 The Clarinet BBoard
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Author: Paul Aviles
Date: 2014-04-27 15:09
The greatest advantages we could hope to achieve with the synthetic reeds are:
CONSISTENCY, CONSISTENCY, CONSISTENCY !!!!!!
By this I mean you would actually know precisely what a high "C" feels like, or a super pianissimo low "E" (in tune), or you'd always know how to get that pinging staccato BECAUSE IT WOULD ALWAYS FEEL EXACTLY THE SAME !!!!
Now, does this guarantee great things from us always?
No.
If you've ever spent any time hanging out with flute players or brass players, they complain of having "off days" as well. So having a physically consistent set-up is not the end all be all. I recall a master class given by a renown trumpet player in which he was asked what he did when he was having an "off day." Everyone waited for a profound answer to the age old issue. He responded by saying, "I put the horn back in the case and slide it back under the bed."
However, we would be free of a significantly fickle variable. I just got a response to another post where someone with various micrometers was able to get cane reeds to play more consistently by ensuring the symmetry of measurements across the physical reed. Of course there is still the variability of the cane's density from spot to spot, and the variations of humidity under which we play, and OF COURSE the cane's various responses throughout it's playing lifetime (couple of weeks; a month or so maybe).
I don't say this in a vacuum of course. I have been playing exclusively on synthetic for about three weeks now and I am experiencing some fairly promising results (though there IS a learning curve.....they just "blow" differently).
I would say quite emphatically that a good synthetic substitute for cane would be a much more desirable tool for the clarinetist as a student so that he/she would be free to concentrate on vagaries of the instrument and the music rather than having to see through a "foggy lens" while trying to learn. And of course it wouldn't hurt the professional to be certain of her/his entrances and responses in those really exposed soli passages.
Have any of us reached the "Promised Land" yet? More Germans and Austrians so far (I think it is a combination of necessity of their climate mixed with the acoustic reality of their set-up combined with a dash of European "open mindedness") but also some players such as John Moses and Ricardo Morales (purportedly).
Today cane still reigns supreme, but if things shift, it will be a BIG DEAL.
................Paul Aviles
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Author: ThatPerfectReed
Date: 2014-04-27 18:39
I think, (and I think the crux of your piece--although I admit I could be entirely wrong) my screen moniker and your thread title have three things in common, and you may have said that in so many words.
The Perfect Reed, or the Promised Land: each that may be impossible to reach, different for each of us, and if in fact reached, near impossible for us to maintain with known duration before we found ourselves "outsiders looking in" to said Promised Land: as our machinery and own abilities vary from one day to the next.
It would certainly be nice if we had the greater machinery consistency of say a flute player. And still, I think the degree of difficulty of our chosen instrument is much closer to the flute than either of us wind players are to the difficulty of the oboe (which is also enjoying I hear, with success I'm unaware of, the introduction of double reed synthetics).
I agree, the consistency you speak of Paul, as known to many other reedless musicians, otherwise limited to our own abilities, would be nice. Sure, subtle differences occur with weather changes or when say strings are replaced or pianists play different pianos, but once accomodated for, those changes remain for far longer durations, I think, than reed consistency.
I might guess that those who claim to play synthetics exclusively aren't at a Promised Land either, but rather accept some of the product's limitations in exchange for not having to spend the time with cane. I do though like you, share interest in the idea of incorporating synthetics into new players gear, were it not, as posted on other threads, potentially extremely expensive given the replacement costs of student cane, versus that of a synthetic, that got damaged when "2 youngs students tuned their clarinets into faux swords."
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Author: fskelley
Date: 2014-04-27 19:28
Piano is not The Promised Land either, as I can tell you from experience.
When I arrived on the scene around 1965 (when I was 12 and expected to play for relatives and friends in their homes), I discovered the ugly truth about playing piano anywhere but home. However flawed your own piano might be, other people have AWFUL instruments, don't know it, or don't care, or are unwilling to $$$ to make it better. And it is bad form to so inform them. And if you don't sound good on their piano, it's your fault.
For many pianists, it's no different today. If you're a guest artist at XYZ Methodist Church- unless you've been there before or had trustworthy reports of a great piano, you hold your breath until you stand in front of the instrument and play a few notes. (Doesn't matter how nice it looks or what brand, it can still STINKO. Conversely, lots of pianos look wimpy but are marvelous.)
I had a part time piano/synthesizer concert ministry from about 1989-1995 and played at 30, 40, 50 churches. And I hauled in my own 88-key Yamaha KX88 and Roland MKS20 piano MIDI module, and associated gear (filled the back of a conversion van)--- just so I would not have to play other people's pianos. And only 2 times did I decide to use the church's piano instead. Every other time I was oh so glad I brought my own. (For a time in 1996-98 I tried here in central FL to convince churches to let me bring in my own 7-ft grand for my concerts. Wouldn't have really been that bad- piano movers are quite efficient with these things, and the cost is reasonable- but I think I scared off my target audience. That was kind of the end of the road.)
So... imagine it was that way with clarinets. "We have a nice clarinet- other players have said great things about it. I'm sure you'll love it." And you're supposed to pick it up and play when you get there. Fun fun fun.
Shall I go on with descriptions of my struggles to keep my own piano at home playing the way I liked? Some things transcend what instrument you use.
Stan in Orlando
EWI 4000S with modifications
Post Edited (2014-04-27 19:47)
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Author: William
Date: 2014-04-27 19:44
As I have been saying for nealy four years now regarding Forestone (synthetic)clarinet and sax reeds, they allow you to "play the music without worrying about playing the reed." They do "blow differently" and take a little getting used to (regardless of brand) but they are remarkably consistent throughout a whole orchestral gig and from performance to performance. Response and tone quality in all registers can be relied on with little "warming up", the reed always ready to go right out of the case. And they LAST--some of my Forestone clarinet reeds are still singing after three years of use (unheard of in the world of cane).
I think the REVOLUTION is well underway from cane to synthetic and complete change will only be a matter of time. For me, the future is Forestone and the "past" is V12.
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Author: Funfly
Date: 2014-04-27 20:03
I started using the Legere Signature reed a little while ago and have been evangelistic about the way they play for general use (although I do understand that the symphony soloist might be looking for something better).
I have to temper my recommendations nowadays to admit that their reeds can vary so users should be aware of this when trying.
It is also my opinion (note only opinion) that synthetic reeds play better on different mouthpieces and anyone moving in this direction should take his/her synthetic reed and try a number of alternative mouthpieces - makes a tremendous difference.
Having said that, for a student like me, a synthetic reed allows me to concentrate on my playing and avoid the complications and chemistry that surrounds cane reeds.
Edited to add that I am trying to get hold of a Forestone synthetic reed to give it a try. Don't know If I can get one in the UK.
Martyn Thatcher Mature Student Cheshire U.K.
Clarinet - Yamaha SE Custom
Alto Sax - Yamaha YAS 480
Guitar - Yamaha FG 375-S
Post Edited (2014-04-27 20:13)
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Author: Ursa
Date: 2014-04-27 21:15
Stan...I know I'm drifting off-topic here, but your account of bad pianos at churches sure resonates with me. I work as a substitute organist, and around here, all the organs are either in need of repair, or have had unfinished additions made to them. In either case, none work 100% as intended or expected, and their functionality varies with the ambient temperature and humidity--just like clarinet reeds.
I have many times wanted to haul my well-maintained and reasonably portable practice instrument in to jobs. Unfortunately, unless the job is an outdoors wedding, this is not accepted practice...consider yourself fortunate to have the "bring your own" option!
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Author: Funfly
Date: 2014-04-29 02:55
For those in the UK, I have been advised by ReedsDirect that they will soon have some Forestone synthetic reeds available.
They have promised to let me know when they are available and I will tell you how I find them.
Martyn Thatcher Mature Student Cheshire U.K.
Clarinet - Yamaha SE Custom
Alto Sax - Yamaha YAS 480
Guitar - Yamaha FG 375-S
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Author: Barry Vincent
Date: 2014-04-29 06:28
The Modern Synthetic Reed.
I've been playing around with synthetic reeds now for over a couple of years. My synthetic of choice is the Forestone. Here are my own conclusions of the pros and cons of this type of reed.
Cons
They are consistent from one reed to another with perhaps slight differences which in my experience is a minor detail. They are consistent because they are 'clones ' having been formed from identical molds.
They are 'perfectly' balanced and shaped because of the reason already noted with 'perfectly' even tips. There is no such thing as an unbalanced Forestone reed.
They last a lot longer than cane reeds because they do not warp or get 'waterlogged'. This is because they are made of a mixture of plastic and bamboo pulp of varying degrees of mix depending on the 'resistance' grade.
As with cane reeds they come in a wide variety of resistance grades,from F1 / F1.5 / F2/ F2.5/ F3/ F3.5/ F4/ F4.5/ F5.
They do not need adjusting and can be placed on a suitable mouthpiece without any preparation except making sure that they are positioned properly.
They can be adjusted as to resistance by slightly moving the reed up or down the mouthpiece. Slightly higher as in just showing above the beak will increased the resistance and slightly lower as in just below the beak will decrease the resistance. We are talking a fraction of a millimeter here.
Cons.
They are expensive but because they last much longer than cane reeds in general this extra cost evens out.
One has to get over a psychological hurdle in getting use to a synthetic reed as it feels different to cane reeds. There seems also to be different type of response to the synthetic reed mostly it seems in the Altissimo range. This takes time to get use to.
Conclusion.
I have settled down to using this type of synthetic Clarinet reed over a period of time. Initially I did not like the feel or the resulting sound of the synthetic but I persisted till I eventually got an acceptable response and sound.
During the earlier period whilst I was getting use to the synthetic, I was constantly going back to the cane reeds (Rico Royal 2 / 2.5) and still have a few of these as well as a small selection of other cane reeds such as Michell Laurie and Vandoren. During this period the cane reeds sounded more richer and full bodied.
The main problem with the cane reeds is that when one had a really good quality one you knew that it was not going to last all that long.
I've settled on the resistance grades F3.5 (with Vandoren B45 dot) and F4 (with Vandoren B45).
I have now used the Forestone synthetic at several concerts (including with Microphone) and I'm generally please with the quality of sound I get from them. Even my fellow clarinetists can't tell the difference in sound so it seems. They only knew I was using synthetic reeds when I told them.
I still think that if you are lucky enough to have a good quality cane reed , make the most of it, because it will not last for long. The remarkable thing about the modern day synthetic reeds is that they work as well as they do compared to the earlier synthetics.
One important little detail concerning synthetics. As they are very smooth on the backside, in fact , just as smooth as the mouthpiece table, there is a tendency for a slight film of water to get between this area especially if you are using a ligature such as the Rovner. When this begins to happen , the sound will start to deteriorate. Easily fixed. Take the reed off and wipe it dry.
BJV
"The Clarinet is not a horn"
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Author: Paul Aviles
Date: 2014-04-29 18:30
Dear Barry,
You make some very interesting points. You mention the altissimo being the most notable difference on the Forestone. For me, and the Legeres, it is more in the chalumeau and that happens mostly if the reed is weaker than you ultimately require. In this scenario, loud passages in the chalumeau get buzzy and hollow.
You mention the water accumulation under the reed as a hinderance. I and a few others who have responded recently to my queries have the experience that the water accumulation under the Legere actually enhances the effectiveness to the point that I actually put the reed on wet !!
Most importantly (real world speak that is) is the cost effectiveness. A student was listening to me whine about synthetics but was genuinely taken back by the price. She said, "that's really expensive for one reed!" I was surprised by THIS response since I am so used to dealing with the "reed thing" as a per box event. You break in a box at a time (again, my regimen) that costs $50 and you get about six usable reeds which last through about a month of rotating through the six. If you can get a Legere to work, it SHOULD work (more to follow as I go through this experiment more fully) for about four months or so. If this IS the case, you would wind up spending $20 - $25 once every four months opposed to $200 over the course of the same four months. Is my math that far off ??!!!???
.............Paul Aviles
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Author: fskelley
Date: 2014-04-29 20:47
My experience, which I've detailed in previous threads, was very different.
I was using mostly Legere classics. I did get a Signature or 2 sent to me by Legere as replacements. I purchased maybe 20 total, and Legere sent me another 10 or so. I got great play only for a matter of hours out of any single reed, then it degraded in the high altissimo and later in upper clarion. Months of use per reed was a pipe dream. I am very curious whether anyone else has had similar experience. So the economics of it were different for me.
I know that my playing technique has changed much for the better since I moved back to cane. And I will eventually retry Legere and also probably try Forestone, after I settle on the "best" cane for me. (Currently using Vandoren blue, already rejected V12, Lavoz, and Rico Grand Concert Select, waiting to try all the Gonzalez varieties and the latest Rico gold box, and probably a few other high end cane products.) But when I do synthetics again- I will be loaded for bear, so to speak... I will comprehensively document and video record my trials and experiences for good or bad, and share them here. If anyone wants to jump start that process, feel free to send me samples. Otherwise, it will probably be a while.
Stan in Orlando
EWI 4000S with modifications
Post Edited (2014-04-29 22:16)
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Author: Paul Aviles
Date: 2014-04-30 01:00
Stan,
If you would be willing to "bare your soul," how where you playing that caused this (striking the reed with your tongue; biting; playing right at the tip of the mouthpiece)?
..............Paul Aviles
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Author: fskelley
Date: 2014-04-30 01:14
Paul... nothing strange that I know of, perhaps a bit of the very common biting, and a tendency to blow a large number of high notes (I suspect my reeds were shocked how many of those they were expected to produce, LOL). My technique improvements have come from becoming more accustomed to well balanced reeds (through ATG) plus things like "swab in the bell".
Go to youtube.com/fskelley and have a look and listen. Everything up to the one I posted 2 days ago, is Legere* 2.5 or 2.25. I made them work, but 95% of the time I was playing under mediocre or barely passable reed conditions. No need to repeat here all the nonsense I tried to make a workable protocol where I would ALWAYS have an A+ Legere ready for me. Boiling water dips, sanding, clipping... This was of course after I exhausted the possibility of just using then as supplied. They kept quitting on me. :-(
*Most recent "Where Could I Go" is Vandoren blue 2.5.
Stan in Orlando
EWI 4000S with modifications
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Author: DavidBlumberg
Date: 2014-04-30 02:43
Ricardo Morales plays the Legere Signature exclusively, and has for the past year. It's not at all a question of being too lazy to want to deal with a cane reed, he plays them because they work really well for him.
For Cane. between the Ridenour ATG system, and the Reedwizard, reeds are a non issue - regardless of brand.
http://www.SkypeClarinetLessons.com
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Author: Funfly
Date: 2014-04-30 02:46
I get the impression from all the posts about reeds, especially synthetic ones, is that there are basically two types of clarinettist whose needs are very different.
1. The run-of-the-mill and student clarinettist who plays for fun and may not be expecting the finest of concert tone from his/her instrument. In my opinion these are where synthetic reeds show most promise and offer the musician reliability and ease of use.
2. The professional musician who looks for that something extra from his performances, who plays at a very high level of competence. Here synthetic reeds may not always answer their high standards and they are prepared to spend time with conventional reeds in order to achieve this.
There may be a third type of clarinettist, the one who is always looking for the 'better sound' the elixir of clarinet experience and these, in addition to performing major alchemy on their reeds, they will be trying different barrels, mouthpieces etc in their quest for Utopia. This category would never accept a reed that didn't require some magic on it.
Martyn Thatcher Mature Student Cheshire U.K.
Clarinet - Yamaha SE Custom
Alto Sax - Yamaha YAS 480
Guitar - Yamaha FG 375-S
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Author: Paul Aviles
Date: 2014-04-30 05:07
Dear Martyn,
I have always been of the opinion that everyone, ANYONE, should use the best equipment they are able to afford in order to prevent being held back by "things" rather than talent or work ethic.
Although I do appreciate the idea that there are those who will continually seek out something better (no matter what they presently have). The real trick to developing yourself as a clarinetist is to have enough consistency in your equipment and regimen to allow familiarity to help move you forward. To much experimenting may just make for unstable technique.
As for Legere reeds, there are top professionals that ARE making them work. This is more than just a small concept. There are SOOOOOO many things that such a reed can do to make the consistent clarinetist a reality. Or should I say make MORE of us consistent clarinetists.
...........Paul Aviles
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Author: Paul Aviles
Date: 2014-04-30 05:16
Stan,
I just CAN'T let this go.......just yet.
What exactly is physically happening to the Legeres when they "quit" on you?
I would be VERY reluctant to do ANY modifications of those reeds (at least not in the short term). Tim at Legere assures me that the material has "memory," and will retain their initial properties until they wear out (and again, I need to find out what that will be for me......so far 3 weeks and counting).
..............Paul Aviles
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Author: Paul Aviles
Date: 2014-04-30 05:33
Hey Stan,
Ok, please take this as constructive criticism. I do NOT intend for this to be bashing, so please don't take it that way. AND, the only reason I did not e-mail you off line is that you advertised your videos here on the inter web.
It appears that your embouchure is too casual to work at all. It looks like your lips (entire mouth) is where it would be if you were just sitting around watching TV except you have a clarinet in your mouth. With this stance (somewhat conjecture not being in the room with you) I'd say there IS an awful lot of jaw being used to make up for the lack of lip muscle engagement.
Here is how I describe the embouchure (which SHOULD be formed to receive the clarinet even before you insert it into your face): the area below your lower lip should be quite taught (as you would do when shaving with a razor.....most of us are good at that), THEN you must engage your cheek muscles (buccinators - as if you were trying to suck a thick shake through a narrow straw). This makes the area about a half an inch to the left and right of your lips as taught as the lower part (most of us are only partially good at this). And finally you NEED to draw down on your upper lip (most of us have no clue about this at all), making the entire area above the upper lip taught. Your face (when executed properly) should look like a parrot (you just have to get over looking stupid.....after all we DO play the clarinet, we are NOT investment bankers). The face and the core (abdominal muscles) are the ONLY two areas that need to be working (and I mean REALLY WORKING !!!) all the time when we play.
..............Paul Aviles
Post Edited (2014-04-30 05:38)
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Author: Paul Aviles
Date: 2014-04-30 07:17
Ok, I want to wait some before I submit a full report of my findings on these reeds but, RIGHT NOW, I want to say that a "one for one" grade of strength (if you use a #3 Vandoren, use a #3 Legere) compared to a Vandoren is most desirable. Yes, they start off a bit hard but they do "break-in" (or is it me getting used to the difference? ....... more time!!!!). This apparent strength "bump" helps the Legere have enough "backbone" or heart to make them play more like the cane equivalent.
As for the "rattle." These reeds, if played too casually, do tend to be very poor on upper partials. They want to sound round and thuddy. I want to describe it like this: I play "on top" of cane, but the Legeres make me want to "push up" from below to get some overtones back into the sound.
If anything, I worry that they may bend in toward the mouthpiece, making them incapable of a truly full dynamic without getting a buzzy, hollow sound (the problem I had with a "weak" Legere Signature).
much MUCH more to follow soon!
...............Paul Aviles
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Author: babrinka77
Date: 2014-05-02 14:22
Hi Paul,
I'm with you when it comes to the Legere reed strenght.
As i told you in a previous post, i have the Playeasy B2 from PlayNick. For this mouthpiece, i can use my V12 strenght 3. PlayNick have some specific reeds which are suposed to be the best for this mp. First time they sent me some mp to test and some reeds, they told me the right strenght was 2 dots (they have different way of grading, but it would be something between a V12 3 to 3,5), so i just tried and thought it was too hard for me, so then i tried the Legere Signature 2 3/4 i had and seemed to work great for me from the begining and bought the mp but sent them back the synthetic reed.
After a month or a bit more of using this mouthpiece with the Legere signature 2 3/4 i realized that i was not satisfied with the sound and behauviour of the reed after maybe 10 or 15 min of playing, the sound was getting poorer and the response in high register was getting worse. So i decided to ask for advive to Playnick but also to some professional Playeasy mouthpiece users (some of them replied!!) and they all told me that i shouldn't use a softer reed than the 2 dots one. Some of them told me also that Legere signature was not the best reed for this mp.
So no doubts, i ordered again some synthetic reeds of 2 dots to try again. I recieved five samples, first attempt, too hard for me, but this tima i didn't quit that fast. I changed the position of the reed just a bit down on the mp, and tried again, i was a bit patient and played scales for a few minutes eventhough i felt that i had to blow harder. After just a few minutes, it was it, the reed started to play great for me, the sound was good and the response easier. After four days of testing, i was decided, i bought two of those reeds and i haven't used the signatures anymore.
I'm very satisfied, i just know that i need some minutes of warming up, during this time the reed is hard and very buzzy, but after a few minutes it's a smooth lovely reed which i can play for two hours with no problem.
I'm very satisfied with that combination of mouthpiece and reed, and i think if there's any problem with the sound is because of me, but not because of the material.
Would recomend to try this combination to everybody!
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Author: Paul Aviles
Date: 2014-05-02 15:00
Dear "babrinka77,"
Yes, achieving the correct strength combination is key to making the synthetics work.
I have a question about the PlayEasy. There are no images on their website of the 'window' of the mouthpiece, but a friend of mine has a "Solist" model that has really thick rails all around. Does the PlayEasy also feature a thick tip rail and thick side rails?
..............Paul Aviles
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Author: fskelley
Date: 2014-05-02 18:34
OK, if your reed requires some minutes of warmup to be ready to play properly, that raises all sorts of performance issues. In many settings you will not get more than a moment to toot before you have to play (often not even that)- perhaps an exposed solo, anywhere from 10 to 60 minutes or more after warmup. Reed better be ready to go with no issues. Also, disasters happen and sometimes you have to grab a backup reed, and- same exposed solo situation- immediately play on it. That's all tough enough on cane reeds, what with getting or keeping them wet, but one of the selling points of a synthetic reed is "ready to play any time".
Stan in Orlando
EWI 4000S with modifications
Post Edited (2014-05-02 18:36)
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Author: Paul Aviles
Date: 2014-05-02 19:29
As I have experienced the "warm up" issue, it is more to do with being in a state of still getting familiar with an ENTIRELY NEW WAY TO PLAY. I also assume that after several months (if I stick exclusively with this experiment that long) the "warm up" period will disappear. For me, it is that the plastic reed needs to be just a little more resistant than what you use for cane (for Vandorens vs. the Legere Quebec Cut that works out perfectly to the very same numeric value). Still only having done this for a few weeks, I need a moment to get into a 'groove.' I am NOT saying that you can't get it to sound the way you want immediately, just that the comfort level takes a moment.
Also there is this thing about the trapped water under the reed. The Legeres actually seem to play BETTER once this water gets under the reed. I short circuit the process by STARTING with a wet plastic reed (I know, sounds crazy).
................Paul Aviles
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Author: fskelley
Date: 2014-08-10 04:38
Attachment: embouchure140809.JPG (136k)
Hi Paul,
I think I have made progress implementing your embouchure suggestions, and that I have better control as a result. Here's a freeze frame from a new video I posted today which may show a bit of the scrunching you describe.
The entire video is at:
https://www.youtube.com/watch?v=QDk0-ZYS5cs
Stan in Orlando
EWI 4000S with modifications
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Author: Paul Aviles
Date: 2014-08-10 19:53
Hey Stan,
I'm glad that helped!
It took me awhile to respond because I wanted to actual find the reference in the thread (usually I only deal with the threads as the topic, then the responses as they go chronologically).
.............Paul Aviles
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Author: fskelley
Date: 2014-08-10 22:12
Well, I wasn't sure where to say thanks, but decided to add to the same thread you made the suggestions in. As I've said elsewhere, as long as I'm making progress, I press on.
Back to the topic of this thread, as I recall you gave up on synthetic reeds for yourself, right- except perhaps in some unusual circumstance? I am still waiting for my cane reed choices and methods to "settle" (ha ha) more before I revisit Legere or try Forestone. Plus there was some obscure expensive European make I saw some time back that sure sounded intriguing... but anybody can make an enticing web page so that doesn't prove anything.
Stan in Orlando
EWI 4000S with modifications
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Author: Paul Aviles
Date: 2014-08-10 22:22
Yeah, I don't think that plastic reeds have evolved enough to be a good match for the Boehm acoustic. As I switched back to my 56 Rue Lepic, the dynamic contrast and variety of color possible was mind blowing - not even a close comparison. But if there is ever another time when all my cane decides to go down the toilet, I will have a couple of Nr.4 Legere Quebec cut on hand just in case.
..........Paul Aviles
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The Clarinet Pages
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![[G6]](http://test.woodwind.org/clarinet/BBoard/smileys/g6.gif)
and up after a while. And some (perhaps not all) would develop a tough to describe buzzy nasty sounding tone (rattled my teeth) in the upper clarion E5-B5 ![[E5]](http://test.woodwind.org/clarinet/BBoard/smileys/e5.gif)
to ![[B5]](http://test.woodwind.org/clarinet/BBoard/smileys/b5.gif)
. Maybe only I heard it, but I knew when it happened it was all downhill for that reed. Some of these things would go away if I rested reed a few days. But reed would go good to bad quickly on the next try, like a worn out battery that's been in the drawer and will light your flashlight brightly for 10 seconds. I ended up with a big supply of reeds in this condition. Any chance they would have played fine for somebody else, perhaps you?
