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Re: Effect of Gouge thickness

Author: hautbois
Date: 2008-04-11 14:22

High altitude (I live at 7700 feet above sea level, and perform mostly in halls which are between 5000' and 6000') requires a thinner-scraped reed and a wider opening. The air is less dense, and has less humidity (affecting both oboe and reed) here. Reeds tend to close down unless the opening is ample. Some players here will use a slightly wider shape and/or a smaller cane diameter (10-10.5 radius) to create a larger opening. And to compensate for the lack of air and moisture molecules vibrating, we add vibration to the reed by making it thinner. Where to make it thinner is the puzzle. I tend to use a slightly thinner gouge than I would use at sea level. The oboe reeds which I make at high altitude tend to sound like I am in an alley-cat fight when played at sea level, and tend to be generally unstable there. My high altitude oboe d'amore reeds, however, will play well at sea level. Because of the 2000' difference between my residence and the performance halls where I tend to perform, I leave my reeds slightly unfinished at home and finish them at the concert halls for fear I will take off too much cane at home in trying to create a fluid reed.
I agree with you that the opening and shape of the staple can greatly affect the reed. I tend to use the larger opening found in the Stevens and Mark Chudnow staples. The thinness of the metal can also make a difference (the Stevens staple seems to have thinner metal). I have experimented with adjusting the shape of the various staples I have tried using pliers while the staple is over a mandrel, with occasional improvements, but with the staple unlikely to then be the correct shape for the next reed I make on it.
Elizabeth

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