Goal: more stable intonation, stronger, more free blowing Plan: Flat + Weak + Stuffy most likely means that you have poor quality cane (especially if you are on Day 3 or later). Another culprit could be unbalanced construction (taking too much off the rails too far back, for example). RIP. Return to the model to […]
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Flat + Weak + Stuffy
Goal: sharper, stronger, more free blowing Plan: Flat + Weak + Stuffy most likely means that you have poor quality cane (especially if you are on Day 3 or later). Another culprit could be unbalanced construction (taking too much off the rails too far back, for example). RIP. Return to the model to begin your […]
Continue readingMore TagSharp + Weak + Stuffy
Goal: flatter, stronger, more free blowing Plan: Sharp + Weak + Stuffy most likely means that you have poor quality cane (especially if you are on Day 3 or later). Another culprit could be unbalanced construction (taking too much off the rails too far back, for example). RIP. Return to the model to begin your […]
Continue readingMore TagUnstable + Strong + Stuffy
Goal: more stable intonation, easier to play, more free blowing Plan: Remove cane for ease, create steeper tapers overall for stability, try working in the channels and closer to the spine for a more free-blowing quality. Work mostly in the middle and front third of the reed according to the cane’s quality and the reed’s […]
Continue readingMore TagStrength
How do you tell if your reed is strong or weak? Use the following strength indicators to determine the strength or your reed: Indicator Strong Weak High register easy, sharp unstable Low register difficult, sharp easy Slurring down difficult easy Slurring up easy difficult Embouchure manipulation – low register too much very little Embouchure manipulation […]
Continue readingMore TagResistance
How do you tell if your reed is stuffy or free-blowing? Resistance describes how easily your reed accepts your air. If you are playing with a normal embouchure and your normal air expectations, you want your reed to vibrate well. If it feels off, your reed can be described as either stuffy or free-blowing. Your […]
Continue readingMore TagFlat + Strong + Stuffy
Goal: sharper, easier to play, more free blowing Plan: You’re in trouble, but if you have to play on this reed, narrow the flare on both sides using sandpaper. The rails are too thin too far back and this treatment will make them seem thicker compared to the spine. The reed will seem stronger and […]
Continue readingMore TagSharp + Strong + Stuffy
Goal: flatter, easier to play, more free blowing Plan: Remove cane for flatter intonation and ease, working closer to the spine for a more free-blowing quality. Begin working in the front and middle thirds, leaving the back as strong as possible, and work according to the quality of your cane and the reed’s natural break-in […]
Continue readingMore TagTip Bevel
Beveling the tip is a technique for getting a really good taper at the tip of the reed. This is the most important place on the reed, and a proper taper here is critical for response and strength. Create a 45 degree angle in the front 1/2 millimeter. Direct the knife or razor straight […]
Continue readingMore TagAdjusting Wires
The first consideration when adjusting a reed for the simple reason that the process is reversible. First Wire Round Flatten Opens tip Closes tip Strengthens Weakens Adds resistance Lessens resistance Darkens Brightens Raises (sharpens) pitch Lowers (flattens) pitch Which side of the reed to you play on, wire-up or wire-down? Choosing which side of […]
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