Author: cjwright
Date: 2008-07-31 18:35
It seems like there are quite a few people who order reeds on this board, and I hope to lend a few insights from experience.
My reed business gets various reed orders from around the US (and sometimes from seas far beyond), and unless I receive additional information along with the order, I generally make my reeds the same way. Sometimes I get rave reviews, other times I get major complaints and the reeds get sent back to me. Recently, I got a letter from someone who even accused me of doing a "half-assed" job, something I swore to myself I would never do when I started in this business. I explained to him the differences I made in my reeds during the summer to compensate for weather changes, and asked what he wanted instead. I replaced them, and he raved about them again.
But what I have found about receiving orders is that the more information I receive from the person, generally the more satisfied the customer is. That in mind, here is a list of things for you to think about when ordering reeds, and information worth noting to the reedmaker.
The Player
1. What kind of sound do you prefer? A more "round" or "covered" or a more focused, sound? Cleveland or Philly or somewhere in between? (Note: Don't use the term "dark". Everyone uses it and it can mean a hundred different things to a hundred different oboists. And besides, in all of my orders, I've never heard someone order a "bright, screetchy reed")
2. Who are some of your previous teachers? Who knows, maybe the reedmaker knows your previous teachers, or knows what their reed style is and therefore can scrape closer to that style.
3. Do you prefer more resistance to blow against or less resistance to blow against?
4. Do you prefer larger openings or smaller openings?
5. Do you prefer wider shapes or smaller shapes?
6. Do you have any reedmaking experience? Would you like your reeds completely scraped to feel "broken in" or would you like them feeling "new" but adjustable later?
7. Do you tend to take more reed in your mouth or less?
8. How long do you prefer your tips?
9. Do you use any "lip pressure" (i.e. biting) to muscle up the reeds or do you have a very open, little contact embouchure?
10. Do you keep a flat chin when you play? (Many players don't, and this question is very relevant to the response in the low register.)
11. What kind of music do you play generally? (2nd oboe symphony, chamber music, band, etc.)
12. Are you playing anything specific coming up? (Dvorak Cello Concerto 2nd oboe. What a pain! It needs a really stable reed in the lower register, maybe even slightly pitched up to get those Db's in pitch.)
The Instrument
1. What model oboe do you use? (Royals, Yamahas, Marigauxs seem to need bigger openings. AK's generally need more resistance built in. Older Lorees such as C series or B series generally need a more covered reed.)
2. Does your oboe generally feel sharper, flatter, or the same as other oboes you've tried? (Royals tend to be flatter, older Lorees tend to be sharper, etc.)
3. Is your instrument a bit blown out? Are there certain notes that stick out more than others?
4. Is your instrument sealing well?
5. Does your oboe have any other oddities that might not make a lot of difference to you, but the reedmaker could cater to?
The Player's Surrounding
1. What location do you live in? What is the general weather going to be in the upcoming month? (I send reeds to one of my former teachers in Michigan. But we have established that my reeds don't work so well during the dead of winter when it's brutally cold and dry there, while it's raining and clowdy here!)
2. What is the humidity there?
3. How high is the altitude there? What is the difference between the reedmaker's altitude and your altitude?
I have several people in Seattle who order from me regularly, and I credit some of that to our similar atmosphere's (I'm from Oregon). Most oboists don't give enough credit to weather changes, shifts in humidity, and altitude, but they certainly play a role. My reeds from IDRS (4500 ft higher) feel loose, unfocused, and flat now that I'm back home.
Finally, a few more hints you give the reedmaker can really make the difference between a good reed and a great reed. It might mean that "last extra tip clip too far" or that fateful "stroke through the spine that kills the stability".
Hope this helps someone.
Blog, An Oboe In Paradise
Solo Oboe, Thailand Philharmonic Orchestra
Post Edited (2008-07-31 18:38)
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