Author: mschmidt
Date: 2016-09-09 03:29
I am not completely certain what you mean by "extra screechy partials on high notes," but I have noticed that reeds which "chirp" when tonguing above A can generally be tamed by making less of drastic transition between tip and heart. You write that you don't tend not to blend much, and it sounds as if you don't want to, for other reasons. A less drastic transition can also be achieved by taking more off the sides of the heart. Now, you say that you are trying to avoid "overly" thinning the heart, but I wonder if your "embarassingly soft reeds" could be better be made less soft by leaving a little more in the tip but keeping the heart somewhat thinner. This also tends to give more color to the sound--although pitch can be a problem.
Unfortunately, reed-making is an n-dimensional problem and what works for me may not work for you, because your reeds are off in an entirely different part of n-dimensional space than mine are.
Also, do not be embarrassed by the softness of your reeds, unless they are causing you or your listeners specific problems. I have played reeds of orchestra professionals that were pretty easy to blow but had big, colorful sounds. I think sometimes oboists try to be too macho.
A final thought--I just remembered that you didn't blend much for "better low response," and that is somewhat mystifying to me, as I associate low response with reeds that are sufficiently thin in the back. Is your oboe sealing up well? I spent much of the 1970's and 1980's mis-making reeds because I had a leaky oboe. Reeds that require more air are going to better compensate for minor leaks....
Mike
Still an Amateur, but not really middle-aged anymore
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