #3 Quebec (as I normally use a thicker cut reed) and I immediately felt right at home. I definitely prefer it's tonal qualities to the regular Legere clarinet reed.
3.) There are times when Legere clarinet reeds seem a touch stuffy to me. For that, as I mentioned above, making a small adjustment to the tip area with the ATG makes a world of difference. It really opens up the reed's sound and response.
4.) Finding the best placement of the Legere reed on the mouthpiece (aligning the reed tip to the mouthpiece tip rail) is more critical than with a cane reed. This can make a very big difference in the quality of one's sound and level of response.
5.) Some mouthpieces work better with Legere than others. Very subtle thing here! Happily, I didn't have any problems adapting to Legere on my clarinet mouthpieces -- but, I did on saxophone. I spent several months tweeking my set up before I was satisified with the results. While this process was frustrating at times, I ended up being MUCH HAPPIER with my set up on tenor saxophone than before I started experimenting with Legere. I'm especially pleased with how well Legere reeds work on the very large chamber/small baffle "6C" (.090) mouthpiece that Ralph Morgan made for me as a special order. Legere reeds sounded the worst on my 3C mouthpiece. Believe me, I tried different reed strengths...the whole 9 yards. I tried other mouthpiece facings and had improved results; but, I wasn't entirely happy. Finally, I struck gold with a #2.5 regular cut Legere on the 6C. Great sound!
Anyway, these are the main points that come to mind. Frankly, if this was a cane reed I don't think that I would have gone to all of this time and effort to adapt to it. However, since I double so much I figured that it was worth it to see how well Legere reeds could work for me. I now feel very comfortable with them. It's been a doubler's dream of mine for many years to have a synthetic reed with a reasonably comparable sound as cane that allows me to pick up a horn and play it without worrying about finding a dry reed. For me, that dream has finally come true.
Roger
Post Edited (2006-08-18 12:38)
|
|
Reply To Message
|
|
Author: clarnibass
Date: 2006-08-18 11:25
The most interesting thing for me in this post, is how different characters people have. I know many woodwind players, some students (me) but some do it for a living, that don't act with reeds as if they are preparing for a war 
In my city, it can go from very hot in the morning and afternoon to freezing in the night. Also, in my city it is almost always very dry, but just the city 45 minutes way, where I play sometimes, it is very humid. Basically there are a lot of changes. Having differnet strengths of reeds, or counting on the inconsistancy of reeds of one strength have always worked for me.
"a brand new reed can get you through the first hour of a performance, before getting totally waterlogged. It will then be permanently damaged from overuse"
If that was true (though I'm not saying it is not) no reed I ever played would be good for more than one hour, but they are.
|
|
Reply To Message
|
|
Author: kev182
Date: 2006-08-18 13:41
Thanx a lot GBK, very helpful... over the years i have come to the exact same conclusion you have.
i have a system now that works phenominally.
I bought two Vadoren reed cases able to hold 8 reeds each. I label 1 and the other 2.
one has my broken in reeds and the other, my new or in the process of breaking in reeds. No matter how bad a reed is i still go through the same reed break in or playing process when i rotate systematically.. because later i find after full break (2-3 weeks for me) 75% of the reeds play amazingly and the other 25% still good. After break in, since most of the pores in the vamp are closed or smaller... humidity has less of an effect.
Having 16 various differing reeds, selected from a batch of 20 gives me an almost perfect reed everytime i need one.
BTW i have a long systematic break in process lol
Your advice about not throwing away a bad reed is spot on...though it is hard sometimes to hold yourself back when your really pissed off Me and a friend at interlochen have a reed smashing ritual when they become too old...feels so good
I was wondering if the vandoren reed resurfacer was a good method for dealing with warped reeds and or ones needing attention..and I'll take your advice and buy one!
awsome post! ;D
|
|
Reply To Message
|
|
Author: David Lee
Date: 2006-08-18 15:33
Why does a reed go up in strength when it is exposed to high humidity? We wet our reeds initially prior to playing which seems to soften them.
|
|
Reply To Message
|
|
Author: D
Date: 2006-08-18 18:40
I too am a great believer in the 'keeping bad reeds for another day' theory. Seems to work. However, in my box of rubbish reeds are a load of Mitchell Lauries. I have never really been able to give these a fair trial because I just can't bare the taste! Has anyone else found this?
Weather where I am has been really changeable lately, but I generally just slobber on the reed well, wipe it off, hope for the best, and sound comes out! Not having to perform on any level at the moment though...........
Post Edited (2006-08-19 08:52)
|
|
Reply To Message
|
|
Author: Connor
Date: 2006-08-18 21:40
Great Advice!
Im curious what experiences you all have with exeptionaly dry climates and reed humidity. I live in Northern Colorado where the daily humidity may change as much as 40% in an afternoon. The average humidity is 20-30%. I simply cannot leave a reed out in the open and expect it to play decently for more than 2 days. I leave my reeds in a plastic bag with Rico 84 %humidifier "pouches", and typicaly have at least two reeds that are capable of getting me though a fairly demanding performance.
University of Norther Colorado Student
Yamaha Custom G
M-15
Vandoren V-12 #4
|
|
Reply To Message
|
|
Author: Katrina
Date: 2006-08-18 23:08
Connor,
Dry Minnesota winters were what sent me scrambling to Legere. I can't imagine having to deal with cane reeds under the humidity conditions you describe!
But then, I think I may have established my general laziness here anyway.
Katrina
|
|
Reply To Message
|
|
Author: rc_clarinetlady
Date: 2006-08-19 07:52
I live in the Midwest and deal with incredible heat and humidity in the summers. I use the same set of rules that you do, GBK, and have for years. I don't use the Legere's, though. They just don't work for me for some reason.
If anyone has a Reed Wizard they have probably figured out that it's a great tool for adjusting reeds that have gotten stuffy from humidity. I was fortunate to get to attend the OU Clarinet Symposium this summer and meet Ben Armato. What a nice man. He taught me all about the Reed Wizard so I bought one and have had a blast adjusting all those saved "so-so" reeds that I've had since college, (25 years!) I haven't had to buy a box of reeds since I bought my RW and don't anticipate buying any for awhile.
Rebecca
|
|
Reply To Message
|
|
Author: GBK
Date: 2006-08-19 08:23
Roger,
I didn't really intend for this thread to go off on a Legere tangent, but I will give you my impressions of the Legere clarinet reed.
The biggest problem I found was that the exact placement of the Legere reed on the mouthpiece was very critical to the resulting sound. Much more so than with cane reeds. A tiny fraction of a degree off line, and the Legere reed (for me) played unsatisfactorily.
As a result, I was not always able to quickly find the one "sweet spot" that worked.
Also, unless the ligature was VERY snug, the Legere reed would often shift position during performance (usually at the most inappropriate time) and the sound/response would suffer.
The slick, plastic feel of the Legere reed in the mouth was something I still need to grow accustomed to.
That being said, for me, the Legere Studio Cut tenor sax reeds offer a more reliable choice than cane ...GBK
|
|
Reply To Message
|
|
Author: Koo Young Chung
Date: 2006-08-19 12:37
GBK
Please educate me.
The reed is in your mouth when you're playing.
And I assume the reed is well soaked and wet with your saliva.
I don't understand why the outside humidity level matters when in your
mouth the local humidity is probably closer to 100% always anyway.
I'm not disputing what you posted,but just want to know why...
|
|
Reply To Message
|
|
Author: LarryBocaner ★2017
Date: 2006-08-19 14:14
I'll try to address Koo's assertion that the humidity in the player's mouth trumps all other considerations. What really counts here, Koo, is the density of the ambient air where you are playing. Water vapor being a less dense gas than dry air, humid air is less able to support the reed's vibration.
The same principle applies with regard to playing at high altitudes: having played in Aspen and Mexico City, I can assure you that reeds that work perfectly well at sea level (Washington, DC) are impossible to play at high
altitudes. The rarification of air due to the presence of large amounts of water vapor has much the same effect, not to be confused by the effects of water saturation upon the reed itself.
|
|
Reply To Message
|
|
Author: GBK
Date: 2006-08-19 16:26
Larry -
Thanks for the explanation.
Simpler, clearer and better than I could have done ...GBK
|
|
Reply To Message
|
|
Author: beejay
Date: 2006-08-20 22:46
GBK,
I'm glad to find another fan of the Vandoren reed resurfacer, so maligned on this BB when it first appeared a couple of years ago. Mine has paid for itself in spades by rescuing reeds that might otherwise have been thrown away. I keep the glass wand in a thermometer case, jammed into the top with some Blue tack adhesive. In theory, if it falls it will land on the top and (fingers crossed) not break.
|
|
Reply To Message
|
|
Author: GBK
Date: 2006-08-20 23:00
Beejay,
The Vandoren resurfacer is a great tool. I'm good with a reed knife, but feel that more minute adjustments can be made with the glass wand. As my first teacher used to say; "remove only dust"
I'm on my 2nd glass wand ![[frown]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie2.gif) , after having the first one roll off of my reed adjusting table.
I like your thermometer case idea and will have to try it. I carry my glass tools in the blue Vandoren mouthpiece bag...GBK
|
|
Reply To Message
|
|
Author: RobinEarle
Date: 2006-08-21 23:05
I would like to point out the Stephen Howard Woodwind site in Great Britain. He has an interesting article on freezing reeds (and, of course, thawing them out). His conclusions were that the effect of freezing the reeds affected the cells in a beneficial way.
I have often felt that a good reed is very dependant upon the character of the cane, and unfortunately those 'gems' we occasionally find have an all too short life.
Hope this finds some interest and look forward to finding the 'perfect' reed.
In the meanwhile - greetings from Great Britain.
robinearle22@gmail.com
|
|
Reply To Message
|
|
Author: Bassie
Date: 2006-08-26 19:50
Sounds like a perfect prescription, GBK, for surviving an English summer... I recognize a lot of what you write. This side of the pond, the summer is the time for swollen joints and alarming tuning. Things settle down in the temperature regulated, centrally heated winter months... so long as you don't accidentally leave your case by the radiator one night...
One day I will find the time to experiment with sanding reeds...
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
