Reed Strengths, FAQ's and General Comment

Reed Strengths, FAQ's and General Comment

(The following is adapted from an article for Reeds Direct Cambridge)

I hope that this page and some of the FAQ’s that follow will help you to gain confidence in making the choice of reed, finding the right strength and assisting in the search for reeds.

First things first –

If you are new to playing, or buying for someone who is, softer reeds, often strength 1.5 or 2 are your best bet. Using lower strength reeds at first is more encouraging to the younger player, easier on the lip and less demanding for air support. You may also wish to purchase less expensive reeds at first, as without careful handling they can be easily broken. As players learn to better handle their reeds then the expense of higher quality reeds can be justified as they will last longer and be more enjoyable to play. As a player learns to blow better, learns more notes and expects more from the tone of their instrument then they should be encouraged to move up in strength of reed and experiment with what different brands have to offer. Manufacturers offer strengths usually starting from 1.5 (or even 1) and extending to 5 (or more). These numbers represent an increasing strength of resistance. Most players will settle on strength 2.5 or 3 after a number of years of playing – this is very standard, though some advanced players or those with particular mouthpieces will require both higher and softer strengths than this. Teachers can help decide the appropriate time to change strengths.

One practice that will definitely help to keep your reeds in use for longer is to rotate them from one practice session to another. Keeping 3 to 4 reeds going at all times will allow each reed to recover from use and will highlight when one reed is beginning to lose its quality in relation to the others. We recommend purchasing cane reeds by the box and working in new reeds as old ones need replacing.

FAQ’s

• What is the difference between different make of reeds?

Each manufacture tries to offer a unique cut and quality of cane in their product. As these factors are crucial to sound and response the player will find reasons in time to prefer one make over another. 

• How do I know when to try a harder /softer strength?

When sound suffers beyond what the player can adjust for is the time to examine the strength being used. If upper register notes are thin and unstable a harder strength may help. If low notes cannot be produced in spite of one’s best efforts then a softer reed may help. The ideal is an comfortable control and even response throughout the range with a gratifying musical sound. 

• Why are reeds difference sizes for different instruments?

 As each size of instrument uses a specific size of mouthpiece the reed used must fit. Reeds are an integral part of the production of the sound through the vibration they provide to the air column and must be designed specifically for the mouthpieces. 

• What makes a reed a ‘Jazz’ reed, what makes a reed a ‘Classical’ reed?

 In general, a ‘Jazz’ will be a slightly more flexible and vibrant reed intended to allow higher overtones to be present in the sound – producing a so called ‘brilliant/punchy’ quality often associated with jazz music. A ‘Classical’ reed will be more resistant and is intended to produce a greater concentration of lower overtones in the sound – the so called ‘dark/rich’ quality associated with symphonic or classical music.

• Why are some reeds more expensive than others?

 Cane is selected by manufacturers for the intended product market – the highest of selection criteria means that fewer canes are suitable, more wastage occurs and more care is taken in finishing – contributing to higher cost. 

• Why are some reeds less expensive than others?

Some lesser expensive reeds are made from lower qualities of cane, cut more simply with less concern for final finishing. These can be well suited to players at any level but are often associated with initial years learning. 

• What are some reed brands more popular than others?

 Some products have been around for a century or more – ample time to become well known and respected. Some are more widely available therefore easier to recommend by teachers and some have a proven track record for specific mouthpieces and/or types of use. Successful products have a following in different regions around the world so what is well known in one country may be very differently regarded elsewhere. 

• Why have I been recommended to a particular brand of reed when there are so many different brands available? 

Perhaps because a player or teacher has had a very good experiences themselves with a product, perhaps a name has been well established and is easily available or perhaps because a certain brand is believed to constitute good value. In the end every player will want to find their own best answer and should sample a variety of reeds. 

• Why don’t all reeds correspond in strength? 

 This is a bit like ‘Why don’t all cars look alike?’ They just don’t and for a variety of reasons. Strength guides are generally relative and roughly proportional to each other but each manufacturer wishes to do something unique to meet the perceived requirements of the musician. Experience of different reeds will lead someone to a personal understanding of the relationships between brands and strengths – in the meantime a strength comparison chart and some background reading will help to fill the gaps in knowledge.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful.

Thomas Dryer-Beers