Hey torzano. From my experience I found the 3+ reserve on alto to have a similar amount of resistance as a 3.0. However, I did notice that the 3+ sounded considerably airier and more spread, even though the reed didn’t feel much harder than the 3.0. My observations seem to align with that of my friends and teachers as well, but reed preference is very personal. I use Reserve 3.0s on alto with my Selmer Concept for classical playing. Hope this helps!

 

Thanks I appreciate the response. I think I’ll just stick with the 3’s. I switch between two sizes of the same mouthpiece because the box varies so much from soft to hard. The harder reeds I play on a closer tip and softer on more open.

This system lets me save on reeds. If I were sponsored by daddario I could just throw away half the box. Haha.

 

What is it that you do (or don’t?) physically that makes it so you can only play such a very narrow selection of reeds? If you play a 3 you should have absolutely no problem making a 2.5 or a 3.5 sing. Not even being able to play all the reeds from one box on a single mouthpiece is not normal…especially in a brand and cut that already separates the strength you play into two subdivisions. I played Reserves on alto for quite a while and found them incredibly consistent. 3+ was my go to.

 

Variations in a box of reeds is pretty common. In a box of 3s some are closer to 3.5 and some closer to 2.5. When you become particular about your sound you become more aware of the finer details. Most people I know throw away half the box. This system works better for using every reed in the box and saving money long term.

 

They are YOUR reeds. You have to make them play for YOU. This means sandpaper or knife or reed rush, applied properly. Flattening the back helps too.

You are not a slave to the reeds as they come from the box. It’s on you to fine tune them to your mouthpiece in your mouth.

This is part of being a reed player. Unfortunately, many people have the idea that reeds are somehow manufactured perfectly and don’t need tweaking. I’m not sure how or why that idea gained a foothold, but it’s not true. 100 years ago many clarinetists and saxophonists made their reeds from scratch. 90 years ago, the manufactured reeds did not have a strength rating. You got a box of reeds and it was expected you would work on them. It’s still true today.

 

It’s not 90 years ago though. Most reeds are relatively consistent within the box and box to box. Unless it’s your wish to work on them to create something unique to you, I believe you’re playing the wrong reed if you’re working every one in the box. The back always has to be flat. If you’re routinely taking material off both sides and making other regular adjustments on the scrape; you’re changing the cut and should find a different reed that suits you better to start with.

 

It’s not 90 years ago though. Most reeds are relatively consistent within the box and box to box. Unless it’s your wish to work on them to create something unique to you, I believe you’re playing the wrong reed if you’re working every one in the box. The back always has to be flat. If you’re routinely taking material off both sides and making other regular adjustments on the scrape; you’re changing the cut and should find a different reed that suits you better to start with.

Of course but talking again about finer details here again. If a reed needs very minor work and some light sandpapering that’s usually fine. If it needs more than that you may be able to get it to being a playable practice reed but not performance/recording reed that you love playing on and love the sound. Jack from Boston sax shop said something along those lines.

I disagree with both of you. I have rarely found a reed that doesn’t benefit from a side to side balance adjustment. I do work on every reed. Usually 2-3 minutes at most. And then they all play just fine. I make no distinction between practice and performance reeds.

Of course I know what kind of reed works best for me (Rigotti, BSS, old Ricos), and what strength. So adjustments are minimal. But most every reed needs a little side to side balance - one side is harder, or stuffy, or unresponsive. A few swipes with sandpaper fixes it. I also flatten the back.

I agree reed consistency has improved in the last 2 or 3 decades. Computers are good for something after all.

Regarding the last 90 years comment, Stanley Drucker, ex-principal clarinet with the NY Philharmonic, tells a story about his experiences as a student in the 1930s. (Interview with Ed Joffe on YouTube, well worth looking up.) A box of Vandoren reeds came with no strength markings. One would be a 5, one would be a 3, and everything in between. It was expected of all players in those times that you would work on your reeds.

I studied with a great clarinetist as a teenager, in the 1960s. Reeds certainly came with strength markings then, but in my second or third lesson I was given instruction on reed adjustment. Which continued throughout my studies. But I see so many posts here where people expect that reeds be consistent and playable out of the box. Many cite the variability of cane as a reason to use those plastic abominations that go by the name of “synthetic reeds”.

I prefer authentic reeds; they sound and respond better. Learning to work on them is just part of being a woodwind player. Luckily it’s pretty easy, I was successful at it as a 12 year old kid.