These sorts of charts are a good start, but since a lot of things affect how a reed plays they need to be taken with a grain of salt. I have a box of #2 Royals and a box of Jazz Select 2M filed, and they are very close in how they play - I would rate them as the same strength. That said, it matches my experience of Daddario vs Vandoren strengths. Java Red are similar to V16 in strength.

 

Fwiw, the Forestone chart is wrong about Vandoren V21s, which are slightly softer than Traditionals and V12s, not a quarter-strength harder. My personal experience and Vandoren's own strength charts both confirm this.

Why Forestone itself continues to use both numerical and alphabetical strength-grading systems for its reeds is a mystery. It's bad enough when a single system is not exactly calibrated across all reed models (i.e., when a blue box 3 is harder than a Java 3), but using multiple systems, so that a comparison chart is absolutely essential, is just dumb.

A major omission in the Forestone chart is data on other brands of synthetic reeds, which I suppose is no big surprise, but is a little cowardly.

 

I have never seen a chart that lists all the reeds available. I found it interesting that this chart lists the Gonzales but where are the Rigotti's? Alexander's? LaVoz for example. I have collected a number of charts and while there is some disparity between them for the most part they are consistent enough to enable you to make a qualified choice or comparison. A few more for you below...

 

I have never seen a chart that lists all the reeds available. ... but where are the Rigotti's? Alexander's? LaVoz for example.

Alexander Reeds-Reed Comparison Chart

www.superial.com

 

the strength of a reed (or size) is determined by measuring the tip flexion, but this is only one of the many criteria influencing the resistance of PLAYING a reed.

It may give am indication to that particular brand and design but comparisons are to be taken with a very large pinch of salt.

All reeds of a certain brand are created equal, afterwards they are measured for tip resistance and graded accordingly, but this doesn't mean that they will respond equally even if the may measure the same. Of course 3 of brand X is not the same ad 3 of brand Y because this is not measured with a common measure .

In the olden days Maccaferri came up with a simple dynamometer Reed-O-meter, which does the same king of very relative measurement

 

In the olden days Maccaferri came up with a simple dynamometer Reed-O-meter, which does the same kind of very relative measurement

That is very cool. I didn't know about the Reed-o-meter nor the "Swiss Reed Guage" Rico used to sell. For those interested--and the patent drawings are a joy to behold--check out this page for the full rundown (plus lots more on Rico)

Stuff Sax

 

BSS Reed Chart...

 

This is why I think these charts are a waste of time. Comparing Rigotti Gold JAZZ reeds to BSS reeds, the chart above is exactly backwards from my experience. 3 1/2 BSS is only a little bit stronger than Rigotti 3 Medium, for me. This is true for both alto and tenor.

I think reed strength charts are useful if you are contemplating switching from one brand to another, and have no experience with the new brand. But when I have done that, I have generally bought 2 or 3 strengths of the new reeds, kind of surrounding the reed that I know. Of course, being an inveterate futzer, I now have boxes of various reeds that I likely won't ever play...

 

I have a collection of reed charts and usually between the 'happy medium' plus member coments here I make suitable choices - for cane reeds.

 

A reed tester is an object I’d buy simply for its coolness factor. If it actually provided some useful information, all the better.

I read the links to Rico history - such extensive information! Thanks for that.

Anyway, it occurs to me that had I decided to play bugle rather than almost any other instrument, there wouldn’t be these discussions of reeds, pads, klankenbogs, fingerings, mouthpieces, etc., to think about - I’d have to just play.

 

Anyway, it occurs to me that had I decided to play bugle rather than almost any other instrument, there wouldn't be these discussions of reeds, pads, klankenbogs, fingerings, mouthpieces, etc., to think about - I'd have to just play.

I also play some flugel/cornet/trumpet and thought the on-going rantings about the advantages of one mouthpiece over the other--and there are lots and lots of those discussions--was too much, then I started to play sax and realised I was in a totally different league. Now it was not simply the mouthpiece, but also the reed, and how those two worked in combination with the horn you were playing. And then realizing that, just because this setup works for me, now, it might be totally inappropriate for you, your horn, or where you are right now. I think, on sax, the best you can do is get within the ballpark and see what works. All part of the fun, I suppose