Given the ideas of what a good reed sounds, plays and looks like, how does one create such a reed from the commercial product taken out of the box?

It would be tempting at this point to give a series of explicit steps to follow, and a number of writers on the subject have yielded to such a temptation. In truth, reed adjustment is an art rather than a science.

Since it is not an easy procedure and requires considerable patience, it would be less than honest to suggest that the aspiring professional clarinetist unfamiliar with reed adjusting techniques could learn in three easy lessons to transform commercial reeds into fine playing reeds.

It is equally wrong, however, to believe that reed adjustment is a form of black magic beyond the comprehension of the amateur clarinetist. What is needed is a patient, day-by-day approach by which the reader works regularly on reeds, following the hierarchy of procedures suggested below. In this way he will gain the intuitive understanding based on experience that will enable him to produce fine playing reeds.

(Figure 8)

Given these introductory remarks the reader is ready actually to begin working on reeds. The tools for the job are simple: a double hollow ground reed knife, sharpening stone, #180 wet/dry (silicon carborundum) sandpaper, reed clipper, a hand-held piece of plate glass (4"x1"x1/4") and a large piece of plate glass for your desk top.

Before we begin, keep in mind that you should never use a dull knife or used sandpaper, since they will not cut or sand evenly. Be sure to obtain a reed clipper that will cut the proper shape of the tip, whether the reed is wet or dry. The reed clipper is most often used on a reed that has already been used and has become too weak because of wear and tear or a change in the weather. The reed clipper is usually not used when we start out to adjust a reed, because a good reed is generally produced by beginning with too thick a reed and then taking off wood where it is unbalanced.

What are the steps to take in adjusting a reed?

First, we begin the process of selecting the best reeds from the box--they must have the good sound that we described above. After taking a reed from the box wet it by dipping the reed into a glass of room-temperature water (water wets a reed faster than saliva). Then immediately shake off excess water on the surface of the reed. This procedure is necessary because moistening a reed allows it to vibrate, but completely soaking a reed destroys its ability to vibrate. Allow the tip to straighten out and the water to soak in. (This process will take longer in colder weather.)

Next, place the reed correctly on the mouthpiece--neither high nor low, nor to either side. Put the ligature on and tighten it, because a reed will play differently if held on the mouthpiece by the thumb. In trying out the reed do not overblow or underblow--listen for the underlying basic sound regardless of how the reed "plays". If the reed does not have this underlying good sound, reject it at this point.

Perhaps after a number of attempts, we find ourselves with a potentially good reed--it has a good basic sound but does not play well in some manner.

The next step is to identify the areas of imbalance by using your fingertips, eyes, embouchure, ears and intuition. Remember, balancing is the identification and removal of unwanted wood in order to get down to the ideal design. Try to imagine the reed as if it were very large--as large as a table top. In this way it will seem easier to perceive the areas of imbalance, the spots of weakness and the ridges in the fibers. The most direct way to discover where the reed is unbalanced is through touch. With a gentle but firm touch, the reed should be felt first along the tip.

(Figure 12)

In the exaggerated and idealized drawing (left), note that the center part of the tip should be more flexible (i.e. thinner) and the corners of the tip should be equally resistant. Working systematically from both sides and from the tip downwards look for bumps, plateaus, ridges and general areas of stiffness and inflexibility within the strength and design contours of the reed (right). The test of touch can be supplemented by sight. Look at the reed by holding it up to lamplight and sunlight, on either side and at different angles. This visual inspection may show that some areas of the reed are thicker than others.

First balance the tip and then add the important long vibrations necessary for a beautiful combination of power, cover and depth of sound. The long vibrations can be added by removing wood in the center of the area above the heart and below the back of the tip--where the lip meets the reed.

(Figure 16)

Removing any remaining bark above the scribe mark will also add long vibrations.

(Figure 17)

If a reed plays well but a little too stiffly, remove some wood on the lower right side just above the scribe mark. This will also add long vibrations.

(Figure 18)

Removing wood from the lower right side compensates for the torque (twist) of the clarinet to the left side of the mouth, produced by having to hold the instrument with the thumb of the right hand.

A good reed will often be thicker on the lower left side in order to compensate for the stronger pressure of the embouchure on the left side. This purposeful imbalance on the lower right side is the one exception to the golden rule of balancing the reed.

After each adjustment the pores of the reed must be closed to prevent waterlogging and to prolong the life of the reed. One closes the pores by placing the reed on plate glass and rubbing the vamp with a moistened thumb. The back and vamp are then polished to a high gloss with a piece of notebook paper. To polish the vamp, wrap the forefinger with paper and rub as before.

(Figure 19)

To polish the back, place a sheet of paper on the glass, put the reed on the paper and the first three fingers on the reed. Move the reed back and forth in a steady fashion. Reverse the direction of the reed and repeat.

Later, if a reed plays well but still sounds a little "wild," do not adjust it. Play it in, rub it down and continue polishing it.

Back to A Good Reed: What Does It Sound Like and How Does It Play? or forward to A Word of Caution

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