Geri Sure

TOP TEN MOST IMPORTANT concerns when selecting a good reed:

1) Quality of cane
2) Quality of cane
3) Quality of cane
4) Quality of cane
5) Color
6) Grain
7) Thickness vs. reed strength
Contour-shape
9) Curing, maintenance, preservation
10) Serendipity: good luck..! bonne chance..!

vandoren mouthpiece
nebulizer mouthpiece
asymmetric mouthpiece

1) - 2) - 3) - 4) QUALITY of CANE - holds the key to finding a good reed. The point can not be stressed enough. A good piece of cane can usually be spotted by visual inspection.
5) COLOR - the cane should have a golden - almost buttery - appearance. There may be bark marks (often a good sign), i.e. water marks which produce dark beige and brown streaks, stains, speckles and other markings on the bark on the lower half of the reed. However, the vibrating top half should be richly hued. Avoid reeds that look very pale, sandy or whitish beige, or greenish in hue. Avoid reeds which show patches of discoloration on surface of vibrating slope, or streaks of discoloration on the back
6) GRAIN - should be uniform, from bottom to top, with evenly spaced larger grains extending all the way to the very tip (without them a reed may play well but will not last)
7) THICKNESS - in general, a good reed tends to be thin at the heel. But thickness of the basic reed stock does not relate to reed strength. The latter is an issue primarily germane to the choice of mouthpiece (see below)

Let us consider next the rim of the mouthpiece. Figure A [above] shows a mouthpiece with a desirable amount of roundness of the rim; it is especially well suited for beginners but is also used by many professional symphony players.
The various cup designs have been chosen for their ability to produce any sound desired by the player.
The different cup depths within one diameter allow the player to easily change mouthpieces to perform in a different context.
The backbore designs complement the cup shapes and further assist in the “fine-tuning” of the sound.

The WARBURTON system allows the player the opportunity to personally “balance” his equipment, a process that heretofore was not within grasp!
strident, warm, shrill, etc. - ALL of the sound and nuance of timbre, volume and pitch comes from the reed alone. The mouthpiece/saxophone-clarinet body acts like a passive filter/resonator. A fine instrument will dampen and filter out most of the unwanted elements of the sound while adding resonance to the desirable qualities of the vibrating reed.

parke mouthpiece
mouthpiece puller
alto mouthpiece

In sum - THE REED IS A TYRANT which takes charge of everything. But at least we can limit its tyranny to a considerable degree, i.e. the vibrating range of the reed’s autonomy can be influenced by the embouchure, mouthpiece and instrument.

— Now to the GOOD STUFF —
REED OVERVIEW
pt to show you how to make a good bees wax mouthpiece for your didj. The mouthpiece of your didgeridoo will require constant maintenance, depending on how much you play your didgeridoo.

It’s shape will also have a large effect on your ability to play the didgeridoo So we recommend that you learn to form a good mouthpiece.

The best size of the mouthpiece depends on your mouth and we advise you change the shape and size of the inside edge of your mouthpiece until you find it easiest to play. The size and shape of the mouthpiece can make a big difference to the ease of playing or even the ability to get the base sound.

You can get yourself some beeswax from Hardware shops, Arts and Crafts shops or Health Food shops.

A throat made with a drill No. 27 having straight sides for as much as 3/4 inch will tend to cause the player to play sharp in the high register. On the other hand, if the straight sides of the throat are too short, the player will tend to play flat in the high register. Thus intonational tendencies, either sharp or flat, can usually be corrected in the mouthpiece.

If the backbore flares out rather rapidly, the tone will be full but slightly more difficult to control. If the backbore becomes straighter, with less flaring out, the tone becomes thinn
own a common deficiency in which there is an appreciable gap between the end of the shank of the mouthpiece and the beginning of the mouthpipe. The two should meet. To correct the deficiency, the shank is turned down somewhat on a lathe so that it will be small enough to meet the end of the mouthpipe. A marked improvement in playing of the instrument is thereby effected.

cornet mouthpiece
gr mouthpiece

Figure L [to the left] shows a cut-away section of a mouthpiece and receiver pipe. Notice the substantial overlap from the end of the shank to the mouthpiece. This is a serious defect. Though it does not show a gap between the end of the shank and the beginning of the mouthpipe as in B, it is possible that if the shortcoming of B is remedied, the present overlap as shown in L remains.

The diameter of the inside of the mouthpipe at the point where it meets the mouthpiece shank is from .325 to .345 inches on most trumpets; however, since some shanks measure only .275 to .300 there is bound to be an overlap from the shank to the mouthpipe of 0.030 inches. This is the shortcoming shown at L.

In the correction of this shortcoming it is not desirable to ream out the shank with a reamer as this would change the contour too far up into the backbore. It is preferable to taper the shank opening with a cutting tool only about 3/8 inch. This the tapering remedies the shortcoming of L without appreciably altering the backbore of the mouthpiece.

• Tennessee Bass
• Hagstrom bass

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