 The Clarinet BBoard
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Author: AGH
Date: 2018-05-21 21:48
Hi all,
This is my first post here, though I've been an avid reader for a while.
I have a question that has been bothering me for a while, and while everyone pretty much talks about it, no one really goes into specific details about it. That is, how do you rotate reeds and keep them in performance ready condition?
Through reading, I realize that you must have a very consistent and effective method of getting reeds into ready-to-play condition, whether or not its breaking them in through a long, gradual process, or just playing them out-of-the box.
I have found a way to break-in reeds that works for me, which is to break-in reeds slowly over a course of a week (using Mr. Edward Palanker's method. Thank you sir, your website is marvelous), but once I have that all down, how do I categorize them in a way that allows me to achieve maximum effectiveness in using them and prolonging their life?
Say I have a case of breaking-in reeds, and I assume that you do not play on them in the same manner as broken-in reeds, so these are not for practicing (right?). Therefore I have another case specifically for reeds that are ready for practicing, performing, lessons, etc...
I've heard that you should not practice on a ready-to-play reed for more than 30 minutes at a time (as this destroys the cane if you play any longer), so then you put it away, and change to a different reed, and this is what rotating reeds means. After a morning and afternoon session of practice, rehearsals, etc... I've pretty much used all of my ready-to-play reeds.
Am I allowed to go back to my first reed that I used in the morning? I've asked some colleagues and teachers, and they all say different things. Some don't play on a reed more than once a day, some play one reed the whole day and when they're done they put it away and leave it alone for a week. Others just play whatever reed that they find plays at that moment for them. I have experimented with these kinds of things, and I find that if I play on a reed that I already played that day, it is weaker, softer, and I can't seem to make it vibrate the way it did before, whereas if I left it for a day, it plays better. If that is the case, then I can't practice when all of my ready-to-play reeds are already played through?
How do you specifically rotate reeds? and how long do you play a reed before it goes back into the case, and how long until you can pick it up again to play on it? In the next few hours, that night, the next day, or next week?
Sorry for asking these bunch of questions, I just really want to be clear on this. And yes, I do sometimes use Legere reeds but I find that cane is more suited for me.
Thank you
Post Edited (2018-05-21 21:49)
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Author: nellsonic
Date: 2018-05-21 22:31
It sounds to me like the simplest solution to your dilemma would be to have more reeds in your rotation. I keep 8 going at once and that's usually enough but now that I'm thinking about it I might go ahead and double that number because I do sometimes start a second rotation the same day. There's really no downside other than the expensive of another reed case.
Anders
Post Edited (2018-05-22 02:51)
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Author: Arnoldstang
Date: 2018-05-21 22:34
Well you’ll certainly get lots of different answers here just as you have experienced already. I keep “break in” reeds in the same case as performance reeds. I try not to get too many reeds on the go. 12 reeds is fine for me. Keep it simple. The people who play on Legere reeds are following this no fuss approach. It’s make life easier but it’s what suits you that is important. If fussing is your style then go for it.
Freelance woodwind performer
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Author: Ken Lagace
Date: 2018-05-21 23:05
My first suggestion is experiment and find out for yourself.
There are many answers to this question because everyone's reeds are unique to them. Your solution will be different from others too.
Every reed good enough to use I mark with a unique ID so I can track how they are working.
I have 12 broken in reeds in priority order and before an important playing opportunity, I test which of the first six play best today. The best always changes where I am due to the weather fluctuations here. So mine rotate automatically due to their usefulness.
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Author: kdk
Date: 2018-05-22 05:03
So, just for kicks, I'll throw in my latest experience with this. I have for most of my clarinet life rotated 4-8 reeds and would pick one that felt best for each specific performance repertoire and venue. I very recently began experimenting with not rotating at all.
I do spend three or four days of break-in work with 2-3 reeds, starting with a few notes on each, then 4-5 minutes, then 10-15 minutes, then until the reeds seem to be getting sluggish, letting them dry completely in between sessions, adjusting balance gently as I go.
I then choose one of them and use exclusively. I've so far, since sometime in late February or early March, used two reeds, one for about 6 weeks and the next one until now (and beyond - it's still playing well). The other two I started with the current one and several I started before my experiment began, are waiting until I need a replacement. I'll then pick the best one of the reeds I have, adjust as needed to finally balance it and maybe compensate for the change in weather since March or April, and again play on it until it won't play well.
I've found that this is working for me far better than I expected it to. It avoids the constant fussing as 4 or 6 or a dozen reeds seem to change every time I play on them, I'm spending barely any more time adjusting reeds than I did for the year I tried playing Légères. The reed I end up using becomes very stable. This is only the second reed I've used this way, so I don't know that all of them will have the same longevity. I should say also that the two reeds so far have spanned what is probably the part of the calendar here in the Philadelphia area with the least stable weather of the year.
After 60 years of playing I'm doing everything "wrong" (or so I was always taught and always read) and have never been more comfortable. If I get to next March this way (having used, maybe, 8 reeds), I'll consider the change of approach permanent. Meanwhile, I don't offer this as advice but only as a suggestion that a lot of reed lore may be, at the least, overkill.
Karl
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Author: AGH
Date: 2018-05-22 05:22
Thanks for all the replies!
kdk wrote:
> I then choose one of them and use exclusively. I've so far,
> since sometime in late February or early March, used two reeds,
> one for about 6 weeks and the next one until now (and beyond -
> it's still playing well).
So when you only use one exclusively using that method, how long would a reed last in a playing session until it gets sluggish when you have the reed broken-in?
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Author: kdk
Date: 2018-05-22 07:06
I'm using them all the way through 2-1/2 hour rehearsals. But this is one of the unknowns - will every reed that I bring to a playing level stand up to the same level of use? Each piece of cane is a little different from the others. At worst, I suppose I might have to use two reeds and change at rehearsal break or concert intermission. I had to do the same with Légères.
Karl
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Author: Bob Bernardo
Date: 2018-05-22 07:42
I like to break in reeds for 3 or 4 days, the Steuer reeds because I'm used to them after playing on them now for years. Although I import them I pay for them just like everyone. Once a few reeds are broken in I usually do NOT rotate them. I pick out a good one and leave it on the horn. Here is the reason. The reed forms to the mouthpiece and I play a lot so the reed has just the right amount of humidity. I just wet the reed and play. I just finished a short tour that took me to Washington DC, Cleveland, and Chicago. I pretty much played on the Exclusive reeds but at Chicago the hall was pretty big, large, so the lighter Classic reed projected better.
Although I can make reeds from scratch I don't have to do much to these reeds and I don't like to rotate them because they may play well one day and due to humidity changes they may NOT play at all a week later. This is why I don't rotate reeds very often.
However, I always have a 2 or 3 reeds ready to play if my main reed feels like it might be not responding to my delight.
I strongly feel if a reed doesn't play and it's weak, you simply can't do a thing to it so throw it out. Save your practice time trying to fix a dead reed and spend your time playing on good cane. You will become a much better player playing on good reeds compared to fighting poor reeds.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: William
Date: 2018-05-23 21:17
Pretty much, everyone has their own breakin-rotation method. I use 12+ reeds in my rotation if that of any help. And I never use water, only saliva and then only for a few seconds....like twenty....to moisten them. Before playing, I rub the vamp with a finger to seal the natural pores of the reed to preserve its resilience while playing.
But here is what a well known CSO principal clarinetist told us at an informational clinic in Evanston a few years ago. "I just break open a new box of reeds, dump them in a glass of water and if they don't play right away, I toss them. I don't have time to work on reeds."
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Author: GBK
Date: 2018-05-23 21:35
I do rotate reeds - about 8 at a time. Any more than that is just needless OCD overkill.
However, lately I've used the other controversial method of just finding a brand new reed with good qualities, and leaving it on the mouthpiece after each playing session. If the reed has longevity and decent cane it won't warp and will adapt perfectly to the mouthpiece. Surprisingly, this method seems to work.
I've used it often for 3 straight (Friday,Saturday, Sunday) performances with excellent results.
Just put a cap on the mouthpiece after each day's playing, and you're ready for tomorrow.
...GBK
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Author: Bob Bernardo
Date: 2018-05-24 07:30
William I tend to agree. Also GBK I find the same situation. The reeds form nicely to the mouthpiece.
The Steuer reeds are from the Var region of France and the person that designs them once worked at Vandoren for 40 years, Marc, so we have great cane that play pretty much like the old Vandoren reeds from way back when Vandoren used Var cane as well. Now they don't. Or very little comes from there.
So this is why it's easy to find decent reeds and why I don't rotate reeds. I play too many tours lately and don't have time to mess with rotations. I need to trust reeds. If I rotate them I can't trust them. They may change on me.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: Bob Bernardo
Date: 2018-05-24 07:59
Not to brag, which I'm not, just lucky. I worked at Rico for 15 years and I was able to test cane, see fibers and cells under microscopes, then able to see and study how important fiber structure is to a reed. This includes the amount and the thickness of fibers in each reed. So looking at a reed I look for the structure of reeds. Not the heart and rails as much. Actually very little.
So if the fibers aren't thick and the reeds lack fiber structure, well the reeds won't play or if they play they won't last very long.
The unlucky part of working at Rico was being exposed to pesticide. I should have some very interesting news about the ending of the lawsuit in a few months. I can say the money value is around $750,000 and up. So for those that play of Rico reeds STOP! I know of one person that has taken legal action and he's well know in the clarinet world. Maybe there are others.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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