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

 

Recommended First Upgrade Mouthpieces (Clarinet & Saxophone)

Recommended First Upgrade Mouthpieces (Clarinet & Saxophone)

When a player, often but not always a younger child, begins to play their clarinet or saxophone they (and often also their parents) are faced with an almost completely unknown new world. The shiny instrument and lovely case are inspiring and the entire experience quite mysterious and perhaps a bit daunting but, working largely on trust and perhaps with the help of a knowledgeable teacher, the journey begins. 

The very first 'playing' involves trying to make a noise at all by learning to blowing upon the mouthpiece and reed, later the assembled instrument, and hopefully succeeding reasonably. With a soft reed and a bit of good coaching most players will eventually manage this and be inspired to keep going. 

With a reasonable amount of practice progress usually follows and so does the level of expectation of the player - both on herself / himself and of the equipment being used. The point at which it occurs to a player, or even the teacher involved, that the level of equipment might be an obstacle to future progress varies widely - and often the realisation come too late as frustrations may have begun that end with a player giving up dissatisfied with their tone or ability to control their instrument.

At the risk of being overly prescriptive I would like to make a few suggestions aimed at avoiding this fate and in the process encouraging and inspiring players in their musical efforts.

After many years working as teacher, shop sales advisor and drawing on my personal experience as well there are some easy, 'immediate' recommendations that can be made which may dramatically improve ones playing over even the best of the 'student', usually plastic, mouthpieces that are supplied with most clarinets and saxophones. These recommendations are as close as I can come to be guaranteed to be successful. All the below made of ebonite hard rubber unless stated otherwise. My quick comments follow each listed item.

Try the following for Bb clarinet:

• Vandoren B45 - suited to softer and mid-strength reeds, bright and responsive
• Vandoren M30 - mid-strength reeds, dark and mellow sound
• Portnoy BP02 or BP03 - mid-strength reeds, great projection

For Bass clarinet:

• Vandoren B45 - the all around standard of comparison

 For Alto and Tenor Sax (Classical):

•  Selmer S80 C*, C** or D - the standard of comparison
• Vandoren Optimum AL3 or AL5 - mid-strength reeds, dark and mellow sound
• Rousseau New Classic 5 - great control with a lively sound

For Alto or Tenor Sax (Jazz):

• Meyer 5, 6 or 7 - the absolute standard mouthpiece, warmth and projection 
• Otto Link 5 or 6 - darker and rounder
• D'Addario Reserve Jazz - centred sound and warmth with projection

For Alto Sax (Jazz Metal):

• Yanagisawa 6 or 7 - power with control

For Tenor Sax Jazz (Metal):

• Yanagisawa 6 or 7 - power with control
• Otto Link 6, 6* or 7 - a great 'traditional' jazz sound, favoured by players for decades

Soprano (Classical):

• Selmer S80 C*, C** or D - warm sound with great intonation characteristics

Soprano (Jazz Metal):

• Yanagisawa 6 or 7 - power with control

Any of the above, though different in sound quality (and that is the most important bit after all) are never-the-less considered reliable, tried and trusted and frequently recommended mouthpieces that will improve the tuning characteristics and control of almost any sax, from the cheapest and most cheerful to the finest professional models. I strongly feel that getting onto one of the above at the earliest sensible opportunity (Grade 3 is not too early and it is never too late to improve). 

In my opinion the mouthpiece accounts for at least 80% of the perceived sound with the instrument behaving like a megaphone, amplifying and adding resonance to the tone generated by the mouthpiece.

I have often found myself saying to customers and pupils - if you stay with such deservedly popular mouthpiece choices you cannot make a mistake. You might change your mind years later and you might purchase other options as well to suit your changing tastes - that is called progress - but you won't regret the investment in a good mouthpiece. 

Happy playing.


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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