Author: WhitePlainsDave
Date: 2017-07-15 19:59
This may be my favorite post ever.
Every respondent has covered different attributes that explain reed variability that the post almost seems choreographed--although of course it's not. I think I can in large part only add color commentary.
First, as Johan claims, I too subscribe to the notion that not only are some mouthpieces much more reed friendly that others, but Vandoren's M15, IMHO, is right up there with one of the most reed accepting of mouthpieces. As he points out, I'd also try some other reed brands that posters here have claimed give Vandoren (even though much of my reed money goes to them) a run for their money.
Steuer reeds and Aria reeds draw significant praise as do Leuthners and Pilgerstorfers too.
Steuers and Arias are exclusively sold by these two shops exclusively. They're price competitive, and Bob Bernardo (Steuer's US sales contact, nice guy, and board member), as well as Brad Behn (Aria sales contact, nice guy, and board member) both earn high praise. They both, IMHO, run their monopsonies on product as if they had to compete in a highly competitive market, with customer focus being key.
Brad sells the Leuthners and Pilgerstorfers too, as he does Legeres (discussed below), but not exclusively.
https://steuerwoodwindreeds.com/
https://www.clarinetmouthpiece.com/reeds-clarinet
"Why and how it is that in a pack of reeds there are so many terrible ones?"
Jessica--there's several ways of answering this. As Karl mentioned, one fact is that no two organisms are the same. Environment and genes makes all things different, including the same stalk of arundo donax ("reed cane"). Life provides a smorgasbord of variety for nature to select the most fit to reproduce, not to mention that cane can widely vary in quality as reed material.
I assure you that Vandoren claims to cut its reeds to within a human hair's thickness difference, and source only the best cane stock (all as some claim reed stock isn't as good lately.) from a special region in France where cane has been found to grow best.
(Gonzales reeds are the praise of some and are sourced from Latin American grown cane.)
Sure V21's are cut different from Traditionals and Rue Lepics, and V12's in addition to having their own cut, are sourced from larger cane. But mother nature puts variability into the mix such that 2 ostensibly identically cut reeds play different. Wood fibers can, for example, be bulkier in the same spot on different reeds, even though they're cut pretty much identically.
Did you know that all reeds of a brand, irrespective of strength are cut the same? Vandoren tests each reed with a puff test: a known strength of air at fixed distance from the reed hits it to measure how much it deflects and then boxes the reeds such that those that deflect the least are the strongest.
The test is highly inaccurate, not that I know of ways to much improve upon it, let alone ones that wouldn't make reeds 10X more expensive (have players who understand strengths play them: read--also inaccurate and very time=$ expensive, maybe microscopes.)
Next, we deal with perception. What you think is a good reed others may disagree on, due to personal taste and mouthpiece differences. Also, with improvements to play, you may become more tolerant of some reeds you've previously discarded. And above all, no reed is perfect.
Next, and most important, abandon any notion that, at least Pro reeds, apart from synthetics discussed below, are "plug and play." Ricos might be, but the sound and duration of play are IMHO limited.
Pro reeds are like that toy model of a car you have to assemble. Rarely is there a reed that I am not adjusting. As mentioned, the ATG product is one of the best accessories out there. Its maker, Tom Ridenour (who sells it directly and through distributors) uses Klingspor no load wet/dry sandpaper. I use etched glass and an industrial diamond surface because there's less to throw out, but the ideas are the same as I incorporate ATG-like ideas, if not Tom's special tool that comes as part of the kit.
http://www.ridenourclarinetproducts.com/accessories.html
http://www.vandoren-en.com/Reed-resurfacer_a101.html
https://www.sharpeningsupplies.com/DMT-Diamond-Card-Sized-Sharpener-P19.aspx?gclid=CLGho9XOi9UCFRJYDQodRMQO3Q
http://www.reedgeek.com/
http://shop.weinermusic.com/All-knives/products/1720/
(All but the latter are on board plane ride friendly.)
At might add, reed adjustment is an ongoing process. I use it to make reeds playable, and keep them that way from one play session to the next.
Although most of us aren't ready to hang up on cane yet, synthetic reeds, IMHO, have advanced significantly in the last decade as evidenced by Legere's Euro[pean cut] reed product.
http://www.legere.com/clarinet-reeds
They're not perfect, as many posts on the board will discuss, but compared to synthetics of 20 years ago...wow.
==
Post script thought: never minimize the important that reed placement on the mouthpiece can make. While the ideally balanced reed on either side, properly matched for strength has its tip at the same level is the tip of the mouthpiece, many a times I will make the reed higher to compensate for softness, or vice versa (hairline amounts.) Quite commonly I sit my reeds slightly to the left under the belief (perception, not measured) that my mouthpiece rails are off, and the right side of the reed plays stronger--making this adjustment to compensate for that.
Post Edited (2017-07-15 22:53)
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