Cracks In Wooden Instruments - Do They Matter? CASS Article

Cracks In Wooden Instruments - Do They Matter?

The vexed question of cracks in wooden clarinets and oboes arises frequently and can be the cause of much anxiety for players or potential purchasers of instruments. A bit of background may help to bridge a gap in the perception of cracking, its reason for occurrence and its relevance to performance. I wish to state that this blog entry is a sharing of information and a relation of my experience over many years - it is not a scientific treatise and should not be interpreted as such.

The African blackwood Grenadilla, latin name Dalbergia melanoxylon, or mpingo in Swahili, which is chosen for most wooden instruments is among the densest wood available for instrument manufacture. It has been the wood of choice for centuries, prized for its stability, workability and resonance for the purpose. It is still a piece of wood. The wood has a grain and the grain is a natural occurrence.  Blackwood grows very slowly (hence its density) and with a very close grain that helps to resist motion and absorption of moisture. The best wood is quite rare and supplies are diminishing worldwide so manufacturers take great care of their wood stocks and use them very efficiently.

Once the wood is harvested, billets are cut from which the joints, barrels and bells will eventually be manufactured. Since the late 1970's until the present day the billets are subjected to a heat and pressure treatment by the manufacturers to stabilise them and further reduce the likelihood of cracks occurring. For instruments manufactured before this technology came into use oil soaking was employed to the same end.

FYI - This is why oiling is not often recommended for modern instruments as it tends to be ineffectual and is more likely to cause damage to pads than real protection to the wood. For older instruments oiling with almond or linseed oil can be very helpful but the caveat of taking great care not to oil in excess must be observed. Oil will shorten the life of any pad with which it comes into contact. If you do wish to oil an instrument use a dedicated swab, chamois leather if available, and only apply a small quantity of oil at a time. Oil the inside of the instrument, as this is where the oil has a preventative role stopping moisture absorption. If the outside of the instrument has a 'tired' or dry look about it some oil may be applied to 'liven up' the appearance but do exercise caution.

Should the wood grain on the surface of an instrument 'open up', either following use or due to climate changes, it is a sign of the wood releasing tension and if this is sorted out by a skilled repairer, usually by the application of modern 'super glue(s)', the wood will actually be more stable than previously and the repaired 'crack' will be made invisible. If the crack opens up to a greater extent and goes through the wood entirely it may require more extensive attention including the possibility of 'pinning' to stabilise it - this is the more serious insertion of a screw mechanism into the wood which is used to draw together the walls of the crack. Prior to the advent of super glue technology this was the common practice to address cracks. If the crack goes through to the edge of a tone hole sealing with glue may work and should be tried initially but it may be necessary for an experienced repairer to insert a liner, usually made of plastic, and remake the tone hole itself. Once this is done the instrument should perform 'as good as new' and will be even less likely to have a similar problem in the same are in the future.

I have played on clarinets and oboes that have had cracks both sealed and pinned for many years with no loss of performance or my confidence in them. When a crack happens on a new instrument despite the best efforts of the manufacturer, if it still under warranty (typically a 1 year warranty is standard with exceptional manufacturers offering a 2 year warranty against cracking) in most cases the instrument will be received back by the manufacturer to have the crack assessed for either repair or  joint replacement. If an instrument is out of warranty an experienced repairer should be able to offer the same attention and the same likelihood of a successful repair to the instrument.

Players can dramatically reduce the occurrence of cracking by observing some very simple care suggestions:

• Use the swab frequently during practice sessions and performances
• Pull it through slowly to allow for absorption of moisture - do not 'whip it though'
• Blow across opened upper joint tone and trill key holes to dislodge moisture
• Clean the inside of joint recesses to remove accumulated moisture
• Use cork grease regularly as this helps both assembly and to seal joint tenons
• Avoid moisture extremes wherever possible
• Avoid 'stressing' cold instruments with warm air, always bring to room temperature before use
• Never store instruments in cold conditions
• Avoid direct sunlight or any heat source that could damage the wood
• Examine your instrument regularly but without anxiety - just get to know it's natural condition
• If a grain is noticed to be opening up have it seen to straight away and you will likely have no further trouble

In my experience it is extremely rare that a grain 'crack' has not been able to be successfully and cosmetically satisfactorily corrected. I have taken more than a little solace in the knowledge that should a crack happen and been sorted out my (an) instrument is actually better off and more stable than it was previously when the 'crack' was waiting to happen. It is a bit like the adage 'Whatever does not kill you makes you stronger' and but another example for the musician to heed.

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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 

Oiling a Wooden Clarinet or Oboe - A Discussion CASS Article

Oiling a Wooden Clarinet or Oboe - A Discussion

There are many opinions 'out and about' regarding the advantages or necessity of oiling the bore of wooden instruments, particularly clarinets and oboes. Some proponents are adamant that oiling must be done routinely or accept an increased risk of cracking in the wood. Others say never to oil as the wood will not absorb the oil applied. I have not noticed many contributors who try explain the contradictory advice. This is my brief summary attempt to address this. (for a more detailed discussion about care please see my blog entry Owning and Caring for a Wooden Clarinet, date of entry 27th Nov, 2015)

The coating of African Blackwood (Grenadilla), the material from which the bodies of most wooden clarinets and oboes are constructed, has been a practice of players for many years. When Grenadilla was first adopted for instrument construction oil was applied as a sealant to keep the wood from suffering the effects of moisture absorption through playing and to maintain, as much as possible, a stability in the wood to resist changes in both temperature and humidity levels. Since even this most dense wood is still a natural product it has a grain which is subject to opening up under stress.

• A light oiling, usually with almond or linseed oil was common practice on wooden instruments manufactured up until the late 1970's / early 1980's, and this was as effective a preventative treatment as was then available. 

The use of a small quantity of oil, carefully applied with a pull through swab or pheasant feather, was observed to reduce moisture absorption and lessen the occurrence of 'cracks' - the opening up of the grain.

It is good to bear in mind the following caveat: 

Do not oil apply in excess as the oil can run and will eat away at pad surfaces and attract lint which will affect the pad seating and keywork mechanism function.

Beginning around the early 1980's manufacturers began to use newly available technology to help stabilise their wood stocks. Pressure treatment and impregnation of the their 'billets' (the blocks of wood from which joints are cut) became common practice. Once wood has been treated in this way it has a much greater inherent stability and any oils that are applied are far less likely to be able to be absorbed and provide any useful additional protection to the wood of the instrument.

• It is not generally necessary to use bore oil on modern era instruments (post approx 1980), as their wood has usually been pressure treated prior to manufacture.

Indeed, if oil is used it may have a detrimental effect as a result of not being able to be absorbed by the wood - see the caveat above.

In extreme circumstances an instrument of any age could be completely stripped of keywork and subjected to an 'oil bath' for an extended period of time to attempt to complete rejuvenate a tired looking body and provide a new start. This is best done by an experienced repairer who will also remove all excess oil following the treatment, polish the body and return the keywork afterwards.

Everyone interested in this topic must judge for themselves whether it is oiling is likely to provide a beneficial additional 'belt and braces' protection.

• These days, for the purpose of most players, I believe that it is fair to say that oiling is unnecessary. 

Rest assured that should a 'crack' occur in most cases it can be successful sealed and stabilised by an experienced repairer and your confidence in your beloved instrument will likely be regained in a very short time.

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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

Owning and Caring for a Wooden Clarinet

Owning and Caring for a Wooden Clarinet

 This is a subject of interest to all clarinet players at some point in their musical progress and of vital understanding for teachers or those in a position of influence and guidance for younger players. I hope the following thoughts and suggestions will be found helpful.

Why purchase a wooden bodied instrument in the first place?

The short answer is that it should sound better and almost without exception be more rewarding to play than even the best of the plastic bodied models. However, to understand the reason for the recommendation (and the expense) of upgrading to a wooden instrument a few other points might be useful to bear in mind:

• Grenadilla (African Blackwood), the wood from which most instruments are made, grows very slowly and is in short supply, and the highest quality wood, with the greatest density of grain, is rarer still.
• The billets of wood (the rectangular blocks of wood cut to size from the tree trunk and limbs) are stored and dried for years and specially treated before being turned into instruments.
• While computer aided manufacture is now common for boring the billets, the cutting of tone holes and the making of keywork, much handwork for the fitting of keys, padding and finishing remains. The workers undertaking this work are specialists who have been highly trained for years.
• Most metal parts are silver plated to a high standard of finish and the turned wood is stained and polished.
• Even the least expensive model ranges carry these costs but corners are cut to help to hold down prices at the intermediate and upgrade levels. More expensive and professional quality top end instruments receive additional finishing by hand to balance resonance and playing response as well as careful final fine-tuning. Such instruments are quality control tested by experts prior to release for sale.
• Cases, accessories and mouthpieces supplied add to the overall cost.

Care tips and suggestions

Once you have invested in your lovely instrument you will hopefully wish to take good care of it. Developing a few good habits and taking on board a couple of tips will pay large dividends in long term performance and service.

• Handle the clarinet carefully during both assembly and disassembly. Apply cork grease whenever needed and when handling hold the instrument in such a way as to avoid damaging or bending the keywork.
• Warm up the instrument before playing by holding in your hands or placing under your arm for a time and never blow warm/hot air down the tube as this will risk stressing the wood.
• After playing use a swab to dry out the instrument including the recesses of the barrel and joints - moisture often accumulates here as well. Do this frequently during a practice session and draw the swab through slowly even allowing it to come to a stop for several seconds in the top joint to allow it to absorb the moisture within and not just 'spread it around'. There are many brands of swab available and using any are better than doing nothing but my favourite, for many reasons including the fact that I designed it, is the Dryer Swab available from Woodwind & Reed and Reeds Direct Cambridge ( www.wwr.co.uk/clarinet.../the-dryer-pull-through-bbaeb-clarinet.asp ) Follow the link to read about this product. It is pictured here: 

 

• If your wooden instrument is brand new you should consider being kind to it and playing it for short periods of time - say 30 minutes maximum at a session - then giving an hour or so to recover before playing again. Following this routine for a settling-in period of a month or so can avoid many future problems.
• If, despite your best efforts, a joint becomes stiff to assemble or remove then you may be experiencing a swelling of the wood due to moisture. A skilled repairer will be able to sort this problem out but if, in the meantime, you need to remove the offending joint then here is a tip: Hold the stuck parts firmly one in each hand and exert a rocking pressure in each of the four points of the compass to try to 'break' the tension of the wood-to-wood contact that has developed. Patiently repeat as necessary. You may have to leave the stuck portions for a period of time or even overnight to allow for drying out and then repeat the process. This almost always works but is of course best to avoid through regular use of your swab.
• It is not generally necessary to use bore oil on modern era instruments (post approx 1980), as their wood has usually been pressure treated. However, for older instruments or wherever the wood has begun to look 'dry' a light oiling with almond oil or a proprietary bore oil can be helpful. Do not apply in excess as the oil can run and will eat away at pads and attract lint.
• It is very good advice to have your clarinet checked over by a skilled repairer once a year as any instrument can suffer adjustment or regulation problems from the atmosphere, handling, compression and moisture whether used infrequently, regularly or heavily. 

Having said all the above it remains to add that playing and taking care of your wooden clarinet should be a great joy as well as a responsibility. The tips above should help you to increase the pleasure you experience from playing and reduce both the cost and frustration related to maintenance.


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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