Author: EaubeauHorn
Date: 2017-09-10 03:03
I'm swimming a little bit in my mind with all this. Since my teacher played the same model oboe as I did (I bought one of his he decided he was not using enough) ... I watched him make reeds for that specific moe3l. However, he was also the oboe prof at the local U, and people I ran into who took his "tech class" made reeds (lucky them to have learned somehow) that were basically like his (of course.) Crow a C on light blowing, lower octave comes in with heavier blowing, no other notes creeping in there. Lower C not "always" present but usually. His reeds were exceptionally stable and required little work to play in tune on an instrument with a good scale, while not being difficult to blow themselves.
There certainly is a lot out there that is individual. However, I will say that every time I have run into an amateur, even high level ones in community orchestras, whose intonation is all over the map, they turn out to be playing on something like a Jones and Lord knows how those crow. Jones I have bought, twice only, went straight into the bin because of the amazing lack of what I would consider stability. I can't imagine trying to learn to play this instrument on a reed that "plays" like the Jones that I tried out. Along with most of what I tried buying online....unstable, squawky, couldn't figure out how those people could ethically sell something like that. Could be they never, ever, played on what I would consider a good, stable reed, just because of whom I studied with. None of this is commentary on any reed maker here; I'm just doing a mental dump of sorts based on observations I've had. The person I most recently tried to study reed making with, could not make a reed that crowed at all, yet he was a fine player. I can't figure out how much work he must be doing to play the instrument at all, given what his reeds were.
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