I'm really curious about this. I answered a query in another thread from Silverstein about Ambipoly reeds, and another respondent said there was "clearly an advantage to synthetic reeds" or something like that. That statement struck me.

So I just want to ask - what are the advantages to synthetics? I mean, I've tried a few, and found them worse than an average cane reed, in terms of response and tone. So no advantage there, at least for me.

I spent a good part of my career playing multiple woodwinds in a concert hall or pit, in both dry and humid climates, with varying amounts of time between warmup before the performance and when the particular instrument was needed. Yes, occasionally (or more often, if oboe/English horn were involved) there was some "reed management" with water involved. But so what? It's no harder to do that than to stick the piccolo in your jacket pocket because you need it for the last few notes of the chart.

A lot of people complain about inconsistencies in cane reeds, and the difficulty of "working on reeds". It's not really difficult, yes one has to practice a bit, but there are multiple online resources these days on reed preparation techniques, and it only takes a box of reeds to learn what works and what doesn't.

More to the point, people complain about inconsistencies in synthetic reeds too... so no advantage there, either.

I guess I don't understand why people chase the "perfect synthetic reed" ... I mean, sure, if there were a reed that was perfect in every way, I guess I'd try it. But people raving about Legere got me to spend over $100 a few years ago, and I wish I had it back. So, having tried Fibereed and BARI reeds many years ago, and now Legere more recently, I am reluctant to try another brand.

I really am curious - what is YOUR motivation for using synthetics, and what are the advantages? If you use them...

I still prefer cane for performing but the synthetic in the post you referenced is ready to go at all times. It doesn't go soft during an extended session. It isn't as variable with respect to conditions/weather etc. For me at this point in time it's the perfect backup and also a great reed for practice.

Pretty much plays the same all the time. Whether that is enough reason to switch - you've got to make that call.

I'm in love with the Ishimori alto and tenor cane reeds at the moment and they do give me more of what I want when it comes to sound and playability but I'm glad that there are companies looking to make better and better synthetics.

At some point I expect that they will ultimately be better than cane but who knows when that might happen.

 

I currently use a plasticover for my bari. I was talking to another player who loves them, and I decided I'd just give it a try. Bought a box of 5, and I happen to be enjoying the first one out of the box. I am still undecided on whether or not it's "better" than a cane reed. I'm pretty certain I like it better than the Fibracell I was testing out before, but you know as soon as I say that, I'll break it out on a whim and it'll sound great. Anyway, the plasticover... I think I get a little more of a buzz out of it than a regular cane, but I haven't tried them back to back yet.

To answer your actual question regarding advantages, I would imagine the only real advantage is not needing water. I know you said "so what" to that, but I suppose there are instances in a pit where you're playing clarinet for 45 minutes straight and then you have 1 bar of rest before you have to pick up your tenor with a dry reed. I dunno, I never had dry reed issues with doubling in pit orchestras, so my personal opinion is that it can't be that much of a big deal. But, your mileage may vary.

 

The Plasticover is a real Cane reed that has a coating on it. ( I've been using them for several years )

 

I use Legere Signature on everything now. If you are playing multiple saxes, no need to worry when you pick one up that hasn't been played for a few songs

 

I, if I'm lucky, between my day job and parenting get like 45 minutes to practice a day, if I get to practice that day. If I'm going to maximize that time, I need to take as many variables out as possible, and make sure I'm spending as much as possible of that time playing. Legeres play the same every time and require no adjustments at all. That's like 5-10 minutes right there that I can spend working on something, and the American Cut ones are close enough to what I was playing that I'm fine with it. Is it as good as the best cane reed I've ever played? No, but it's as good as like 85% of the cane reeds I've played, and for what I do, the trade off is worth it.

 

I have used synthetic reeds for almost 40 years.
When I started my mouthpiece company, I bought tons of regular cane reeds so I could make suggestions for those.
I use the Hartmann Fiberreeds and just could not be happier.
For me, these last well over a year of playing every day and I sound the same every time I go to play. I don't need to suck on the reed and the reed doesn't warp or dry out. Some people say they do not like the feel of synthetic reeds, but I have no issue with these whatsoever. I know which model and size I prefer, so when it's time, I just get another one and they have been so consistent for me. I can literally spend about $30 on reeds for a year. All of these things I mention are high in the convenience factor, but of course the most important factor for me is the sound. I happen to love my sound with these reeds, so it's a win-win no matter how I look at it. I would give you a list of the negatives, but there aren't any for me….NONE.

As always, use what makes YOU happy. That's all that really matters.

The 2 posts above summarize my experience and opinion. I play Fiberreed Carbons on all saxes and Bb clarinet, Légère on bass clarinet.
My biggest concern: Harry Hartmann's retirement. Hope that once he is ready he can transmit his business to someone as smart as he is.

 

This is only my opinion.

The main advantage of a synthetic reed is that you don't have to wet them, and if they sit on the stand for a while when you are doubling on another instrument, they don't warp.

The disadvantages are (1) less complex tone and (2) less ability to shape the tone for expressiveness. Especially number 2.

With cane I can shape the sound with my embouchure, breath support, and/or the shape of my oral cavity to get vox humana out of the horn. I can make it ooh or ah, wow or shriek, overblow or underblow and do a few other things to change the tone from note to note in order to increase the expressiveness of the melody I'm playing. I can't do that with a synthetic reed. This is a very important part of the way I get my personal expression out of the horn.

I tried playing synthetics for almost a year as I play sax, flute, wind synth, guitar and sing on each gig - and I gig for a living. I thought I'd get used to the synthetic reed and learn how to coax expression out of it. It never happened. When I switched back to the cane reed, not only was I relieved, but my duo partner (vocals, guitar and synth) immediately said she was glad to have me back -- and I didn't tell her when I switched back.

So for me personally, the cane reed's advantages, far outweigh the one advantage of the syn reed. YMMV

Insights and incites by Notes

 

I think the main advantages (some of which you mentioned) include:

• More or less consistent playing characteristics over a relatively long time period
• Not having to worry about the reed drying out when doubling
• Being able to leave the reed on the mouthpiece in a ready-to-play state
• Not having to worry about warping/ reed adjustment, etc. (this can also be a disadvantage, as many synthetics don't take adjustment well)

I prefer cane reeds on saxophone, and haven't yet found a synthetic I like on them, despite spending hundreds of dollars and months worth of time trying. However, I play synthetics exclusively on clarinets (bass and soprano).
The justifications above may seem minimal (it's really all about convenience, after all), but I would switch in an instant if I found a synthetic that behaved (i.e., played and responded) like a good cane reed.

It's just one less variable to have to worry about.

 

Thanks for the responses so far. The "consistency" issue is one that makes sense to me, as there always are slight differences between each cane reed. However, when I tried Legere reeds, there still was variability, and many posts on this forum have indicated that strength ratings are not at all there. So it's a good idea, but execution is still not there. Yet.

The wetting and adjustment arguments don't make sense, to me, but that is because I have been dealing with cane reeds for more than 60 years, and I'm used to it

I'd appreciate hearing from more people that prefer synthetics to cane. So far it's 2.5 to 3.5 with more people liking cane (I count Plasticovers as cane reeds, because, well, they are). The ".5" comes in because @mmichel uses them on clarinet.

 

Thanks for the responses so far. The "consistency" issue is one that makes sense to me, as there always are slight differences between each cane reed. However, when I tried Legere reeds, there still was variability, and many posts on this forum have indicated that strength ratings are not at all there. So it's a good idea, but execution is still not there. Yet.

The wetting and adjustment arguments don't make sense, to me, but that is because I have been dealing with cane reeds for more than 60 years, and I'm used to it

I fall into the group of middle-aged parents with a full-time office job and family commitments that require me to carefully plan my weekly practice routine. It really does help me get right down to playing when I need to make the most of the hour. With that being said, I do find it oddly therapeutic to sit there with a Reed Geek and work sub-par cane reeds into good or great ones, and I do think that the absolute best cane reeds outperform synthetics in subtle nuances of tone and phrasing.

But for me the cliché is still valid - synthetics (specifically Legere's) are 90% as good as the best cane reed, but are more consistent. I started using the Studio Cut about a decade ago, and I found each new model from the Signature to the American Cut has gotten better in every way. Any inconsistency I have found in Legere's are usually a reed that feels slightly harder than the rest in the same strength. With those, you can easily soften them by dipping them in hot water for a few seconds

*** oh, and it doesn't have to be dipped in boiling water for exactly one second like some of the YouTube videos show - that's just silly. All you need to do is use them to stir your tea or coffee and your good to go...

 

I'm not a good enough player to sway anyone's preference for one reed over another, but I keep a Legere Studio reed mounted on the Bundy alto that hangs on the wall above the desk I use when working from from home. And I can be playing that sax within seconds of looking at it.

I do take the time to care for it when I finish playing - cleaning and letting everything dry before re-assembling it. I enjoy doing that but I really enjoy being able to grab it and play immediately. That's the advantage of a synthetic reed for me, but I don't do the same with my tenor. The alto is my designated grab and go sax.

 

I think this (the "grab and go" aspect) is a big part of it. Like keeping horns on stands at home, it's a small convenience. But anything that lowers the barrier to initiating a practice session is a nudge in the right direction and thus a net good.

In fact, I often pick up my clarinet and start practicing while waiting for my saxophone reeds to soak, just because my clarinet is always ready to go. Those practice sessions sometimes turn into clarinet practice, and I forget about the saxophone altogether.

 

A couple of thoughts. First, I still prefer a cane reed but I have to admit the quality of Bari sax reeds, in particular, don't seem to be what they used to be.

Second, I live in the NM desert where it is frequently in the single digits for humidity. Having a reed that I don't have to worry about can be nice. That being said, I do still prefer cane to synthetic but sometimes the convenience of having a reed on my horn that is just always ready is nice.

 

I'm really working on getting old, but I'm still only about 2/3 there. But I do like synthetics better than cane. I think I've always disliked cane even before synthetics were a thing. I hate wavy reeds and I hate saturated reeds. I don't sound noticably different on cane, it's strictly just a maintenance thing. Sort of like I hate cooking but like eating. I do find my favorite synthetics easy to play than my favorite canes, so I could just be looney.

 

for me its because i used to play every sax and clarinet also on gigs. also i like the added brightness plasticovers offer. now i usually use legere on clarinet but still like plasticover on sax.

 

I play Legere Signatures on alto, tenor and soprano. I don't like them on clarinet at all, and stick to cane on that. In my very humble opinion, the synthetic gives me a decent sound, with small compromises in tone and responsiveness. The great thing with synthetics is they play dry, are consistent, and rarely squeak! Out of a box of cane reeds, there's always a few chirpers that need a bit of work. Synthetics take the guesswork out of selecting a reed to play. In my experience, they tend to become increasingly dull during a long performance, but recover when they cool down a bit. Synthetics are not perfect, but they've become very, very good

 

Advantages of synthetics: 1) They are ready to play before you are. 2) They do not accidently get damaged through careless use. 3) They last a really long time.
Having said all of that, I still prefer cane because of the sound. The Legere American cut approaches my preferred sound better, where as the Legere Signature is more of a mellow sound. But I can make my Vandoren Java green do both.
I do keep a synthetic on hand in case my reed becomes a stick and I need to switch during the set. So I take advantage of the advantages.

 

Advantages of synthetics: 1) They are ready to play before you are. 2) They do not accidently get damaged through careless use. 3) They last a really long time.
Having said all of that, I still prefer cane because of the sound. The Legere American cut approaches my preferred sound better, where as the Legere Signature is more of a mellow sound. But I can make my Vandoren Java green do both.
I do keep a synthetic on hand in case my reed becomes a stick and I need to switch during the set. So I take advantage of the advantages.

Since I've started playing Legere American Cuts I have accidently split a couple of reeds because of hitting them against a surface. This of course would have split any cane reed as well, but I find the AC reeds are at tad more fragile than the Legere Signatures.

 

I have used synthetic reeds for over 35 years.
When I started my mouthpiece company, I bought tons of regular cane reeds so I could make suggestions for those.
I use the Hartmann Fiberreeds and just could not be happier.
For me, these last well over a year of playing every day and I sound the same every time I go to play. I don’t need to suck on the reed and the reed doesn’t warp or dry out. Some people say they do not like the feel of synthetic reeds, but I have no issue with these whatsoever. I know which model and size I prefer, so when it’s time, I just get another one and they have been so consistent for me. I can literally spend about $30 on reeds for a year. All of these things I mention are high in the convenience factor, but of course the most important factor for me is the sound. I happen to love my sound with these reeds, so it’s a win-win no matter how I look at it. I would give you a list of the negatives, but there aren’t any for me….NONE.

As always, use what makes YOU happy. That’s all that really matters.

 

I have used synthetic reeds for almost 40 years.
When I started my mouthpiece company, I bought tons of regular cane reeds so I could make suggestions for those.
I use the Hartmann Fiberreeds and just could not be happier.
For me, these last well over a year of playing every day and I sound the same every time I go to play. I don't need to suck on the reed and the reed doesn't warp or dry out. Some people say they do not like the feel of synthetic reeds, but I have no issue with these whatsoever. I know which model and size I prefer, so when it's time, I just get another one and they have been so consistent for me. I can literally spend about $30 on reeds for a year. All of these things I mention are high in the convenience factor, but of course the most important factor for me is the sound. I happen to love my sound with these reeds, so it's a win-win no matter how I look at it. I would give you a list of the negatives, but there aren't any for me….NONE.

As always, use what makes YOU happy. That's all that really matters.

I am like you (minus the mp business) and was about to write the very same things you just wrote.
So basically - ditto on your note.

 

I've been aware of the advantages of synthetics forever. I've tried just about every synthetic brand since my first Bari brand reed in the early 80's. I really, really, really want to like them because I hate picking up my horn on a doubling gig to find my reed unresponsive. But I still hate synthetics. They feel weird, they respond weird, and they sound weird. So when I double, I make an effort to keep all my reeds wet, and rarely have a problem.

I read people rave about Legere and Hartmann and whatever the hot brand is that year and end up dropping a lot of money to try them. Legere has come closest to cane, but it's barely in the ball park. I was especially disappointed with Hartmann. It's pretty terrible in every respect.

Unless there is some amazing technological breakthrough, I'll probably stick with cane the rest of my life.

 

I play synthetics on tenor and soprano because I like the way they sound and respond more than cane. I know, that's crazy. In high school I would play Rico Royal 4 and 5 reeds on an Otto Link STM 7*, always working on the reeds to get them where I wanted them. In college I changed my embouchre completely so I could loosen up and play #2 reeds, and I switched to Bari plastic reeds. I could play much louder on them and get the split tones I wanted. They had terrible intonation, which taught me to listen and play in tune (I think). But I could bend notes like crazy and project. I still worked on each reed to make it sound decent. Now I play Legere Signature on tenor and Fibracell on soprano and I don't work on reeds anymore. But the Legeres do wear out relatively quickly and the the Fibracell does not have enough heart. A Fibracell 4 isn't much different than a 2. I think to play synthetics one needs to take a different approach, and good results can be had. However, they are always different from cane, which can lead to bad habits, making it hard to go back to cane. Sometimes it takes more lower lip on the reed or taking in less mouthpiece to tame them, and that isn't good. So to me it's learning to play one or the other and not easy to switch.

 

I use Legere on all my horns and I definitely believe they are the most perfect reed made. I used to think that maybe the very best of cane reeds were better but I went on a cane reed safari where I tried some of the best cane reeds made: Java Green/Red, V16, V21, Blue Box, D'addario Reserve, Heimke, BSS, and Rigotti Gold. After spending $200 or so on cane reeds and comparing them back against Legere Signature, for my money Legere Signatures were better in both response and tone. Cane will just never sound like good plastic 😀 and will never be as consistent. Only recently have I found a reed that out performs the Legere Signature and that is the Legere American Cut. If you still think cane is a better reed then you just haven't given Legere a good try. And if you are a doubler (I am) and aren't playing Legere you'll never regret switching.

BTW, I'll throw out the caveat that I have some mouthpieces where Legere Signatures sound a bit wonky (too harsh), but even on those mouthpieces the Legere American cut sounds amazing.

 

I use Legere on all my horns and I definitely believe they are the most perfect reed made. I used to think that maybe the very best of cane reeds were better but I went on a cane reed safari where I tried some of the best cane reeds made: Java Green/Red, V16, V21, Blue Box, D'addario Reserve, Heimke, BSS, and Rigotti Gold. After spending $200 or so on can reeds and comparing them back against Legere Signature, for my money Legere Signatures were better in both response and tone. Cane will just never sound like good plastic 😀 and will never be as consistent. Only recently have I found a reed that out performs the Legere Signature and that is the Legere American Cut. If you still think cane is a better reed then you just haven't given Legere a good try. And if you are a doubler (I am) and aren't playing Legere you'll never regret switching.

BTW, I'll throw out the caveat that I have some mouthpieces where Legere Signatures sound a bit wonky (too harsh), but even on those mouthpieces the Legere American cut sounds amazing.

I love the Signatures on saxes, particularly the tenor. I was disappointed with the American Cut, though. I tried them after seeing Dr Wally's review. To my ear, the tone suffered, and they just weren't as comfortable to blow. It's a pretty subjective and personal thing though, isn't it!

 

Legere Signatures on everything. Easy to play and consistent. Plus they last a long time.

 

I decided to try a Legere American Cut reed after seeing videos posted on YouTube of players comparing them with cane reeds. The Legere AC reed is the first synthetic reed that I very much like. It's very even from top to bottom, the pitch is excellent and the tone is bright and cutting. The altissimo notes are also very strong. I've been using the AC since the beginning of the Summer for all my shows indoors and out with great satisfaction. I love the fact that I have a reed that remains the same in my practice sessions and gigs without softening up. I'm using the AC reed on tenor, I looked into getting one for baritone but it isn't available yet. I've tried the Signature but I didn't care for it on the tenor and baritone, I didn't like the response nor the tone of it.

 

Advantages to me on the doubling horns (soprano, alto, baritone) are obvious, the horn is ready to play at all times under any circumstances. There's another major advantage that is apparently unknown to most, and that is the horn plays exactly the same way every time with that same reed, and this can be true for a very long time on the less-played horns. The benefit of this is, you get used to what the horn is going to do because its always the same, unlike putting on a new cane reed and getting a nasty surprise on the next set.
Other than that, for artistic reasons i much prefer a good cane reed, at least to this point. It was mentioned that a synthetic allows you to leave the reed on the mouthpiece - that is always a no-no to me, synthetic or not. Especially with metal mouthpieces, you simply cannot get away with this except in a case of being in a hurry and planning to clean everything up within a few hours. Plus, the reed takes a curved set and is never like it was when new and fresh. I treat them like cane reeds, putting in a reed guard or at least the Fibracell 'jewel box' with the silicone bump in the lid that presses the reed straight.

 

It was mentioned that a synthetic allows you to leave the reed on the mouthpiece - that is always a no-no to me, synthetic or not. Especially with metal mouthpieces, you simply cannot get away with this except in a case of being in a hurry and planning to clean everything up within a few hours.

I agree with this. Whether or not I can leave any reed on my mouth piece never enters my mind. I always break down and clean up.

 

I've never put a horn away with a reed on the mouthpiece. When younger, I was much more lax about cleaning the mouthpiece... but I always took the reed off.

 

The obvious advantages and benefits of synthetic reeds already have been discussed here at length, so I'll limit myself to three points that are especially important to me personally:

1. Any time spent working on reeds to make them playable is time wasted, as far as I'm concerned. The fact that the task is neither arduous nor technically difficult (after practice) is beside the point. It's not too hard to inflate your tires, but I'd rather have tires without slow leaks than tires that I have to "work on" before driving anywhere.

2. Not having to wet reeds is a boon for doubling. It also means that a reed's playability changes less while I am playing it. On occasion, I've had problems with a cane reed's partially drying out even while I'm playing; i.e., just having it in my mouth is not enough, and it needs a resoak. Of course, this never happens with synth reeds.

3. Reduced day-to-day, and week-to-week, variability in a reed's sound and response is very welcome.

I have sometimes imagined how cane reeds might have been marketed if synthetic reeds had come first, and had reached a high level of quality and refinement before someone tried using a grass-based material instead:

New Artisanal Saxophone Reeds

• All-natural -- made from the finest organically grown and sustainably harvested music cane!
• Compostable!
• Every reed is different, stimulating your creativity!
• Works with your body's natural fluids!

 

I don’t know that this is completely the thing. I admit it could have been partially the mouthpiece as well but, having switched back and forth between cane and synthetics, I find that it depends on the mouthpiece (facing curve mostly) to find a good reed whether it is cane or synthetic.
I originally started looking at synthetics when I could no longer find the guardala reeds I was playing for years. Oddly enough, one of my main issues with those was that I played 4.5 and 5s. I started playing those because I would absolutely kill cane reeds and the expense was quite a bit. At the time, certain synthetics were pretty good; specifically fibercells. I had to accept that most reeds, synthetic or cane, had quality control issues. That being said simple cost analysis would tell me that if I got 3-5 months out of a synthetic, I was good. What did I give up for that? Not much after learning how to speed up and slow down the air very quickly. If anything it helped me to understand what I was doing with the reed. Also, range.
The overtones and altissimo I could pull out of the synthetics was less. Not that it wasn’t enough but it was less and I knew it was less. E4 (saxophone E4 not concert) and above was significantly harder. A4 above that was basically the limit of non existent. Luckily, those aren’t written too much in popular music for saxophone. Regardless, I surmised that it was the case because the reed was thinner in a different area than cane and the length of the cut was longer more than anything else. So ultimately, the advantages were longevity and doubling.
I haven’t really found many newer synthetics that I like. I haven’t been able to try the American cut but I may at some point.

 

I am an inexperienced player but I do like Legere reed a lot. I actually just started to use it on Alto last year and then never look back on cane reed. One big advantage for me is that it eliminates the chirping issue on my Meyer 5M. I used to get occasional chirping with cane reed on this alto Meyer piece. The issue was still there even after it was refaced/re-balanced. Then it was gone after I start to use the Legere (both American cut and Signature) and then I never use cane reeds on Alto again. On Tenor the Legere Signature works very well for me (better than cane reeds I previously used), while the American cut does not feel quite good on Tenor. On soprano I feel that Legere Signature and Vandoren V16 are equally good for me as for tone and response, but I still prefer the Legere slightly. Overall I like the Legere a lot on all my three horns.

 

I break it down this way.

Plastic or sythetics reeds are great for general practice or hobbyist musicians. They are durable, consistent, and if taken care of will last significantly longer than a cane reed with near zero maintenance. No wetting, no water cups, no warping. Just a decent reed that plays well right out of it's case.

Cane reeds are for performances and advanced musicians. The tone is better and more natural than a synthetic reed.

This is obviously a huge generalization, but it's a quick way to explain the major pros and cons. Some people love playing cane reeds some love synthetic. It's all in the player and how they use their equiptment.

 

Plastic or sythetics reeds are great for general practice or hobbyist musicians. ...

Cane reeds are for performances and advanced musicians. The tone is better and more natural than a synthetic reed.

This perspective is about 20 years out-of-date. If anything, I think there is a big top-down impetus associated with switching to modern synthetic reeds, especially Legeres. Have you seen their list of endorsing artists? These guys are not fooling around.

Today, the conventional wisdom among "advanced musicians" is more that "cane is a preference" than "cane is better."