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Re: Compensating for Bowed Reeds

Author: kdk ★2017
Date: 2013-01-02 19:26

Laurie, a couple of comments:

LJBraaten wrote:

> ...I have the following observations, or perhaps better,
> suppositions:
>
> It would probably be preferable not to slide the ligature down
> as far as possible (as advocated by some) on a bowed reed,
> since it would leave a greater Gap between upper center of the
> reed and the table.(But note Karl's comment in the Bad Reed?
> thread about some French mouthpieces being designed with a
> curve, deliberately creating such a gap.)

Sliding the ligature down "as far as possible" is not, as you observe, a universal recommendation. There are lines inscribed on most mouthpieces to indicate where the ligature should be placed (absent any specific reason to the contrary). In the cases of mouthpieces with "resistance curves" designed into the table, using those lines as reference should ensure that any ligature pressure is actually aligned with the concave area.

The critical area of contact between the reed and the table is at the bottom of the window. It's there that the reed needs to seat against the the mouthpiece completely from one side to the other. If that seal exists, it doesn't make too much difference where gaps may be farther down - water and, more important, air can't pass that line if the reed sits flat against the table at the bottom of the window.

In theory, the concave curve in the table is meant to provide extra vibration by forcing the vamp area of the reed to angle slightly away from the side and tip rails. I've never really had a chance to play two otherwise identical facings one with a curve and one without, so for me this remains a theory. All of my mouthpieces have concave curves in their tables. I have to confess, I have trouble imagining that a lightly tightened ligature can rally exert enough pressure to force the reed, which at that point is anywhere from 2.5 mm to 3.5+ mm thick, into the curve, especially if the screw tension is sideways, as it is on many ligatures. But then I can't really envision how energy waves get from a radio tower tens of miles away (and out of my sight line) to my phone or radio. They do, and I enjoy the benefit!

> Second, a bowed reed requires a different sanding technique,
> otherwise one might take more off the tip and tale than
> intended. ... I will now also try placing my flat sanding plate at the edge of
> a surface, so that when I sand the bottom half the top portion
> is hanging over the edge (suspended in air, if you will).

I think I asked in the other thread - what bad effect of this bowing on the reeds' response are you trying to overcome? I admit here that I've never been a huge fan of sanding the back of a commercial reed in general. Sanding a handmade reed may be useful to seal the surface, but commercial reeds are already at a critical thickness and I've rarely had any success in repairing a warped reed (whether warped longitudinally or the kind of lateral bow you're describing) by sanding the back flat. So, if a reed doesn't pass the "seal test" (close the mouthpiece tenon off and suck the air out through the blowing end to see if a suction results and how long it lasts) I generally just chuck it and use another reed. Life is too short! But even testing in this way is usually the result of some response problem I'm having with the reed in question. If the reed plays well, it can be as warped as can be and I'll probably never even know. What are these bowed reeds doing or not doing that has raised your concern?

Karl

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