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

The Claritie - Right Hand Thumb and Wrist Support for Clarinet players - made by Daniel Bangham

Introducing The 'Claritie' - Right Hand Thumb and Wrist Support for Clarinet Players

I am fortunate enough to not have suffered greatly from pain in my hands from supporting my musical instruments but I know many players who have struggled with strain induced problems, sadly some to the point of giving up playing altogether. I have recently become aware of a product that really works and which any players suffering from such problems needs to know about. To order follow the link below to see the 'Claritie' as offered by Woodwind and Reed, specialist music shop, Cambridge, UK:

http://www.wwr.co.uk/other-clarinet-accessories/pid89425/cid417/clarinet-support-to-suppliment-the-use-o.asp

Here is the advertising blurb itself:

For all clarinet players who suffer from pain and tension in their right hand thumb and wrist from playing – there is now a total solution available!

A fantastic, new invention that holds the clarinet in the correct playing position, but takes all the weight of the thumb. An excellent solution for those with RSS or Arthritis.

The hook ring fits between the bell and bottom joint and the hanger goes between your body and the hook fitting.

Daniel Bangham, a master craftsman, repairer and retailer based in Cambridge in the United Kingdom, has developed a support that has the effect of making a clarinet virtually weightless, suspended without reliance on the right hand thumb for lifting.

This clarinet support, invented and perfected over the last few years with leading UK players and in consultation with long term sufferers of thumb and wrist agonies, is the best answer available to provide relief from pain and eliminate this aggravating problem.

Forget making alterations to your instrument or thumbrest, complicated and fussy pegs requiring frequent adjustments, stands that can only be used when seated, this clever device takes all the weight of the instrument without compromising your optimum playing angle. It can be used seated or standing. Easy and quick to install and use, its neat design requires no modifications to the clarinet, no screws changed or holes drilled and can be transferred from one instrument to another without fuss.

Made from the finest materials, polished steel and rosewood contact support the Claritie is as elegant as it is effective.

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Once I became aware of the value of the Claritie I became so enthusiastic about it I wrote the following product review:

Product Review

A proven new support device for sufferers of aching thumbs and sore wrists as a result of playing the clarinet is now available. It has been my privilege to observe the development of this new product through my work at Woodwind & Reed in Cambridge, UK. It was here in this shop that Daniel Bangham, owner and innovative thinker about such matters, worked alongside visiting customers who had experienced problems ranging from minor occasional discomfort in their right hand thumbs to career-threatening pain that could have resulted in a forced cessation from all playing of the clarinet. Fortunately for these customers Daniel was able to create a device that really does make a clarinet feel virtually weightless allowing players to perform without complete comfort and at no sacrifice to their musical or physical experience.

I have performed with this device myself and IT REALLY WORKS.

When using this device the clarinet is suspended via a sprung wire triangulation attached to a hook slipped in-between the lower joint and the bell during assembly, a contact point on the abdomen (ever so comfortable) and a sling that, when properly adjusted, provides position and stabilisation to the device itself. The sling is not attached to the clarinet at all. No restrictions in holding position, no unwanted contact between a sling and the left hand thumb, no bulky or awkward tabs to get in the way of the right hand thumb and no fixed location contact points to chair or to the floor that so many stand based products require.

I have seen customers full of praise for this device and as a result of using the Claritie they have been able to return to regular pain-free playing for the first time in years. Not only is it a clever application of fundamental physics but it is so simple to use. It can be set-up in a matter of seconds, is lightweight as you would expect, and requires no alteration to the instrument itself. The experience of standing up playing an open G, with no contact of either hand at all required to hold the instrument, is so surprising and initially disorientating that it is hard to believe that it really is possible. With the clarinet support in use the amount of contact required in either hand is an absolute minimum to close the rings, cover the holes and depress keywork – nothing extra from the fingers to maintain the playing position.

I would recommend this device to any player suffering from pain as a result of holding their clarinet and for those who thought they would have to give up playing their beloved instrument I can quite honestly say – think again – help is truly at hand.

Thomas Dryer-Beers, staff member WWR (www.wwr.co.uk)

Woodwind Performer and Teacher

Consultant to Reeds Direct Cambridge (www.reedsdirect.co.uk)

And so it begins! My biographical background and the reason for blogging. Thomas Dryer-Beers

 Hello future readers - wind players all.

My name is Thomas Dryer-Beers. I am a woodwind player, a former working musician, soloist, ensemble performer, lecturer, author, private teacher, peripatetic teacher and ensemble coach. I am a product of the American band system having grown up in the state of Indiana and having begun my musical career playing recorder, violin, trombone in successive years before gravitating to the saxophone which finally 'took' and later adding all the other members of the woodwind family. I earned music degrees in Woodwind Performance at two major music schools in the USA, Indiana University (BMus) and University of North Texas (MMus), but have been living and working in the United Kingdom since the late 1980's. In the UK I carried on my teaching and performing but was introduced to the music industry through work with specialist music shops, most notably as a former Instrument Sales Manager Woodwind & Reed based in Cambridge ( www.wwr.co.uk ) and its associated mail order company Reeds Direct Cambridge ( www.reeds-direct.co.uk ) where I still work part time and serve as a consultant.

I have been a teacher and performer since the mid 1970's and have advised retail customers since 1988 till the present day. I have also been the principal consultant to Reeds Direct Cambridge since its beginnings and am responsible for the creation of the RDC Reed Strength Comparison Chart and author of many reed product descriptions. Customers throughout the UK and worldwide have relied upon this chart to help in assessing and selecting appropriate single reeds for their clarinets and saxophones.

Recently I have taken a more limited advisory role with Woodwind and Reed due to a permanent partial hearing loss that began to affect me several years ago. I do benefit from hearing aids that have been a great help for conversation but the technology is simply not advanced enough to allow me to hear clearly enough to advise customers as I once did. This change has been a bit of a shock to say the least but I am coping with it and looking forward to a different future than I previously imagined.

I have begun this web log, which I hope will be of interest to a wide range of woodwind and brass musicians, so that I might be able to share the experiences, insights and observations gathered in my over 40 years of playing and more than 25 years in the music industry. I have also been recently been asked to serve as a regular contributor corresponding as 'The Single Reed Doctor' for the Journal of the Clarinet & Saxophone Society of Great Britain (CASS). Writing contributions in this manner is my way of saying thank you to all the players, teachers, pupils both young and old, and the many customers whom I have met, advised, supported and most importantly from whom I have learned a great deal in the process of assisting them and attempting to answer their questions. I have no agenda except sharing what I consider to be useful thoughts, memories and accumulated knowledge though and products of interest. I will not hesitate to acknowledge individuals who have been significant to my development as a musician, cite where further information or products can be found when such citation is appropriate and direct my blog readers to where instruments, accessories or services may be experienced or purchased.

I wish to thank Daniel Bangham - proprietor, Tim Taylor - general manager, and the staff at Woodwind & Reed for encouraging me in this web blog project. I hope that readers will find the topics and information useful and if so please let others know in order to help disseminate the blog content as widely as possible. Please add your comments as they are welcome.

Thomas Dryer-Beers, August 2015