 The Clarinet BBoard
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Author: fskelley
Date: 2016-04-06 18:03
I'm working on breakin of 15 Marca reeds right now, with 4 more new ones to work into the mix. Most of them have 5 or 6 play days at this point (only one reject so far). For now I am not touching my older other brands- I'm pretty happy with the switch. I'm guessing these will not fully stabilize until play day 10 or so. (Isn't that normal?)
Anyway, in the past I briefly experimented with trying to shortcut the breakin process by soaking (5 min?) a reed in water and then drying, with no play time at all, and counting that as a breakin day. That could be before the very first play (3-4-5 days?), or play on alternate days, or whatever mix happened to be convenient. Now that I know how breakin goes on these Marca's- especially since they are about 100x more consistent than Vandoren blues and 10x more than Gonzalez- with careful record keeping I could probably know how well this actually works. (Next box of reeds, not this set now.) Surely it couldn't hurt, right?
I've read that reed breakin is really about the repeated wetting and drying. Is the play time a significant part of this? I would like to reduce or eliminate(!) my playing time on non-broken-in reeds. A pipe dream?
Anybody else tried this? with what results? Other approaches?
Stan in Orlando
EWI 4000S with modifications
Post Edited (2016-04-06 18:04)
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Author: WhitePlainsDave
Date: 2016-04-06 18:36
Stan: first--I don't know. But I'm eager to hear if others (or if you eventually have) found peer reviewed ways of faster "harvesting their crop."
That said, please, I urge you for your own contentment with clarinet, to realize (and you probably do) that coming up with that tried and true one size fits all, most, or even many way with anything reed related may be the pipe dream you fear it to be, despite your best efforts of past to apply scientific approach, with charts and graphs, to this endeavor.
I think it's not only searching for a holy grail, but a holy grail we each see differently. I could be wrong, and some simply "enjoy the chase," and now and then do discover something when all the naysayers said they couldn't, or at least they realize what doesn't work.
And there are pretty good ideas of what NOT to do with reeds that we've only learned over time BY trying all sorts of things.
Just always remember that your most precious asset in clarinet play is your time. (Kal Opperman) And that reed prep takes away from practice. (Yes, I know--necessary for practice too. ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif) )
A final thought: never do I wish to stifle questions, but I do encourage people to ask why they are asking the questions they are, and once they identify their issues, ask themselves if there's a better way to solve them.
It would seem to me that you wish to turn around a delicious cake (reed) in your bakery as fast as customers (you) demand them. Perhaps this is best addressed by simply processing more reeds at any one point in time so that you produce the required number of "cakes," despite the time it takes to make them.
I'm sorry I have no better solutions to the ultimate goal: you want to play better. Synthetics, you've indicated, don't work for you, and lessons aren't a road you wish to travel on right now.
Putting this into parlance I know you appreciate: devote resources to developing your favorite sports team's farm program. But know that this will take resources away from your equipment budget (cost of reeds), and salary flexibility (cost of your time.)
If it's any consolation, I always have reeds in various stages of the que, including "one step away from the fireplace." And I wet reeds minimally, and only at the vibrating end (YMMV).
Final thought. This has always been a litmus test for you ![[C7]](http://test.woodwind.org/clarinet/BBoard/smileys/c7.gif) . Are you taking in every bit of mouthpiece you can until you squeak, and then backing off a micron?
Post Edited (2016-04-06 18:55)
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Author: kdk ★2017
Date: 2016-04-06 18:53
fskelley wrote:
> I'm working on breakin of 15 Marca reeds right now, with 4 more
> new ones to work into the mix. Most of them have 5 or 6 play
> days at this point (only one reject so far).
>
> I would like to reduce or eliminate(!) my playing time on
> non-broken-in reeds. A pipe dream?
>
Stan, it seems to me as I read your post that answers really depend on what the criteria are for when a reed is "broken in." I'm very happy to play on reeds after 3 or 4 gradually increasing "break in" sessions. To me you waste a lot of good playing time on a reed if you wait almost two weeks (10-11 plays) to start fully using them.
This may all depend a little on how much you play them each time. But beside that, it depends on why you don't want to play on non-broken-in reeds. The problem with fresh reeds, for me, is simply that they get water-logged quickly - they no longer respond well and begin to sound dull. After three or four plays, I just use them. If a reed starts to water-log, I change off and continue with another reed. If all goes well, I just play without tracking how many plays or minutes they've been exposed to water.
What is it that you're waiting to see happen a a result of breaking in your reeds?
Karl
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Author: fskelley
Date: 2016-04-06 19:08
Hi Dave- thanks as always for your input- you have helped me sharpen both my methods and my thinking about my clarinet play over time.
I have made steady technical progress toward my very specific goals- they are tantalizingly close to within reach, and I'm confident I will get there. We could review those privately if you're interested- email away.
But perhaps even more important is my progress in understanding where the limits are, what's critical and what isn't, what has some chance of helping vs what is chasing the wind. Perhaps some of those items could have been learned more quickly or less painfully with hands-on assistance, but we don't get to rerun our years with different choices (that's probably good)- anyway I will take what I have today however I got it.
I was doing well most recently with Gonzalez Classics, had found them to be better than Gonzalez GD, which were better for me than Vandoren traditional blue. Each of those conclusions took a month or 2 of breakins and comparative evaluations, all the while trying not to let all that bad play time (on reeds that were playing poorly but I hadn't yet given up on) too badly degrade my polished performance pieces. That's not easy. Then on a whim I tried the Marca and had to start all over again- but that was a good thing because their basic play is quite a step up for me.
The Marcas play nicely all the way through breakin. That's refreshing compared to previous alternatives. Especially since I am working from too soft and trimming harder- vs the Gonzalez I started at the softest grade (classic #2, GD #2.5) and had to ATG much softer, so I was playing a lot on too hard reeds- bust my gut and wear me out, and inhibiting musical creativity (all my stuff is extemporaneous).
BUT the Marcas don't play high altissimo right away, perhaps the other reeds only played high notes out of the box because they were too hard. Jury is still out on the Marcas, but it seems high notes show up in 3 to 5 play days, with variable endurance (sometimes only when first wet, sometimes through 1 song, sometimes through 2). I am hoping hoping hoping that after 8 to 10 breakin days, double high C will be there for most or all of these reeds, through an entire play set of 8-10 songs. That's been my "requirement" for years, just having a devil of a time finding any reed that will do it reliably, that can also play well all the way to the bottom. And I periodically revisit swab in a bell and voicing the high notes, all that stuff, but I know when a reed has really given up on the high end it is like nailing Jello to the wall to try to force double high C. And it sounds so wimpy to try, never want to be doing that in front of a crowd, ugh.
TO THE POINT OF THIS THREAD- I also hope that I can replace some or all breakin days with reeds that won't play my high notes- with non-play wet-dry breakin days. With the goal that all my play time, by myself or in front of an audience, is on reeds that play up to my standards.
I am glad there are a finite number of possible options, and once I finish working my way through them, I will just make some intelligent choices and move on. Limitations are fine so long as you know they are real and there's no reasonable path around them.
Stan in Orlando
EWI 4000S with modifications
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Author: fskelley
Date: 2016-04-06 19:18
Karl- My regimen is 1 song for first day or 2 of breakin, then 2 songs until day 5 or 6. Then I may try to extend if the reed is staying with me (not getting mushy). When I'm trying to break in a lot of reeds, I figure 2 songs is enough to help the reed along (the point of this thread is, might 0 songs do it?). I am very organized but I really don't have that much information about what works and what doesn't- that might only come after years of breaking in and using to the end- many boxes of the same exact kind of reed. It's not possible to hurry this along (sort of like a baby takes 9 months no matter how big a rush you might be in).
I don't know if playing more on the reeds on days 3-4-5 might make them stabilize sooner, and give me the high altissimo I so desperately need quicker. But to me that would just mean more "wasted" play time on reeds that AREN'T yet playing like I want. Sigh.
My Marcas are still changing day to day after 5-6 play days.
Stan in Orlando
EWI 4000S with modifications
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Author: WhitePlainsDave
Date: 2016-04-06 19:41
To Karl's point: not only do we all have different criterion, but even if we all had the same, we all differ in our willingness and ability to tolerate imperfection.
You may find a reed unacceptable that others like, even on your setup (or vice versa). Your degree of particularity over your setup can't be articulated easily with bboard words, and may best only lie in the presence of some other player, playing your setup, and comparing it to their baseline and your assessment of it.
Here's where private instruction comes in. A mouthpiece change or exercises, or a change to your embouchure can be spotted. Alternatively a teacher can play your setup and offer you 1000 pardons, not even knowing how you're able to sound as good as you do with it.
And yet still possible, as was done to me when I was a teen (before electric), and when inability to play something I chose to wrongly attribute to my setup, my teacher would take my instrument, (when we were less concerned about sterility) and play the thing 5 times flawlessly, and say, even though it hurt, "the problem with your clarinet is that it can't fix itself until you put more practice into it."
I consider introducing this tough love Stan because of the high degree relative to others that reeds seem to be your nemesis (of course we all have our issues). I'm NOT complaining about it. I'm pointing it out as a possible symptom.
I really really don't want to hurt feelings, and I can be entirely wrong, but
the possibility exists that your criterion for good reeds may be too high, and that it may be catalyzed by trying to perfect gear to maximize a performance, when private instruction is really your best use of time, respecting that I can't speak to your finances.
I know this has taken a far turn from reed wetting, but I want to share a quick story:
I am no amazing clarinet player. I'm competent at best. With 80% of Vandoren 3 reeds, some ATG reed adjustment, and on my M15 mouthpiece, 2 Buffets, 1 Ridenour, or any of just these mouthpieces I'm looking at right now (M30D, M13, Rico Reserve, CL4 thru 6) I can easily blow the you have reported in the past to so covet.
Can I say again? Many people on this bboard could play circles around me. Does this make me better than you--of course not, not in any way! All it suggests is that you may even be looking in the wrong place (reeds) for your pipe dream, improved ability may be your holy grail, and if a reliable [c7] is your goal for reed success, (a critical benchmark you've indicated in the past) that you may want to rethink your goal, or at least aspire to it from a less reed centric angle.
Sorry for the tough love Stan. It just that I'm of the opinion that the best way to hit high notes in the Spiritual Genre you've reported to play, is to focus on the disciplined teachered instruction from etude books, and putting yourself in front of new music all the time.
Maybe you're doing everything (lessons, practicing the basics, reed care) and I speak out of turn.
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Author: fskelley
Date: 2016-04-06 20:21
Thanks Dave, for the critical thinking and inspiration for soul searching, and benefit for others that read this today or years from now. Especially anyone else considering or already in the midst of a go-it-alone approach similar to mine. There are frightfully few times and places where that's a good idea. My own choices are the result of a mix of personal mindset (perhaps 60%) and limitations of my life situation (at least 40%). Not saying I couldn't have or still couldn't work around those- but it's not all just stubbornness (I hope). :-)
And I have for some time pondered exactly how to organize at least a consultation or limited series of meetings for exactly the kind of possible help you describe. Someone else here who's also helped me in the past recently moved to my area (you know who you are if you're reading this)- he might be my first contact. I see that as after I reach the end of my current series of switches (yes there is an end) and I know where I really am.
I do have a fair idea of where that might go- that I am playing an abnormally compliant setup, which is maybe OK for me and a good fit in most respects but is not compatible with consistent reliable C7's. And I must choose to go one way or the other. The arranger in me says, "Say it ain't so, Joe." Or quite possibly- my consultant will suggest a straightforward change that will make the clouds part- and I will be a happy camper. And I will sing his (her?) praises, and yours for pushing me that direction. Dave, I do believe you've given the one critical piece of helpful advice to many a student (of whatever age), so you've earned the right to offer tough love or whatever you choose to call it.
I press on.
Stan in Orlando
EWI 4000S with modifications
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Author: WhitePlainsDave
Date: 2016-04-06 20:28
One more bit of reed (if not playing) advice...it's not water based though.
I don't recall/ haven't seen you discuss much as it pertains to your trials and tribulations with reed placement on the mouthpiece.
While YMMV, I am forever, once a reed's been ATGed, adjusting its position left/ right and up/down to better meet my needs: the latter for balance, and vertically to accommodate for strength (weak reeds pushed up a micron).
It must be me and/or my mouthpieces but I'm forever moving reeds to the left.
I have never found this movement to help much with the difference of hitting ultra high notes, but it has helped me compensate for reed strength and improved articulation through position based balancing.
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Author: fskelley
Date: 2016-04-06 20:50
Reed placement is one of my active variables that is certainly pertinent to high notes. That is, the correct position left/right (less so up/down) is important. I pretty much follow Tom Ridenour's ATG instructions for testing balance and position- play testing left vs right tilted positions and playing the note sequence C G E A (to which I add C- of course!). But where he says to adjust any differences out, these days I am more inclined to just shift the reed left or right until it's good- that means less sanding and maybe I didn't have it perfectly centered in the first place.
Once in a while I find such a shift makes the difference on C7. But more commonly, a reed plays C7 easily, or not at all. That's for me, in my setup, of course. I accept the possibility that some of you could pick up my clarinet and comfortably blow a strong confident C7 long tone, as many times as you wanted- even though when I tried it sounded and felt like mush. (If that's so- one day someone will show me how and my life will change. I will be happy not miffed. Some people can cook a great dinner out of meager and nasty starting ingredients.)
Stan in Orlando
EWI 4000S with modifications
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Author: fskelley
Date: 2016-04-07 23:49
Actually, my previous "best" reed choices, the Gonzalez GD and Classic, have given me little trouble with C7, it's typically just as I would like, clear strong reliable. Where the Marcas shine in comparison is in the ease of sounding notes through the clarion. I didn't realize the issue until I played the Marcas. And it's not just a compliance/stiffness issue- I can ATG the Gonzalez plenty soft enough, too soft, and they still play C7 fine, but they do not respond so nicely in the middle, OK but more work to play. My #1.5 and #2 Marcas tempt me with C7 response sometimes and may eventually get there. I bet if I go #2.5 or #3 I will have no trouble. Some of you I venture to say would have thrown out the whole boxes of 1.5 and 2 and would therefore have no troubles to report. I'm too cheap and stubborn to be that prodigal, at least in this area, LOL. So maybe I make my playing technique appear less than it really is.
Stan in Orlando
EWI 4000S with modifications
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Author: fskelley
Date: 2016-04-11 01:47
As of today, 7 Marca reeds have 7 days of play, all 7 play well all the way to the top. 7 are at 6 days, all 7 play well but only 2 of those go to top and those only started top notes on days 5 or 6. One reed has 4 days, plays well but won't play top notes. That is darned consistent breakin behavior- far more so than any other reeds I've worked with. Perhaps I am more consistent also, but I am very grateful for the predictability moving forward. And I'm delirious about so many good reeds to play on. I still do not know the endurance of fully broken in reeds, since until they're all fully cooked I'm not playing any of them more that 2 or 3 songs per day. I hope for a full hour of play on one reed, 8 to 10 songs. We will see.
ALL BUT ONE out of 16 reeds I've used so far are winners, and the one that isn't I think I messed up with too aggressive adjustments. Wow, just wow.
I NOW ALSO HAVE the remaining 4 unplayed Marca Superieure #1.5's that I have soaked and dried the last 3 days. I think I'll take them all to 7 days of that regimen. Then I will begin the usual play testing, trimming and ATG'ing as needed, and see what they do. And I will know within a day or 2 whether they are A) unchanged by the wet/dry cycles, B) better because of them, or C) worse because of them. I have high hopes. Stay tuned.
FWIW--- if I found it took TWENTY or THIRTY days of just wet/dry cycling, without playing, to equal 5 to 10 days of actual playing breakin- that is a bargain I would make in a heartbeat. Fiddling with reeds and water and blotters, and bookkeeping, is no big deal- especially if it means little or no time spent playing on un-broken-in reeds. I think I already said that...
Stan in Orlando
EWI 4000S with modifications
Post Edited (2016-04-11 04:18)
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Author: fskelley
Date: 2016-04-15 17:42
I started playing those 4 #1.5's after they had 6 days of 5 min wetting then dry. And best I can tell in 2 play days, they were unchanged by that regimen, so it appears this particular shortcut is a bust. In the meantime I got 2 more boxes of Marcas to work with, this time #2.5's, so I guess I put aside the shortcut test reeds, perhaps try them more another time or experiment on presoaking some #2.5's. But the wind is out of my sails on breakin shortcuts for now. No surprise to some of you, I bet.
Just to be clear- my short term conclusion is that there is more to breakin than just wet/dry cycles- doctoral dissertations notwithstanding. Perhaps spit vs water is a critical factor- I could try again adding saliva to the regimen one way or another, but skipping any play time. That's kind of nasty, but then so is standard woodwind play when you get right down to it. Not a lot of enthusiasm for further experiments in this direction.
But I am still happy with my Marcas. They are beginning to spread out in quality (no surprise), some are better than others so I've already set some aside. I'm keeping very careful records- I will be trying to figure out how and how quickly I can separate the good ones from the not so good (I find none are really bad). That's another huge factor in "lost" play time during breakin- how much I have to waste on reeds that I will eventually set aside. I positively guarantee it is not possible to make that distinction on play day 1, perhaps not on 2 or 3 or 4... sigh.
Stan in Orlando
EWI 4000S with modifications
Post Edited (2016-04-15 17:48)
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Author: WhitePlainsDave
Date: 2016-04-15 19:20
You’re applying regimented science and carefully controlled experiments to a test subject (the reed) that varies too much. Even if you hit on something, you or others may not be able to reproduce it simply because cane reeds vary too much from one another. The same brand and strength reed you like may sour on you come next year’s crop.
Science, as you know, mandates that experiments vary one thing, in a measured way, from a baseline, to establish a case for cause and effect. Your experiments have at least two variables: the factor you are scientifically controlling (e.g. hydration), and the cane reed.
This is not to say that general rules to getting reeds playable are bad. Nor is it to say that we shouldn’t investigate new vaccines to cure mankind’s ills simply because patients, like reeds, vary—although in such double blind studies, only the patient varies. The vaccine is constant (or a sterile water control), it’ s tested in the large quantities you lack the time and funding to administer yourself, and results are quantitative (e.g. less days a patient was ill, fewer patients who got the disease), not qualitative and subjective like the tonal color a reed produces.
And you, as an intelligent man who appreciates science, knows this.
Stan, I want to ask rhetorically, what do players like Nuccio and Phillips, who document on Youtube their approaches to getting playable reeds, that involve less evidence gathering than yours, fail to know, that you do, that leads you to continue down this road, despite the numerous dead ends its taken you to over the years?
That you sigh at the end of your post suggests to me that you may have unrealistic expectations for both reeds and your methodology to bringing them into playing form—maybe I’m wrong. I don’t suggest you play floorboards for reeds—some reeds just can’t be played no matter how much you tinker with them. I am suggesting that the good clarinetist adapts to change, doesn’t complain about “the amount of saliva he collects in his mouth while playing,” (really, you can’t swallow between passages?) and spends his time devoted to things that work. I spent 2 hours yesterday with a metronome and 5 bars of music because THAT is what works—I deserve zero accolades for that.
I tell you this because I want you (and others reading) to improve, not to single you out. I just don’t think the path you’re taking with reeds will work, or more importantly, is the best use of your time. Metronomes, etude books, sight reading, and solos are.
Of course if reed research is a sideline you enjoy then have fun, having set low expectations for success. Maybe you will stumble on something that helps us all.
History documents the few people who did what others said can’t be done. It doesn’t document the millions who said it couldn’t be done and were right.
I really do wish you well, but the road your on is named Frustration Lane. Take a right at the sign that says “reeds suck, but I am limited in what I can do to change that, so I have to focus my energies on compensating for that fact, by improving the factors I can control: skill improvement through discipline.”
Post Edited (2016-04-15 19:22)
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Author: fskelley
Date: 2016-04-16 03:11
David- thanks for that confirmation- I'll keep at my testing. Perhaps 10 min per day instead of 5, and check on them after 5-7 days.
Stan in Orlando
EWI 4000S with modifications
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Author: DavidBlumberg
Date: 2016-04-16 03:53
Don't oversoak!
Don't want the very center of the reed to get wet deep inside. Takes too long to dry compared to the rest of the reed and it will warp.
20 seconds in water (only top 1/2 of reed) and let sit with water on top for about a minute then dry and store
http://www.SkypeClarinetLessons.com
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Author: fskelley
Date: 2016-04-16 05:01
David- duly noted. So with no playing time, how many days would it take to accumulate the equivalent of 20-30 min of play? Are you counting the drying time also? And wouldn't 10 min of actual play be similar to 10 min of playless soaking (tip only)? or maybe 5 min? vs a 1.5 min regimen you're describing? Just trying to make sense out of it. If it's worked for you, that's what matters the most. Thanks for the benefit of your experience.
Stan in Orlando
EWI 4000S with modifications
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Author: fskelley
Date: 2016-06-04 00:17
Took a while, but I now have a full box of 10 Marca 2.5's that I had done "wet only" about 5 min per day for 8 days- through 5 to 6 play days each, and am able to with some confidence compare the effect of that presoaking vs other 1.5's, 2.0's, and 2.5's that had zero or 1 or 2 days of such pretreatment.
And I find no correlation whatsoever. My yield of broken-in good playing reeds- about 3-4 per box of 10- is the same. How well they play at the beginning, how quickly they change for better or worse, everything appears unaffected by the presoak. Cost me very little actually to find this out- I was dealing with the reeds anyway, the presoaking was nothing, just required some thought and record keeping. But I doubt I'll bother with it again. Yes I said earlier I would presoak 30 days if that would do some good, but even I know when to abandon an avenue. Sometimes.
Stan in Orlando
EWI 4000S with modifications
Post Edited (2016-06-04 02:37)
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Author: fskelley
Date: 2016-06-04 02:56
Hey David- I guess I have no way to answer your question. For all I know, some of my rejects would have been winners if not warped- I don't measure, though I still have those and could try if you want- tell me how.
I'm cranking my Versa X down very securely on my 5RV Lyre, I would think that would force any reed to conform at least on the back end. I'm ATG adjusting best I can, think I'm pretty decent at it- and the losers just don't respond to that, winners either don't need any or much, or allow me to fix them. Isn't 30-40% (might drop below that eventually) about an average success rate? How aggressively I'm now rejecting reeds is subject for another thread.
Anyway, my point here is that my crop of presoaked reeds behaved just like my non soaked ones. That's a data point, meaningful elsewhere or not. So many variables. How I presoaked, how many days, how I dried them each day, how I then did the breakins, what I was looking for, etc etc etc. Your mileage may vary. Even a little bit of improvement with presoak would have been great. In this situation as in most in science, most variables do nothing, but you have to prove that not just assume it.
I don't want anyone to waste time or energy on fruitless investigations. But I will say that- if over time you're doing something over and over anyway, it shouldn't hurt to vary something you're not sure of and keep tabs on what happens. If it changes for the good or bad, or not at all- any result is a result, to quote Adam Savage.
And then- where would you report such a result or non-result other than here? Is it worthwhile to anyone? Might you stir up the peanut gallery? Enough said- time for music.
Stan in Orlando
EWI 4000S with modifications
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Author: WhitePlainsDave
Date: 2016-06-04 03:03
"Cost me very little actually to find this out"
Fair enough..or is it? You see, it's not just that you did it on your own, failed, and nobody knew about it.
That would certainly be fair--never feel you can't try in your own space and time--even if it's a pipe dream. Like you said, it took little additional effort on your part. And if you do find useful repeatable findings, by all means please share them. We all privately fair at things--no biggie.
The issue rather is the large collective of players who, I'll bucket for convenience into 2 categories. There were the ones like me who knew and expressed up front, and only because we learned from our teachers and experience, that such hydration minutiae (both in testing and your reporting) was highly unlikely to yield you or others much utility, and there were those who not knowing any better who may have been led, if ever so little, if ever so briefly, to think that this kind of stuff was time better spent improving play than the time tested methods.
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Author: fskelley
Date: 2016-06-05 01:08
I started this- so I'm doing my best to complete it and move on, critics or no, LOL.
David- I did as you asked, and put every one of my recent Marca's- good and bad- on a mirror, to check for warping. No idea how sensitive my judgment is compared to yours- actually they all looked pretty good to me. But I did consider "warped" anything that moved when I pushed it against the the mirror. I certainly would detect any that were concave on the back side or twisted, could possibly miss convex on the back side but I doubt it.
OK, with that caveat, here are the numbers. You can do the stats. Perhaps presoaking does reduce warping? I see that my rejects have more warping than my keepers. But I must also note that the rejects have been in poorer storage (original boxes) for varying periods, while the keepers are held flat in Protec cases (that hold 12 each).
keepers:
presoaked 0 days - 13 reeds- 2 warped
presoaked 1 days - 1 reeds- 0 warped
presoaked 2 days - 1 reeds- 0 warped
presoaked 8 days - 4 reeds- 0 warped
rejects:
presoaked 0 days - 13 reeds- 5 warped
presoaked 2 days - 5 reeds- 2 warped
presoaked 6 days - 4 reeds- 1 warped
presoaked 8 days - 6 reeds- 1 warped
Stan in Orlando
EWI 4000S with modifications
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Author: Agomongo
Date: 2016-06-05 04:05
In Peter Hadcock's book he said that you can put the reed on to the mouthpiece. Then firm push down the rails (going up and down) to the mouthpiece.
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Author: fskelley
Date: 2016-06-05 04:27
I'm done with this topic- barring any revelations from others, but David asked a fair question, which took me a short while to answer. I had the data. David has been helpful to me in the past, and has been respectful, brief, and non-repetetive in all his suggestions and comments, which I want to encourage. We all have our own forms of obsessive behavior.
Stan in Orlando
EWI 4000S with modifications
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