Started clarinet last July. No other instrument. I have been working my way up in the reed strengths. Now using Vandoren # 3. Eased into the 3 from 2 1/2. I have been using the #3 exclusively for 1 1/2 weeks ( I practice about 1 to 1 1/2 hours daily). Last night I decided to get another #3 going just to be able to switch off. I could not believe how much harder it was to use. Squeaks and on notes like natural B and C you need to really bring it from below. When I switched back to the original #3 it was sooo easy. I know that reeds soften with use, but, should there be this big a difference?
Dumb reed question probably
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It can, yes.
That's why some people strongly advocate a certain break-in process where the reed is gradually brought to "combat condition", so to speak.
Besides, you may have caught a soft 3.5 first, and now a hard 3.5 - the former may have been a borderline 3 and the current one near a 4. Cane is a natural product, and inevitably not two play exactly the same. (the smaller such variations are, the more are people inclined to praise a brand's "consistency").
You may have guessed it - we can discuss the relative merits of a certain reed/strength/brand for hours on end, but in the end it's up to the individual player to like or dislike an individual reed. That's why some settle on a specific brand, or a specific break-in procedure, or even a specific adjustment (scraping, sanding, bending, you name it) procedure, and some other give up on all these troubles by resorting to synthetic reeds.
Just do what you're comfortable with. If it /sounds/ good it /is/ good.
That's why some people strongly advocate a certain break-in process where the reed is gradually brought to "combat condition", so to speak.
Besides, you may have caught a soft 3.5 first, and now a hard 3.5 - the former may have been a borderline 3 and the current one near a 4. Cane is a natural product, and inevitably not two play exactly the same. (the smaller such variations are, the more are people inclined to praise a brand's "consistency").
You may have guessed it - we can discuss the relative merits of a certain reed/strength/brand for hours on end, but in the end it's up to the individual player to like or dislike an individual reed. That's why some settle on a specific brand, or a specific break-in procedure, or even a specific adjustment (scraping, sanding, bending, you name it) procedure, and some other give up on all these troubles by resorting to synthetic reeds.
Just do what you're comfortable with. If it /sounds/ good it /is/ good.
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Agree with tictactux. Another thing is that reeds are products of nature and thus are inconsistent with one another, even from the same box and same cut. The hard-playing reed you described may come into playing shape by some simple "adjusting". Take a sharp knife and scrape a little wood off the vamp, rinse, test, and repeat as necessary. DAVE
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Yup, I agree with tictac and Dave - reeds do tend to get softer, but more significantly they just vary a lot. I try a reed, if I like it as is I use it. If I don't like it, I'll try to modify it (but not as much as some folks on here).
There are even reed jokes: Do you know how many sax/clarinet players it takes to change a light bulb? Just one, but he has to go through ten bulbs to find just the right one.
There are even reed jokes: Do you know how many sax/clarinet players it takes to change a light bulb? Just one, but he has to go through ten bulbs to find just the right one.
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As my older brother used to say, "There are no dumb questions, only dumb questioners". D'OH! [just kidding]
Get used to preparing and trying a dozen reeds or so at a time, some of them won't work and some of them will.
Key point: Perform in public with the reeds that DO work; torture the neighbors and your cat with the reeds that DON'T.
See how simple it is?
Get used to preparing and trying a dozen reeds or so at a time, some of them won't work and some of them will.
Key point: Perform in public with the reeds that DO work; torture the neighbors and your cat with the reeds that DON'T.
See how simple it is?
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Sorry to people if I seem like I am, going on, about the ATG System, but, what can I say, it just works. I don't have bad reeds now. A bit of adjustment (like 2 minutes), BINGO fixed!
If you can afford the the $80 buy it. http://www.ridenourclarinetproducts.com/ATG1.html
I wish I knew about this when I started out. It would have saved me countless hours.
BTW I am not affiliated in anyway with Tom Ridenour.
Anyway if your not sure, have a search for ATG on this forum.
Hope this helps.
If you can afford the the $80 buy it. http://www.ridenourclarinetproducts.com/ATG1.html
I wish I knew about this when I started out. It would have saved me countless hours.
BTW I am not affiliated in anyway with Tom Ridenour.
Anyway if your not sure, have a search for ATG on this forum.
Hope this helps.
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Understanding reeds is the hardest part about being a woodwind player (unless you restrict yourself to flute...) It takes time and experience, and playing only for a few months is not enough of either.
I agree with CraigAB's comment about the ATG system - I got it a couple of years ago, and it's very very good. (I am also unaffiliated with Tom Ridenour in any way.) Speaking from my 54 years experience playing clarinet and saxophone, I actually call it revolutionary, because it goes counter to the "accepted wisdom" of almost everyone.
For example, tictactux and David Speigelthal each say something that the ATG system teaches me not to do any more: break in my reeds (no longer necessary) and practice on reeds that are less than optimal (also no longer necessary). These are things that I was taught to do and it's a great relief to have these tedious and painful hours behind me for good.
I agree with CraigAB's comment about the ATG system - I got it a couple of years ago, and it's very very good. (I am also unaffiliated with Tom Ridenour in any way.) Speaking from my 54 years experience playing clarinet and saxophone, I actually call it revolutionary, because it goes counter to the "accepted wisdom" of almost everyone.
For example, tictactux and David Speigelthal each say something that the ATG system teaches me not to do any more: break in my reeds (no longer necessary) and practice on reeds that are less than optimal (also no longer necessary). These are things that I was taught to do and it's a great relief to have these tedious and painful hours behind me for good.
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When I was young and inexperienced I did in fact spend many hours breaking in, working on, and sometimes "doing in" reeds. But now, with just a cup of water and my trusty reed knife, it actually takes very little of my time to get the reeds playing the way I like, and have them last a while. I don't need anybody's "system" for that (although I'm sure Tom's ATG has helped a lot of other players who may not be quite as handy with the knife, or reed rush or sandpaper).
It could be worse. Pity the poor oboists and bassoonists --- their reeds are also their mouthpieces!
It could be worse. Pity the poor oboists and bassoonists --- their reeds are also their mouthpieces!
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I use a small sharp Beretta folding/locking pocket knife . . . and I have no affiliation with Beretta except for owning a few of their very nice pistols. I too found no need for anyone's system but can't fault those who do. DAVE
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Hmm...reeds with a gunhole...how do they play?
As said above reeds can vary considerably in strength, even though they're labeled as, for example, a 3, and even within the same box. My experience has been that I find Mitchell Lurie (regular and premium) and Gonzalez to be more consistent than other brands I've used in the past, but everyone will have their own opinion on that. I did notice that you mentioned working up in reed strength. Even though a lot of folks feel that this is a good thing, moving too fast can cause you to develop bad habits, like biting. Be sure to have the advice of a good clarinet instructor.
All good advice here. I think I will try sanding it a bit if for no other reason than experience.
Lot to learn about reeds. I did sand a bit and it did seem to be a little better for short time. Today I was playing for someone and that reed was just not doing it so I went to my back up and that was now doing things I didn't like. So now I had to take a new one out of the box thinking that I will be stuck with that one until it breaks in and I won't be able to do all that I want to do until it does. Surprise, If I hadn't taken it out of the box and wrapping myself I never would have believed it was a new reed. Plays better than the first three from that box. Not better...Great. And these are Vandoren reeds. So now I am coming to believe that you buy a box of reeds ( 10) with the hope that you will catch 5 good ones.
I am a beginner and so, at this time, I am more interested in trying to keep the reed flat against the mpc table. I find that most of my vandoren 2.5 reeds play fine in the beginning but after about 40 minutes, they play poorly. In the beginning, the pop test shows that the reed and table are sealing well. But after 45 minutes, even after tightening the ligature, the reed has warped and so there is a leak between the reed and the mouthpiece table. The next day, the same thing happens so the warping of the reed is not permanent.
Is the ATG system able to correct the reed table also or is it only for adjusting and correcting the vamp and the tip. I watched Tom Ridenour's video and he did not discuss correcting the reed table. I have tried to correct the reed table with sandpaper and also with box cutter blades but have not been very successful.
The Reed Geek video, on the other hand, focused almost entirely on correcting the reed table and mentioned that there are other parts of the tool for correcting the vamp, tip, etc. I am still trying to make up my mind about which one of these to buy.
Thank you.
Edit: Forgot to mention that I am learning the tenor sax.
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For those of you who just posted that a reed plays good at first, but then doesn't play so good after 45 minutes or so . . . are you sure your embouchure isn't tiring out? DAVE
I don't think so for two reasons. Putting a different reed immediately works fine. Besides, although I said after 45 minutes, what actually happens is that after about 20 minutes, the ligature becomes loose. When I tighten it, the reed plays fine. After another 10 minutes, the ligature becomes loose again and the reed plays poorly. It becomes fine after the ligature is tightened. Finally, after about 45 minutes, the ligature cannot be tightened any further. At that point, I take another reed and continue.
Edit: I am an adult beginner and have been learning for less than 2 years. I use a Yamaha 4C and Vandoren 2.5 reeds. I asked my teacher if I should just buy another identical mouthpiece but he felt that it was mostly because the reeds were changing shape. I did spend some time trying to correct the reed with sandpaper and knife blade but it did not work. So, in order to spend more time playing the horn I decided to just use more than one reed for the time being. I have been reading about ATG and the Reed Geek and hence my question.
Another point: I did run this reed under warm tap water for 30 or so seconds. Usually, I just use the saliva method. Wonder if this had something to do with it. Tonight I think I will take the older reed and run it under the tap water and see if there is any difference. I feel like a scientist.
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Another "dumb question" that begs to be asked................ Why do feel the need to "work your way up" in reed strength? Something wrong with using a 2.5 or any strength reed that works for you?
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getafix: What kind of ligature are you using? To have one loosen up repeatedly would concern me. I rarely have that happen.
I agree with the reed-strength-increasing comment. Some new players think that the mark of man (don't get all bent, ladies) is how strong of a reed they play. When you bring your embouchure into condition, reed strength is only important as to how it matches the mouthpiece you are using - after 55+ years of playing soprano as a first-horn, I use #2 reeds and don't blow into a microphone. I can be heard (maybe TOO well). DAVE
I agree with the reed-strength-increasing comment. Some new players think that the mark of man (don't get all bent, ladies) is how strong of a reed they play. When you bring your embouchure into condition, reed strength is only important as to how it matches the mouthpiece you are using - after 55+ years of playing soprano as a first-horn, I use #2 reeds and don't blow into a microphone. I can be heard (maybe TOO well). DAVE
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