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1) If the orientation of the reed inside the mouth didn't matter, then it should produce sound just as efficiently when played at the side of the mouth. But it doesn't. A reed played at the side of the mouth is quieter, less resonant. I've discussed this with a handful of other oboists who have observed the same, so I know it's not some weird fluke of my anatomy. And I have no axe to grind here, no special interest in any particular explanation. For me, observation of the phenomenon predated explanation. So I know there's no power of suggestion at work here. I'm not just feeling what I expect to feel when I play. There has to be some other explanation. Perhaps Jeremy's idea is more on the right track?