The Clarinet BBoard

Re: Reed tip shape vs mouthpiece tip

Author: ThatPerfectReed  Date:   2014-03-05 19:48 So, all other things equal (as if we could actually keep all other things equal given the nuances from one reed to the next), how does a reed tip’s conformity to the shape of the mouthpiece tip affect play? If I could clone a reed, I’d want, provided nothing is lost in its balance, for it to match the mouthpiece tip as if it was designed for it. Assuming the mouthpiece a good one (itself a generous assumption), the reed’s conformity to its shape should allow the reed to vibrate in the manner the designer intended for it to do. Of course we’re assuming the designer had a vested interest in not just making money, but doing so by introducing conscientious product. But in the real world, its conformity to the tip, I’m suspecting is going to be, using your engineering parlance, a second order effect. That isn’t to say we should thumb our noses at improving second order effects, but rather, know their place in the scheme of importance. I’d also like to say that my opinions apply solely to cane, as opposed to synthetics like Legere and Forestone, where reed placement (if not mouthpiece tip conformity) has been reported by many players, this one as well, as well as manufacturers, to make a difference. Consider that anytime you go cutting the tip of a reed, whether by reed trimmer, or conformity of its tip profile to mouthpiece tip via, say, an emory board, even when done with near perfect symmetry to an already balanced reed, that that reed is probably going to have to pay a visit to the “reed balancing shop” to make sure it vibrates uniformly on both sides. Consider also that you may be unknowingly hitting a good secondary affect with your actions. To point: shorting a tip, all other things equal, might help you more reliably reach your coveted C7 . As you are first to admit Stan, your results to date with reed matching tip are both good but anecdotal. But since you found good results, consider investing some time in repeating this and see if all other things equal, it makes things worth your while. Also consider what you are NOT doing with this time to improve your play and judge if it’s worth it. I will say that anyone who tells you that such actions are throwing off the balance that the reed manufacturer built into the reed (short of custom single reed shops) is, I believe, living a fool’s paradise. Vandoren, for example, cuts all of one brand of reed identically. It then sorts all these reeds of near identical physical dimensions by fiber density into strengths. Assuming the left half of the reed vibrates and bears similar density to the right half, simply because they’re cut the same way would be as silly as assuming that nature produces no diversity, even within a single reed. The comedian Steven Wright, with his child like observational humor, has remarked that he isn't afraid of heights, just “widths.” I point this out to demonstrate concern already voiced by Ken with why the reed in the example doesn’t obscure the left rail. Is the reed ever so slightly positioned to the right? Or are you dealing with a mouthpiece whose rails, at least at the tip, are thicker than your reeds? I applaud your desire to improve not only your play, but its consistency, while at the same time pointing out that we all picked the wrong instrument if consistency was our thing. Our saving grace is that oboe players have it worse….maybe.

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