 The Clarinet BBoard
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Author: Keeheon Nam
Date: 2011-02-07 20:53
Hi all,
I've been playing on vandorens my whole life and over the years the quality has gone down. I asked my teacher about this and she said to try out Gonzales reeds, but I haven't had time to buy a box of them. What reeds do you recommend to students or which reeds do you use? Which reeds are responsive and work well out of the box?
I use Traditional vandoren strength 4.
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Author: concertmaster3
Date: 2011-02-07 22:04
I switched from V12's to Canyes Xilema's, Artesana Cut, 4's. I like them a lot, and they play well out of the box. I gave one to a friend and she played it until it died on her finally!
The box is really consistent, and each one plays well. Of course, some better than others, but I wouldn't hesitate taking any of my reeds into a performance!
You can buy them from http://www.redwinejazz.com.
on the other hand...I'm actually still searching for a good Eb clarinet reed...
Ron Ford
Woodwind Specialist
Performer/Teacher/Arranger
http://www.RonFordMusic.com
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Author: sonicbang
Date: 2011-02-07 22:55
I found Mithcell Lurie reeds consistant and easy to play with good sound without adjusting. It's normal to get 6-7 good reeds from 10 without adjusting and the others are still playable and good enough for daily practise. (I can say this after circa 15 used boxes)This reed is softer than other popular brands, so you will need at least a half point stronger if not a whole strength. They really worth a try.
Hope this helps.
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Author: Evans
Date: 2011-02-08 00:06
I use Rico Royals.
Evan B. Stanfill
1971 Noblet 45
Vandoran V360 Mouthpiece
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Author: grifffinity
Date: 2011-02-08 00:12
I like Gonzales RC's. They are more dense than Vandoren Blue Box...and at first feel a bit stiff in comparison. I find they last a long time though...
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Author: kdk
Date: 2011-02-08 02:05
I guess I'm in the minority, but I think the quality of Vandorens has gone *up*. Anyone who played on them 30 or 40 years ago knows how really inconsistent the cane was back then, when Vandoren had little competition, at least in the U.S.. I've tried many of the competing reeds that players here have recommended over the past several years, though I'm sure I've missed a few. I keep coming back to Vandorens - right now V12 #4 and #4-1/2 on my current mouthpiece - because once balanced, they are as responsive and clear sounding as any other reed I've tried.
Karl
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Author: Keeheon Nam
Date: 2011-02-08 02:16
Thanks for the feedback.. Maybe I will buy a few boxes of each and compare when I have the time.
To answer NBeaty's question, I play on a M13 Lyre mouthpiece.
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Author: Clarimeister
Date: 2011-02-08 02:18
^That's the way to do it. Everyone is going to have a different preference. Right I prefer Vandoren V12s and Rico Reserves. But, you just have to try them out yourself. Order a box from each company you're interested in and try them out.
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Author: NBeaty
Date: 2011-02-08 02:19
Try a box of Rico Reserve Classics in strength 4, may be to your liking.
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Author: Connor
Date: 2011-02-08 03:14
How about trying Traditional Vandorens a half strength softer?
One of your criteria for new reeds to try is "Which reeds are responsive and work well out of the box?"
Answer: all the major brands out there. The real difficulty is finding the correct strength.
If you find that your reeds are becoming less consistent, chances are that you are playing on reeds that are too hard. There is no heroism in playing on a reed that has a large number on it, just a sore lip. There are many fine players whom play on a M-13 or a similar mouthpiece with 3 1/2's.
MM. Clarinet Performance University of Texas at Austin (2012).
BM. Clarinet Performance University of Northern Colorado (2010).
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Author: NBeaty
Date: 2011-02-08 03:42
I agree with Connor. Much of the time when we feel reeds aren't vibrating well any more, it means we're gravitating towards harder and harder reeds.
There shouldn't be a problem with a 3.5 traditional on an M13 Lyre.
I'd also recommend the ATG reed system by Ridenour, if you're new to reed adjustment. Most reeds benefit from a little bit of tweaking.
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Author: Paul Aviles
Date: 2011-02-08 12:06
Vandoren reeds are the only reeds out there. Just break them in properly, which is to say you must give them three to four days of about five minutes worth of playing max. Otherwise they get waterlogged and won't come back from the abuse.
If you need to play hours and hours "out of the box," get Legere in one quarter strength less (Legere 3.75 = Vandoren 4).
.................Paul Aviles
Post Edited (2011-02-08 12:08)
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Author: William
Date: 2011-02-08 14:30
Recovering V12 addict here.....actually, I've been quite successful in kicking the cane malady (habit) of 35+ yrs and am doing nicely with the new Forestone reeds--on all of my woodwinds. No more box after box searching for the "one good reed". ALL new Forestones play consistantly and maintain their resilience for hours--even weeks, years--of playing. Of course, you need to find the correct strength and a good mouthpiece is also a "must", however, once done, you will be able to play the music without having to worry about playing the reed.
Cane free with Forestones in Madison, WI.
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Author: Ed
Date: 2011-02-08 15:09
Years ago Vandoren pretty much had the whole market. They are still good, but we are fortunate that there are many great options for reeds out there today. Everyone will have a favorite which works best for their tastes and set up. I have had good success with Rico Grand Concert Thick Blanks and Reserve Classic.
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Author: Bob Barnhart ★2017
Date: 2011-02-08 15:47
I also am among those who believe that Vandorens are better now than they have been up to perhaps 3 years ago. I've been experimenting with several mouthpieces and how to fix reeds for them. I was working with both Traditional and V12 3 1/2. I found that the Traditional 3 1/2 were about right, but the V12 3 1/2 seemed to lack enough heart towards the tip, so I ordered a box of 3 1/2+. I was pleasantly surprised to find that they were just right when the 3 1/2s were too soft and the 4s too hard.
Generally, I like to use reed rush to balance my reeds and work the strength down over 4-5 days to the point where they perform best. I have also found that sometimes, careful clipping of a reed that is too soft can help. However, note that clipping effectively changes the reed thickness/strength not only at the tip, but at every point along the facing. This can alter not only its resistance, but simultaneously tone depth/quality, clarity, response and flexibility as well.
With a little adjustment, however, I find that half my reeds are performance quality and almost all the rest are rehearsal quality. I find there are very few reeds that I cannot use at all.
It is important to note that each make/style of reed reflects a particular "spring" design that matches the mechanical/acoustic properties of each mouthpiece/facing to a greater/lesser degree. Therefore, some experimentation with different makes/styles/strengths of reeds, together with learning to adjust reeds for a given mouthpiece is almost always required to get optimal results.
I also concur with a point raised above: you should play the softest strength reed that sounds and performs satisfactorily. I played the M13 Lyre for several years using V12 3 1/2-4 reeds. As an alternative to Traditional #4s, I would first try V12 3 1/2+ (which should be a bit softer and more flexible) and then perhaps Traditional 3 1/2s. In addition to playing various setups, recording yourself is a good way to distinguish how each setup really sounds from how you perceive its sound/feel.
Good luck!
Bob Barnhart
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Author: kdk
Date: 2011-02-08 16:20
William, I know that your enthusiasm about Forestones drives many of your posts about reeds, both for Forestone and against cane. But, with all due respect, I wish you would stop repeating that mantra about "No more box after box searching for the 'one good reed'." I rarely get a box of Vandorens with more than 2 or 3 that I consider unusable, and that's because I don't like working harder than I should need to even when I'm practicing. So I make no effort to salvage the really bad clunkers (life is too short) and spend the time on the ones that feel like they'll be good - not merely usable - with a little bit of adjustment. I could probably make every reed in most boxes play to some useful extent.
I can appreciate the enthusiam (yours and that of others) for never having to spend time on reeds, although I prefer the control I gain from working with different reeds. But the one reed in a box thing has always been fiction, even in Vandoren's worst years. Repeating it to inexperienced players who aren't sure of themselves yet does them, I think, a disservice - even if you convince them to explore Forestone as an alternative to natural cane.
No disrespect meant - Forestones are a viable alternative to cane and there's nothing at all wrong with talking about them.
Karl
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Author: 2cekce ★2017
Date: 2011-02-08 17:45
Ive tried so many brands of reeds and always find myself staying with Michell Lurie Premiums, for me they are Good reeds right out the box and most are consistent and since they are softer than most other brand you have to go up a half or whole size from what you normally if you plan to try them, also find what reed works best for you regardless of the name.
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Author: CarlT
Date: 2011-02-08 19:19
I'm a bit surprised that no one has tauted the relatively new Legere Signature reeds. I'm certainly no pro, but this reed seems to my somewhat inexperienced ears to play very well, and for those of us too lazy to learn adjusting cane reeds, it's a very good alternative to so-called bad cane reeds.
A bit expensive, but they are long-lasting.
CarlT
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Author: John Peacock
Date: 2011-02-08 19:26
I've also tried lots of alternatives, but have for many years kept returning to V12s.
Regarding kdk's comment "I rarely get a box of Vandorens with more than 2 or 3 that I consider unusable", I suggest that this must depend on your definition of "unusable". I tend on average to get 2 V12s out of a box of 10 that end up being used in a concert. The difference between the best in the box and the state that the rest reach is often very small once you've finished working on them, but there is still a difference - and I find it hard to perform on a given reed if I know there is something better sitting in the case. As we know from the frequent debates about effect of different ligatures, an extra few % of quality in your sound can make a world of difference to your happiness.
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Author: gwie
Date: 2011-02-08 20:08
I've pretty much stayed with Vandoren V12's and having the time to spend to work on them I usually get at least 4-5 reeds in a box of 10 to play well enough in a concert situation for me. I can't say the same thing about my students though, since they have not yet invested the time nor have developed the sensitivity to adjust their own reeds properly. At least I still have it easier than my oboe colleagues!
Recently, I've had a very pleasant experience with Rico's products, a direct result of the re-organization and re-tooling of their entire reed production line thanks to D'Addario. My students are finding a lot of success with the Grand Concert Select Thick Blank and Evolution reeds, to the point that they're able to pull 8-9 reeds out of the box and play without any adjustment once they've figured out what strength they need. The level of consistency is just awesome! Then, you factor in that they come in at just under $20 a box online.
I've spent the last two months playing on Rico Reserve and Reserve Classic and I've had a similar experience. They play incredibly well out of the box, and I don't have to do very much, if any, adjustment to them. The only thing I don't like is that compared to my V12's, they don't have the same kind of longevity before they wear down and start sounding fuzzy. It is a tradeoff...reeds that take work but last longer, vs. ones that can be played immediately but don't last as long. For me, I enjoy the former...for my students with tight schedules and limited experience, the latter makes more sense!
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Author: TianL
Date: 2011-02-08 20:58
i use rico reserve classics. i played m13 lyre for a little bit and i think for me the V12 worked fine on that.. but then after i switched mouthpiece, the V12 just sounded too bright. also i do believe that the reserve classics are a bit more consistent. i just opened a box.. about 6/10 were good right out of the box (though i do break them in and they held their quality after 5 days of breaking in), 2/10 were good after a little adjusting, and the rest 2 weren't very good even after adjusting.
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Author: Claire Annette
Date: 2011-02-09 20:06
Gonzalez FOF. To me, they seem to be more consistent than other brands I've tried.
When a well-known online woodwind and brasswind site had the "try a box of Rico Reserve Classic" for free when you buy a box of your favorite brand. I tried and wasn't overly impressed. I have honestly given the upper end of the Rico line an honest try over the past 2 to 3 years but I keep coming back to Gonzalez.
Maybe I should give V12s a shot...
Post Edited (2011-02-09 20:07)
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Author: Bassie
Date: 2011-02-11 07:46
Xilema Professional, for several years now. A 'C' on an 11.6. (I think that's a 3.25 in their new quarter-strength system, I'm not sure).
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Author: PrincessJ
Date: 2011-02-12 00:19
I like Vandoren 56 rue lepic reeds in a 3.5 strength.
Haven't had a bad one yet, and they last forever. (Well, not forever, but longer than the V12s)
Worth the extra shiny dimes.
-Jenn
Circa 1940s Zebra Pan Am
1972 Noblet Paris 27
Leblanc Bliss 210
1928 Selmer Full Boehm in A
Amateur tech, amateur clarinetist, looking to learn!
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