Author: Craig Matovich
Date: 2006-12-03 03:10
My emphasis on close symmetry has mostly focused on the heart and tip areas more so than the back. There if the heart is well balanced blade-to-blade, a visual test for closure was emphasized over the back-lighted comparison of tip gradation as viewed under the light.
A test for this aspect is to look down into the opening from the top while squeezing the reed closed gently by pressing on both sides of the heart between thumb and first finger.
A littel practice is needed, but soon the thinner areas close first and thicker parts later. The imbalance becomes obvious. Its a good way to identify where more cane need be taken off to achieve a balance in the tip. In my case, usually the right side of each blade tip is a little thicker than the left, even if I've counted scrapes along the way.
Removing the extra cane to achieve balance also lowers the pitch a bit, but also brings the reed to life. Then a little tip clip and I'm back in business.
This technique I learned from Ron Erler. He taught at Shenandoah Conservatory and later played with the Airforce Band for a long time.
He taught me many things, but I think of this as the one standout that really helped me.
Now, I will think more about overall balance, symmetry and the other things mentioned in this thread.
I agree with CJWright, the more cane left the better, and just go shorter out of a need to raise the pitch to 440 Hz with a fairly relaxed embouchure.
(I agree the longer reeds sound better, much better, but they tend to be 5 -10 Hz low in pitch w/o biting.)
Thanks to all and more please, I got's to have more!
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