Author: cjwright
Date: 2009-09-24 17:37
I believe in David Weber's book, he addresses this very issue and has a diagram as to where to scrape in order to adjust based upon the crow.
The crow for me is an essential tool, and in my own reedmaking I usually scrape the reed 90% with the crow, and 10% with the actual reed in the oboe. (The first 20 minutes or so is entirely by crow, the last 5 might be from the reed in the oboe). Getting a good crow tells me that the reed is inherently good, and not hiding problems that might appear later after the reed has dried or closed down. Also, when I crow the reed, I know there's no way I'm manipulating the reed with my air or embouchure to cover up it's flaws or make it sound better, but when I stick the reed into the oboe, my body is going to do whatever it needs to to make the reed better, so the crow is a truer test of the qualities of the reed, and thus gives me better consistency.
Cooper
http://cooperwrightreeds.com/
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