 The Clarinet BBoard
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Author: Micke Isotalo ★2017
Date: 2024-03-23 13:13
I stumbled upon this video already some time ago, about sanding reeds at different areas of the vamp, balancing an adjusting for low, middle and high notes in the first register (using low e, c below the staff and throat g): https://www.youtube.com/watch?v=IYCqVvy7vuY&ab_channel=FloridaMusicEducationAssociation
Maybe this is more or less common practice, but for me it was new (I'm not too deep into reed adjusting, but when looking e.g. at the Ridenour videos promoting his ATG-system, I haven't noticed this kind of approach - though admittedly I'm "fast forwarding" a lot when watching his videos....).
Since seeing this video I've been applying the same approach, and it really works. The only difference for me is that while the video tells that open g seldom needs adjustment, I often need to adjust that one - but not low e very often (that may though somehow be related to my personal setup).
Is this approach working also for others, who have tried it/are using it?
For someone more knowledgeable about reed "physics" than I, is the rationale behind this that at low e the whole length of the vamp is vibrating, at low c only about half of the vamp, and at open g only the top part? And, how then about including also some clarion and/or altissimo notes? Which part of the reed is vibrating on such notes? Probably those three chalumeau notes are sufficient to get the reed responding and sounding at its best in all registers, but would just like to get a bit deeper understanding.
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Author: donald
Date: 2024-03-23 14:24
If you have access to "The Clarinet" (local library, University Library, or online if you are a member of ICA) look up....
"The Reed Connection, Part I by Henry Larsen (Volume 18, Issue 4, pages 41-43)" [and also Part 2, which I believe isn't in the next issue but two or three magazines later]
This give a thorough explanation (some scientific flaws, but good enough for us musicians) and will be all you need to learn about this subject.
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Author: nellsonic
Date: 2024-03-25 23:36
I've seen this video. I agree with Tom Ridenour that just honking on the reed (as is done in this video) when you turn it side to side doesn't tell you nearly as much as seeing how little air is needed to get it to respond.
Here is a diagram that goes into more detail about where you might sand to address particular registers: https://owd.tcnj.edu/~mckinney/reed06-03-01-gif.gif
Keep in mind how much more material is at the heel of the vamp than at the tip. This will have an impact on how much or little sanding is needed to get a change.
I find it improbable that the the few swipes done equally across the heel and middle of the vamp fixed the imbalance equaly well in each spot. It's possible, but the amount of air she is testing the reed with wouldn't really tell you that.
The most important aspect of learning to adjust reeds well is developing fine sensitivity in the testing process.
Anders
Post Edited (2024-03-29 23:38)
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Author: kdk
Date: 2024-03-26 00:13
I wish she had actually played on the reed after she took those swipes with the sandpaper and pronounced the reed "balanced." I wasn't especially in love with the sound on either side of the reed when she tested it. The point of the test, of course, isn't to produce a focused tone, it's to test side-to side resistance. But the purpose of balancing a reed is to have it produce a focused, resonant tone and clean response. I'd like to have heard the real world sound of the whole reed.
Karl
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Author: Floydinoz
Date: 2024-03-29 09:48
the articles Donald recommended about reed adjusting is spot on. They are the most useful and effective techniques for balancing a reed that I’ve ever seen.
Floydinoz
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Author: Micke Isotalo ★2017
Date: 2024-03-29 15:08
I have three issues of "The Clarinet" in my possession (as back issues ordered from ICA about 25 years ago), and as a quite remarkable coincidence, one of them is the Volume 18, Issue 4, with the Part 1 article by Larsen referred to above!
However, this first article only covers some preparatory steps, not how to work on the vamp, which presumably comes in Part 2 (in Volume 19, Number 1) - which I don't have. Maybe I should consider a membership at ICA? 
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Author: donald
Date: 2024-03-29 16:48
I'll see if I have a photocopy of Part 2 and scan it tomorrow for your (I know exactly where a copy of part 1 is, found it yesterday looking for something else... didn't check if part 2 was there but probably is)
Btw- I was in the foyer of a concert hall in 2005 worrying about my performance that afternoon, and none other than Tom Ridenour started chatting with me... we ended up talking about reeds for an hour (I was also coming down with the flu which didn't seem to bother him, I bet it would now!) and one enduring bit of advice from him was...
Don't "blast" when testing reeds, test how little air gets the reed vibrating... this piece of advice has served me well over the years. I'd go as far as to say it was "game changing" in terms of the results I was getting.
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Author: Micke Isotalo ★2017
Date: 2024-03-29 20:52
Thank you so much Donald, that would be just lovely! My e-mail address is in my profile.
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Author: donald
Date: 2024-03-30 04:56
Just found it, I'd post it here for everyone, but that's probably breaking some copyright rule etc
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Author: nellsonic
Date: 2024-04-01 22:51
For those looking at these articles, the bulk of the useful information is indeed in the second installment. I almost gave up reading after the first part.
To summarize, it's a MUCH more thoroughly worked out and refined version of the approach in the video. It's intriguing, and I intend to experiment with it a bit at some point.
Thanks for bringing this to our attention, Donald.
My only hesitation is that I'm loathe to complicate my simple and quick procedure in pursuit or what may be only very marginal improvement. Time spent working on reeds is always time that could be spent practicing. Balanced reeds are crucial but a "perfectly" balanced reed may not be worth the extra time to get there from say 98% in most cases.
We shall see.
Anders
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Author: donald
Date: 2024-04-01 23:09
Nah, a perfectly balanced reed will last longer (even if at first you feel it's a little soft) and will encourage better playing habits than an unbalanced reed. Once you can do it in 5min it definitely time well spent.
Re the Larsen article.
Reading it again after many years I realise that I now have many "extras" that I do, but they are all "add ons" to what is in the article.
- the "Larsen method" is like a base, the start-up approach. There are other good techniques etc but they work best as additions to the basic approach and understanding laid out in "The Reed Connection".
- the article is not perfect, but even the bits I'd argue with now aren't actually "harmful", just not how I'd explain things.
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Author: nellsonic
Date: 2024-04-02 01:08
Hi Donald,
Again, I'm talking about the difference between 98% and 100%. A well balanced reed is crucial so that one isn't fighting it by messing with playing fundamentals, as you mention. 98% is well balanced, 100% (whatever that REALLY means) is perfect. 92% isnt' nearly good enough. I feel that a good VK-1 gets just about to 92% for me, and I won't be switching until we get to maybe VK-9 or so, when hopefully they'll get to that 98% threshold, if that's even possible. The mouthpiece is the other variable at play and is what we are balanced the reeds TO afterall.
Cane reeds are still cheaper than time for most of us. I remember reading a few years ago that someone found the ideal break-in period was a very carefully controlled 50-something very short plays over as many days. This is what would give your reeds the longest play life. This figure was based on several years of careful experimentation. Worth it? Nope, not for most - not for me.
Every clarinetist develops their own idiocyncratic routine over time, and I encourage my students to do so as well - based on what works for them, once they know what they are doing.
Anders
Post Edited (2024-04-02 23:58)
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