 The Doublers BBoard
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Author: Roger Aldridge
Date: 2006-04-21 15:40
I'm curious about how many clarinet and/or saxophone doublers are using Legere reeds. I started using Legere last summer when my big band played a series of outdoor gigs....in exceptionally hot & humid weather. It took me several weeks to adjust my chops to the reeds. But, they grew on me -- especially, the Quebec clarinet reed. Now, I'm so used to the response and tonal qualities of Legere reeds that I don't see myself going back to cane. I'm curious if other doublers on the forum have tried them. If so, what were your experiences?
Thanks, Roger
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Author: Merlin
Date: 2006-04-21 15:58
I've used Legeres quite a lot. I actually play tested samples for the bari reeds. I play bari with them pretty much all of the time. Ditto for bass clarinet.
I use Eb reeds on my sopranino, because it's nearly impossible to get cane 'nino reeds.
They're the only thing to use on contra clarinets - cane is just silly for those big beasts.
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Author: clarinets1
Date: 2006-04-21 19:13
for me, legere just feels too much like a synthetic reed. (yeah, yeah, i know, because it is a synthetic reed) I found that Fibracells work great for me on the bigger horns, like tenor sax, bass clari, and bari sax. they feel more like the real thing, and that is important to me (why that is important to me, I can't say). cane reeds definitely on alto sax and smaller.
another perk for the synth reeds: I play in a rock band that plays mostly in bars. cane just wouldn't hold up (drying out on the stand between songs) and all of the smoke.
there are my two cents.
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Author: Bret Pimentel
Date: 2006-04-22 00:18
I love them for the big clarinets. I was at my wits' end with cane contrabass reeds that couldn't make it through a two-hour rehearsal without warping. Got a Legere; no more problems.
For the smaller clarinets and most of the saxophones, I'm still willing to put up with the hassle of cane reeds, although I've been thinking about getting one to keep in each instrument's case, since their long-term stability seems like a valuable thing in a backup reed.
Bret
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Author: Terry Stibal
Date: 2006-04-26 18:46
I bought some with the intent of using them for musical pit work, but I found that the longer I played on one, the less I liked it. Occasionally, I'll get one out and try it again, but the feeling that I had with the initial trial is still there.
I don't know if it's the feel on the lip, or the response, or what. But, I do know that they're not for me.
Ditto the synthetic double reeds. There's just no equivalent in my book to a cane reed on a bassoon, no way no how. And, I really want the synthetic ones to work in the worst way, for there's nothing worse than a dry bassoon reed, or a wet one that's in the pot that you have two bars to install, hook up the bassoon, and then "play in a musical fashion".
leader of Houston's Sounds Of The South Dance Orchestra
info@sotsdo.com
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Author: Gandalfe
Date: 2006-04-26 20:13
For a relative rookie like me, Plasticovers on my clarinets have been a good experience. When I grab a clarinet for one or two songs in a set, I don't have to futz with the reed at all. If I was a clarinet player with many hours behind me, I might be more fuzzy--but I'm not.
I don't use anything but cane on my saxes. But Merlin's and others' experience makes me consider trying them out for Bari and maybe tenor. I'm way too fuzzy on the alto sax, my primary instument. The sound has got to be killer there.
Jim and Suzy
Pacifica Big Band
Seattle, Washington
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Author: leonardA
Date: 2006-05-14 03:36
I have used Fibrcell reeds on my clarinet and sax and love them. I can't tell any difference in the sound from cane reeds, and they last a long time. If the reed is a little too hard, you can sand it gently to adjust it, just like a cane reed. Just don't take too much off.
Leonard
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Author: Roger Aldridge
Date: 2006-05-15 20:04
Here's a follow up.....
I recently got the ATG Reed Finish System and used it to tweak my Legere reeds. I simply made several light passes in the reed tip area. This subtle adjustment was all that was needed to open up the reed's performance with improved response, tonal quality, and projection. I am very impressed and delighted with the difference it makes for me in using Legere reeds.
Roger
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Author: Merlin
Date: 2006-05-17 14:55
Roger, can you tell me what specific adjustments you found useful?
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Author: Roger Aldridge
Date: 2006-05-17 16:33
Merlin,
It's amazingly simple! If you have Tom's ATG kit, find the page in the user guide where he shows the tip area being adusted with a straight-on motion. The guide has an illustration that's very clear in how to make this adjustment. I use the light abrasive and generally make 4-6 passes into the tip area. I use only a small amount of downward pressure. I'm careful to get an even distribution of scratches on the synthetic material of the reed. This adjustment is subtle. After I'm done, I'll look at the abrasive and see very little trace of material from the reed. Typically, this is all I've needed to do to improve the performance of my Legeres. On one reed I experimented with working on the tip rail areas and vamp. But, it didn't help as much as the simple adjustment to the tip.
Before switching to Legere my reed of choice was Alexander Classique. The Classique profile has a thicker cut -- the Classique clarinet reed is based on the Morre -- with a somewhat thinner tip. According to Tom Alexander the thinner tip improves response.
With that in mind, it makes perfect sense that I would feel at home with the Legere Quebec clarinet reed (also based on Morre) and the regular Legere saxophone reed (thicker cut than the Studio version). Since I had been used to Classique, it makes sense that making a subtle thinning in the reed tip area would give me the kind of response that I like. Then, the thicker cut of the Legere models that I use gives me a big, dark, robust sound that has an especially strong tonal core.
With these reeds I have a consistent tonal quality that I'd describe as "thick" throughout the range of the instrument on both clarinet and tenor. Importantly, the sound doesn't become thin in the high range. I've found the Quebec reed to be especially good in playing clarinet in a big band...as I love a dark, fat vibrant sound that also has excellent projection. I can't stand a clarinet sound that's overly bright or thin.
The subtle adjustment to the Legere tip has made all the difference in the world for me.
Roger
Post Edited (2006-05-17 19:08)
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