Hi everyone,
 

 

 I'm currently looking into restoring my old Vandoren 5RV lyre clarinet mouthpiece that I used to play on when I was a beginner/intermediate student on the clarinet 5 years ago. It wasn't looked after very well back then, and as a result there are tiny dents on the tip rail and what appears to be many light scratches on the inside of the mouthpiece starting from the throat going all the way up to the tip rail. I'm completely new to this, so I have no idea where to start. Should I use a file or sanding stick to try and remove the scratches inside the throat and baffle? And to reface the tip rail to remove the dents, I just slide the end of the mouthpiece 2 or 3 times over a wet 300 grit sandpaper on a sheet of glass, right? 
 

 Any kind of advice/suggestions will be greatly appreciated,
 

 Harim.

Sliding it on 300 grit sandpaper, for a beginner, would probably ruin it.
You really would be refacing it, probably crooked, since it takes a lot of
practice to an even 'slide'. Tiny dents may not be a problem if the reed is
sealing. But if the dents are pushed up toward the reed, I would suggest
turning some sandpaper upside down to polish the facing. Start with the
mouthpiece flat to flatten the table and gently roll the mouthpiece up
toward the tip without 'rolling' the flat surface of the tip over. The
inside scratches are also not a problem.

Good luck.

 

From: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com]

Sent: Monday, June 01, 2015 6:54 PM
To: MouthpieceWork@yahoogroups.com
Subject: [MouthpieceWork] Restoring clarinet mouthpiece

 

  

Hi everyone,

 

 

I'm currently looking into restoring my old Vandoren 5RV lyre clarinet
mouthpiece that I used to play on when I was a beginner/intermediate student
on the clarinet 5 years ago. It wasn't looked after very well back then, and
as a result there are tiny dents on the tip rail and what appears to be many
light scratches on the inside of the mouthpiece starting from the throat
going all the way up to the tip rail. I'm completely new to this, so I have
no idea where to start. Should I use a file or sanding stick to try and
remove the scratches inside the throat and baffle? And to reface the tip
rail to remove the dents, I just slide the end of the mouthpiece 2 or 3
times over a wet 300 grit sandpaper on a sheet of glass, right? 

 

Any kind of advice/suggestions will be greatly appreciated,

 

Harim.

How well does the mouthpiece play now? Do you want to alter some aspects 
of how it plays?

Minor scratches inside the throat and baffle are a cosmetic issue only. 
Don't bother unless you're keen on creating a work of mouthpiece art, 
glossy everywhere.

Taking off tip rail dents will open up the facing and change your facing 
curve.  Results will depend on how deep the dents are, and how well you 
maintain a favorably-shaped facing curve in your alterations; but you 
can certainly expect a change in how the mouthpiece plays.

Removal of deeper tip rail dents will open the facing more; and the tip 
rail will get wider.  A more open facing plays louder but harder to 
control, needs more air.  Wider tip rail reduces harmonics, sound is 
less bright.  Depending on how much material is removed, you may want to 
take down the table and adjust the tip rail width, if your aim is 
restoring the mouthpiece to close to original specs.

I suggest you take facing curve and tip measurements before getting 
started, so you have a restoration point of sorts.   Also, go slow and 
test-play frequently to see what has changed, and whether what you have 
is good enough.

Barry Levine


On 6/1/2015 6:54 PM, harim0suprem0@... [MouthpieceWork] wrote:
>
> Hi everyone,
>
>
>
> I'm currently looking into restoring my old Vandoren 5RV lyre clarinet 
> mouthpiece that I used to play on when I was a beginner/intermediate 
> student on the clarinet 5 years ago. It wasn't looked after very well 
> back then, and as a result there are tiny dents on the tip rail and 
> what appears to be many light scratches on the inside of the 
> mouthpiece starting from the throat going all the way up to the tip 
> rail. I'm completely new to this, so I have no idea where to start. 
> Should I use a file or sanding stick to try and remove the scratches 
> inside the throat and baffle? And to reface the tip rail to remove the 
> dents, I just slide the end of the mouthpiece 2 or 3 times over a wet 
> 300 grit sandpaper on a sheet of glass, right?
>
>
> Any kind of advice/suggestions will be greatly appreciated,
>
>
> Harim.
>
> 

Don't do it!  Unless you are perfectly okay with the prospect of ruining
the mouthpiece.  It takes hours and hours and hours and many mistakes and
ruined mouthpieces to learn how to do it.

On Monday, June 1, 2015, Barry Levine barrylevine@...
[MouthpieceWork] <MouthpieceWork@yahoogroups.com> wrote:

>
>
> How well does the mouthpiece play now? Do you want to alter some aspects
> of how it plays?
>
> Minor scratches inside the throat and baffle are a cosmetic issue only.
> Don't bother unless you're keen on creating a work of mouthpiece art,
> glossy everywhere.
>
> Taking off tip rail dents will open up the facing and change your facing
> curve. Results will depend on how deep the dents are, and how well you
> maintain a favorably-shaped facing curve in your alterations; but you
> can certainly expect a change in how the mouthpiece plays.
>
> Removal of deeper tip rail dents will open the facing more; and the tip
> rail will get wider. A more open facing plays louder but harder to
> control, needs more air. Wider tip rail reduces harmonics, sound is
> less bright. Depending on how much material is removed, you may want to
> take down the table and adjust the tip rail width, if your aim is
> restoring the mouthpiece to close to original specs.
>
> I suggest you take facing curve and tip measurements before getting
> started, so you have a restoration point of sorts. Also, go slow and
> test-play frequently to see what has changed, and whether what you have
> is good enough.
>
> Barry Levine
>
> On 6/1/2015 6:54 PM, harim0suprem0@yahoo.com
> <javascript:_e(%7B%7D,'cvml','harim0suprem0@...');>
> [MouthpieceWork] wrote:
> >
> > Hi everyone,
> >
> >
> >
> > I'm currently looking into restoring my old Vandoren 5RV lyre clarinet
> > mouthpiece that I used to play on when I was a beginner/intermediate
> > student on the clarinet 5 years ago. It wasn't looked after very well
> > back then, and as a result there are tiny dents on the tip rail and
> > what appears to be many light scratches on the inside of the
> > mouthpiece starting from the throat going all the way up to the tip
> > rail. I'm completely new to this, so I have no idea where to start.
> > Should I use a file or sanding stick to try and remove the scratches
> > inside the throat and baffle? And to reface the tip rail to remove the
> > dents, I just slide the end of the mouthpiece 2 or 3 times over a wet
> > 300 grit sandpaper on a sheet of glass, right?
> >
> >
> > Any kind of advice/suggestions will be greatly appreciated,
> >
> >
> > Harim.
> >
> >
>
>  
>

Can anyone point me towards a single reed adjusting group ?

I've read the Ray Reed and Larry Teal books, and currently interested in corner shape at the tip.Thanks.Ross

 
    
   
 

Dents in a hard rubber mouthpiece can be removed without files or sandpaper.
You use a match or lighter to do it. Hold the mouthpiece in your left hand
with the facing upwards, so that the dents are facing the ceiling. Light the
match or lighter, and quickly pass the flame closely OVER the dents. The
edge of the flame should just barely touch the mouthpiece material, and only
momentarily as you pass the flame over the dented surface. Do not hold the
flame in place or you will melt the mouthpiece and ruin it. If you sweep the
flame over in rapid succession, the dents will pop out. Do not hold the
flame UNDER the mouthpiece, or there will be too much heat, also resulting
in a ruined mouthpiece. The dents will pop out but you may see an outline
where they once were. At this point, stop. Don't continue passing the flame
over to try and make it showroom new. Don't attempt to sand anything at this
point either. You'll likely just ruin the mouthpiece. 

 

Commentary from a clarinetist: In my experience, a 5RVLyre is difficult to
control due to its facing. You might try an M13Lyre or a B45. Those facings
are much friendlier to play, especially for someone with only a few years of
experience. I've had many students come in with a 5RVLyre, and once they
switch mouthpieces they have much faster progress. 

or you can rub the mouthpiece on a 100 watt incandescent light bulb…..no flame danger


On Jun 2, 2015, at 7:58 AM, "'Doug Haining' dhaining@comcast.net [MouthpieceWork]" <MouthpieceWork@yahoogroups.com> wrote:

> 
> Dents in a hard rubber mouthpiece can be removed without files or sandpaper. You use a match or lighter to do it. Hold the mouthpiece in your left hand with the facing upwards, so that the dents are facing the ceiling. Light the match or lighter, and quickly pass the flame closely OVER the dents. The edge of the flame should just barely touch the mouthpiece material, and only momentarily as you pass the flame over the dented surface. Do not hold the flame in place or you will melt the mouthpiece and ruin it. If you sweep the flame over in rapid succession, the dents will pop out. Do not hold the flame UNDER the mouthpiece, or there will be too much heat, also resulting in a ruined mouthpiece. The dents will pop out but you may see an outline where they once were. At this point, stop. Don’t continue passing the flame over to try and make it showroom new. Don’t attempt to sand anything at this point either. You’ll likely just ruin the mouthpiece.
> 
>  
> 
> Commentary from a clarinetist: In my experience, a 5RVLyre is difficult to control due to its facing. You might try an M13Lyre or a B45. Those facings are much friendlier to play, especially for someone with only a few years of experience. I’ve had many students come in with a 5RVLyre, and once they switch mouthpieces they have much faster progress.
> 
> 
> 

I went through all that reed stuff, the Larry Teal, the Keith Stein, the Kal Opperman, etc and decided it was just too much time and effort for the return I got .True, Opperman gave me a  clarinet reed that lasted 6 months but I have never been able to duplicate his results. He was a wizard!  Look up what Tom Ridenour  says about reeds. His Reed Finishing Kit has made all the difference for me, especially since I have to deal with all four saxes plus clarinet.
 I also like the  Reed Geek video, though you can make  the required tool for a few bucks, not the $50 that they charge.
  My philosophy on reeds has become KISS and I  am much happier for it.   Peter

Thanks Peter
The Ridenour and Stein sources you mention, are they books ?I'm pretty happy with progress gained from the other sources, but am curious about refining the corners of the tip.Do either of your suggestions deal with that ?
Oh, and is this even the appropriate forum ?Thanks again.Ross

 
      From: "pfdeley@... [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
 To: MouthpieceWork@yahoogroups.com 
 Sent: Tuesday, June 2, 2015 1:33 PM
 Subject: [MouthpieceWork] Re: A little off topic.... Reeds
   
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I went through all that reed stuff, the Larry Teal, the Keith Stein, the Kal Opperman, etc and decided it was just too much time and effort for the return I got .True, Opperman gave me a  clarinet reed that lasted 6 months but I have never been able to duplicate his results. He was a wizard! Look up what Tom Ridenour  says about reeds. His Reed Finishing Kit has made all the difference for me, especially since I have to deal with all four saxes plus clarinet.I also like the  Reed Geek video, though you can make  the required tool for a few bucks, not the $50 that they charge. My philosophy on reeds has become KISS and I  am much happier for it.   Peter



   

I'm not sure about the  Keith Stein. Ridenour sells a kit with book and video. it's fairly pricey but over the years it has saved me a lot of money from  saving reeds I would have previously discarded.  You can check him out on youtube
  He mostly discusses balancing both sides of the reed at the tip. He doesn't zone in on detailed parts of the reed like Teal or Opperman do but , as I said I have had much more success from his method.
   There is also an interesting youtube video about how reeds swell and distort  at the interface with the window of the mouthpiece, causing them  not to play well.
  The best mouthpiece won't play without a decent reed so why not discuss it here?
  Peter
   

if you have not seen the Youtube video on finishing reeds by the Associate  
Principal Clarinetist of the New York Sym., you might want to take a look.  
 It is a seven day procession for breaking in reeds and it works.  i  
strongly recommend the new Vandoren V21 clarinet reeds, too.
 
 
In a message dated 6/2/2015 12:37:57 P.M. Central Daylight Time,  
MouthpieceWork@yahoogroups.com writes:



I went through all that  reed stuff, the Larry Teal, the Keith Stein, the 
Kal Opperman, etc and decided  it was just too much time and effort for the 
return I got .True, Opperman gave  me a  clarinet reed that lasted 6 months 
but I have never been able to  duplicate his results. He was a wizard!  
Look up what Tom Ridenour  says about reeds. His Reed  Finishing Kit has 
made all the difference for me, especially since I have to  deal with all four 
saxes plus clarinet.
I also like the  Reed Geek video, though you can make  the  required tool 
for a few bucks, not the $50 that they charge.
 My philosophy on reeds has become KISS and I  am much happier  for it.   
Peter

Thanks, What's his video called ?

 
      From: "clsbob@... [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
 To: MouthpieceWork@...m 
 Sent: Tuesday, June 2, 2015 5:08 PM
 Subject: Re: [MouthpieceWork] Re: A little off topic.... Reeds
   
<!--#yiv8167463893 #yiv8167463893 .yiv8167463893ygrp-photo-title{clear:both;font-size:smaller;height:15px;overflow:hidden;text-align:center;width:75px;}#yiv8167463893 div.yiv8167463893ygrp-photo{background-position:center;background-repeat:no-repeat;background-color:white;border:1px solid black;height:62px;width:62px;}#yiv8167463893 div.yiv8167463893photo-title a, #yiv8167463893 div.yiv8167463893photo-title a:active, #yiv8167463893 div.yiv8167463893photo-title a:hover, #yiv8167463893 div.yiv8167463893photo-title a:visited {text-decoration:none;}#yiv8167463893 div.yiv8167463893attach-table div.yiv8167463893attach-row {clear:both;}#yiv8167463893 div.yiv8167463893attach-table div.yiv8167463893attach-row div {float:left;}#yiv8167463893 p {clear:both;padding:15px 0 3px 0;overflow:hidden;}#yiv8167463893 div.yiv8167463893ygrp-file {width:30px;}#yiv8167463893 div.yiv8167463893attach-table div.yiv8167463893attach-row div div a {text-decoration:none;}#yiv8167463893 div.yiv8167463893attach-table div.yiv8167463893attach-row div div span {font-weight:normal;}#yiv8167463893 div.yiv8167463893ygrp-file-title {font-weight:bold;}#yiv8167463893 --> 

if you have not seen the Youtube video on finishing reeds by the Associate Principal Clarinetist of the New York Sym., you might want to take a look.  It is a seven day procession for breaking in reeds and it works.  i strongly recommend the new Vandoren V21 clarinet reeds, too. In a message dated 6/2/2015 12:37:57 P.M. Central Daylight Time, MouthpieceWork@yahoogroups.com writes:


I went through all that reed stuff, the Larry Teal, the Keith Stein, the Kal Opperman, etc and decided it was just too much time and effort for the return I got .True, Opperman gave me a  clarinet reed that lasted 6 months but I have never been able to duplicate his results. He was a wizard!  Look up what Tom Ridenour  says about reeds. His Reed Finishing Kit has made all the difference for me, especially since I have to deal with all four saxes plus clarinet. I also like the  Reed Geek video, though you can make  the required tool for a few bucks, not the $50 that they charge.  My philosophy on reeds has become KISS and I  am much happier for it.   Peter 




   

I'm not sure, but is about the Rico Reserve Classic reeds.
 
 
In a message dated 6/2/2015 4:18:03 P.M. Central Daylight Time,  
MouthpieceWork@yahoogroups.com writes:




Thanks, What's his video called  ?






 
  
____________________________________
 From:  "clsbob@... [MouthpieceWork]"  <MouthpieceWork@yahoogroups.com>
To: MouthpieceWork@yahoogroups.com  
Sent: Tuesday, June 2,  2015 5:08 PM
Subject: Re:  [MouthpieceWork] Re: A little off topic.... Reeds


  


if you have not seen the Youtube  video on finishing reeds by the Associate 
Principal Clarinetist of the New  York Sym., you might want to take a look. 
 It is a seven day procession  for breaking in reeds and it works.  i 
strongly recommend the new  Vandoren V21 clarinet reeds, too.
 
 
In a message dated 6/2/2015 12:37:57 P.M. Central Daylight Time,  
MouthpieceWork@yahoogroups.com writes:



I went through all that reed  stuff, the Larry Teal, the Keith Stein, the 
Kal Opperman, etc and decided  it was just too much time and effort for the 
return I got .True, Opperman  gave me a  clarinet reed that lasted 6 months 
but I have never been  able to duplicate his results. He was a wizard!  
Look up what Tom Ridenour  says about reeds. His Reed  Finishing Kit has 
made all the difference for me, especially since I have  to deal with all four 
saxes plus clarinet.
I also like the  Reed Geek  video, though you can make  the required tool 
for a few bucks, not  the $50 that they charge.
 My philosophy on reeds has become KISS and I  am much  happier for it.   
Peter

Look for Mark Nuccio's break in routine on Youtube.
 
 
In a message dated 6/2/2015 4:20:10 P.M. Central Daylight Time,  
MouthpieceWork@yahoogroups.com writes:



I'm not sure, but is about the Rico Reserve Classic reeds.
 
 
In a message dated 6/2/2015 4:18:03 P.M. Central Daylight Time,  
MouthpieceWork@yahoogroups.com writes:




Thanks, What's his video  called ?






 
  
____________________________________
 From: "clsbob@...  [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
To: MouthpieceWork@yahoogroups.com  
Sent: Tuesday, June 2,  2015 5:08 PM
Subject: Re:  [MouthpieceWork] Re: A little off topic.... Reeds


  


if you have not seen the Youtube  video on finishing reeds by the Associate 
Principal Clarinetist of the New  York Sym., you might want to take a look. 
 It is a seven day  procession for breaking in reeds and it works.  i 
strongly recommend  the new Vandoren V21 clarinet reeds, too.
 
 
In a message dated 6/2/2015 12:37:57 P.M. Central Daylight Time,  
MouthpieceWork@yahoogroups.com writes:



I went through all that reed  stuff, the Larry Teal, the Keith Stein, the 
Kal Opperman, etc and  decided it was just too much time and effort for the 
return I got .True,  Opperman gave me a  clarinet reed that lasted 6 months 
but I have  never been able to duplicate his results. He was a wizard!  
Look up what Tom Ridenour  says about reeds. His Reed  Finishing Kit has 
made all the difference for me, especially since I  have to deal with all four 
saxes plus clarinet.
I also like the  Reed Geek  video, though you can make  the required tool 
for a few bucks, not  the $50 that they charge.
 My philosophy on reeds has become KISS and I  am much  happier for it.   
Peter

AFAIK, there isn't a single reed group. There ought to be.
Reeds really are a bete noir, unless one has by some chance found a 
perfect match of reed and mouthpiece.

I actually set up a single reed group on Yahoo in a brief fit of 
ambition, but then never did the work to get it started, and they shut 
it down due to inactivity. But there's a lot to discuss. Care to start a 
single reed group?

The Ridenour method works pretty well, that is, his method of balancing 
the L & R side of reeds, and adjusting using a cushioned sanding block w 
fine paper, and sanding from tip to front, and at an angle across the 
harder reed corner towards the opposite corner, more or less. Happy to 
go into more detail. Tom's kit is pricey (but pays for itself both in 
money spent on reeds, as well as in player satisfaction... "priceless") 
One can easily make sanding blocks of the sort he uses. His method 
should be a basic article of instruction for single-reed players... 
Maybe it is already.

Barry Levine





On 6/2/2015 6:57 AM, ROSS SMITH ross.smith@... [MouthpieceWork] 
wrote:
> Can anyone point me towards a single reed adjusting group ?
>
> I've read the Ray Reed and Larry Teal books, and currently interested 
> in corner shape at the tip.
> Thanks.
> Ross
>
>     ------------------------------------------------------------------------
>     **
>
> 

Erratum: Ridenours method is sanding from tip towards the REAR of the reed.

On 6/2/2015 5:44 PM, Barry Levine barrylevine@... 
[MouthpieceWork] wrote:
>
> AFAIK, there isn't a single reed group. There ought to be.
> Reeds really are a bete noir, unless one has by some chance found a 
> perfect match of reed and mouthpiece.
>
> I actually set up a single reed group on Yahoo in a brief fit of 
> ambition, but then never did the work to get it started, and they shut 
> it down due to inactivity. But there's a lot to discuss.  Care to 
> start a single reed group?
>
> The Ridenour method works pretty well, that is, his method of 
> balancing the L & R side of reeds, and adjusting using a cushioned 
> sanding block w fine paper, and sanding from tip to front, and at an 
> angle across the harder reed corner towards the opposite corner, more 
> or less. Happy to go into more detail. Tom's kit is pricey (but pays 
> for itself both in money spent on reeds, as well as in player 
> satisfaction... "priceless") One can easily make sanding blocks of the 
> sort he uses. His method should be a basic article of instruction for 
> single-reed players... Maybe it is already.
>
> Barry Levine
>
>
>
>
>
> On 6/2/2015 6:57 AM, ROSS SMITH ross.smith@... [MouthpieceWork] 
> wrote:
>> Can anyone point me towards a single reed adjusting group ?
>>
>> I've read the Ray Reed and Larry Teal books, and currently interested 
>> in corner shape at the tip.
>> Thanks.
>> Ross
>>
>>     ------------------------------------------------------------------------
>>     **
>>
>
> 

The only think Ridenour does not deal with is the flat side of the reed, which is where the Reed Geek  comes in.  At this stage I am more likely to give up on a reed if the flat side is greatly warped than if it needs adjustment on the  vamp side.. Soaking the reed and then trying to get the  warp out is always worth a try but the reed often returns to it's warped shape once it dries again.
  The other issue not covered is the window  bump that forms on the flat part from swelling while on the mouthpiece. Years ago i attended a talk by the late Reginald Kell, famous player and the guy who taught Benny Goodman  double lip. He said that once on his mouthpiece he never took  a reed off until  he decided it was dead and then he just got a new one out.  Peter

Thanks BarryI'm an intermediate serious amateur that's been at it for fifty plus years, getting most ideas from Larry Teal and Ray Reed.I play tenor and clarinet, but have far more problems with tenor reeds.Mojo has worked on both of the mouthpieces, and that improved things overall.
But when trying to increase the rattle in an already decent reed, I'm wondering what effect the corner tip radius might have, as well as the overall width of the blade.I thought removing material from the most active area should make it quicker to respond, but I've spoiled as many as I've helped.
I don't have the spirit to start a group, but would contribute if one existed.Thanks.Ross




 
      From: "Barry Levine barrylevine@... [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
 To: MouthpieceWork@yahoogroups.com 
 Sent: Tuesday, June 2, 2015 5:44 PM
 Subject: Re: [MouthpieceWork] A little off topic.... Reeds
   
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 AFAIK, there isn't a single reed group. There ought to be.
 Reeds really are a bete noir, unless one has by some chance found a perfect match of reed and mouthpiece. 
 
 I actually set up a single reed group on Yahoo in a brief fit of ambition, but then never did the work to get it started, and they shut it down due to inactivity. But there's a lot to discuss.  Care to start a single reed group?
 
 The Ridenour method works pretty well, that is, his method of balancing the L & R side of reeds, and adjusting using a cushioned sanding block w fine paper, and sanding from tip to front, and at an angle across the harder reed corner towards the opposite corner, more or less. Happy to go into more detail. Tom's kit is pricey (but pays for itself both in money spent on reeds, as well as in player satisfaction... "priceless") One can easily make sanding blocks of the sort he uses. His method should be a basic article of instruction for single-reed players... Maybe it  is already.
 
 Barry Levine
 
 
 
 
 
 On 6/2/2015 6:57 AM, ROSS SMITH ross.smith@... [MouthpieceWork] wrote:
  
     Can anyone point me towards a single reed adjusting group ?
  
  I've read the Ray Reed and Larry Teal books, and currently interested in corner shape at the tip. Thanks. Ross
   
 
    
    
   
 
 



   

There seems to be only a couple of areas on the top of the  reed that can be safely scraped without destroying it and I think Ridenour  has that down pretty well.. he mostly emphasizes how the reed  balances the sound from one side to the other.  The trouble with working on the tip corners is that they are already so thin that they often get broken off with the least scraping. Sometimes it looks like I have gotten it right and then just in playing the reed I notice a tip will break  off. They usually work just as well, unless they don't quite cover the rails on the mouthpiece, but I always worry about such reeds, thinking they might cause problems.  Peter

With Tom's kit, you are not just paying for the simple tools and video.  You are 
paying, in part, for the knowledge he imparts to you, and the method he teaches 
you on the video.

An aside, I know Tom, have talked to him face to face, via email, many times.

What Tom does is test for the four things a reed must do.  A reed must:

(1) Play high notes,

(2) Play low notes, 

If it can do that, it can do the notes in between.

(3) Play loudly, and finally, 

(4) Play softly.

If it can do that, it can do the volume levels in between.

That's all the reed must do.  He teaches you specific playing tests to test for 
those things, and teaches you how to correct them.

Yes, side to side balance is part of that.  He teaches you how to play and 
test for that, and how to correct.

The sanding method he teaches is so simple he does not even have to look 
at the reed in order to do it.  I have seen him correct a reed while looking 
me in the eye telling me how to do it.

Paul C.

I've worked with Tom's method for some years now, and found it very 
valuable, but also lacking in certain areas, for example adjusting a 
reed to get a desired tonal response (the Larry Teal chart is  useful 
here). If that information is in Tom's video or book, maybe I missed it.

What has proved very useful to me is a Perfectareed gauge - It's a much 
faster method of locating and dealing with more reed asymmetries, 
especially on synthetic reeds, which are more resistant to sanding. I 
used Tom's method on Fibracells for some years - it worked, but it was 
slow going.



On 6/2/2015 8:20 PM, tenorman1952@... [MouthpieceWork] wrote:
>
> With Tom's kit, you are not just paying for the simple tools and 
> video.  You are
> paying, in part, for the knowledge he imparts to you, and the method 
> he teaches
> you on the video.
>
> An aside, I know Tom, have talked to him face to face, via email, many 
> times.
>
> What Tom does is test for the four things a reed must do. A reed must:
>
> (1) Play high notes,
>
> (2) Play low notes,
>
> If it can do that, it can do the notes in between.
>
> (3) Play loudly, and finally,
>
> (4) Play softly.
>
> If it can do that, it can do the volume levels in between.
>
> That's all the reed must do.  He teaches you specific playing tests to 
> test for
> those things, and teaches you how to correct them.
>
> Yes, side to side balance is part of that.  He teaches you how to play 
> and
> test for that, and how to correct.
>
> The sanding method he teaches is so simple he does not even have to look
> at the reed i n order to do it.  I have seen him correct a reed while 
> looking
> me in the eye telling me how to do it.
>
> Paul C.
>
> 

.incandescent light bulb? What's that? ;-) 

They're still avaijlable. We should all store up  on a few to fix future mouthpiece dings. I'm sure it would work and, until very recently there was always one at hand.

Taking a little off the bottom front 1/3 or 1/4 of the shaped part of 
the reed by stroking it on sandpaper (stroking away from the tip) 
usually gives a reed a bit more "rattle" in my experience, brightens it. 
That's assuming that the reed is otherwise symmetrical, balanced.  
Especially true when a reed has been clipped.

Balancing the resistance of the reed corners a la Ridenour may be all 
that's necessary, though. Using fine sandpaper as he does, the amounts 
taken off are rather small. Basically, one rotates the mouthpiece on the 
instrument a bit to either side in one's mouth so that one edge of the 
reed is dampened, and pops out a note. He suggests doing this with a 
double-lip embouchure. One can feel if there's a difference in response 
between the 2 reed corners. Take down the harder corner a wee bit, test 
play, check the balance if not satisfied, repeat.

Another way for more reed buzz is to add a baffle insert.

Some synthetic reeds are more buzzy than cane. I find they are also more 
efficient sound producers than cane, especially the Hartman and (if you 
can get them) Hahn reeds.  And far more durable.

I'm speaking of tenor and alto reeds here for jazz/pop/blues style 
playing, not "legit."



On 6/2/2015 6:25 PM, ROSS SMITH ross.smith@... [MouthpieceWork] 
wrote:
> Thanks Barry
> I'm an intermediate serious amateur that's been at it for fifty plus 
> years, getting most ideas from Larry Teal and Ray Reed.
> I play tenor and clarinet, but have far more problems with tenor reeds.
> Mojo has worked on both of the mouthpieces, and that improved things 
> overall.
>
> But when trying to increase the rattle in an already decent reed, I'm 
> wondering what effect the corner tip radius might have, as well as the 
> overall width of the blade.
> I thought removing material from the most active area should make it 
> quicker to respond, but I've spoiled as many as I've helped.
>
> I don't have the spirit to start a group, but would contribute if one 
> existed.
> Thanks.
> Ross
>
>
>
>
>     ------------------------------------------------------------------------
>     *From:* "Barry Levine barrylevine@...
>     [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
>     *To:* MouthpieceWork@yahoogroups.com
>     *Sent:* Tuesday, June 2, 2015 5:44 PM
>     *Subject:* Re: [MouthpieceWork] A little off topic.... Reeds
>
>
>
>     AFAIK, there isn't a single reed group. There ought to be.
>     Reeds really are a bete noir, unless one has by some chance found
>     a perfect match of reed and mouthpiece.
>
>     I actually set up a single reed group on Yahoo in a brief fit of
>     ambition, but then never did the work to get it started, and they
>     shut it down due to inactivity. But there's a lot to discuss. 
>     Care to start a single reed group?
>
>     The Ridenour method works pretty well, that is, his method of
>     balancing the L & R side of reeds, and adjusting using a cushioned
>     sanding block w fine paper, and sanding from tip to front, and at
>     an angle across the harder reed corner towards the opposite
>     corner, more or less. Happy to go into more detail. Tom's kit is
>     pricey (but pays for itself both in money spent on reeds, as well
>     as in player satisfaction... "priceless") One can easily make
>     sanding blocks of the sort he uses. His method should be a basic
>     article of instruction for single-reed players... Maybe it is already.
>
>     Barry Levine
>
>
>
>
>
>     On 6/2/2015 6:57 AM, ROSS SMITH ross.smith@...
>     <mailto:ross.smith@...> [MouthpieceWork] wrote:
>>     Can anyone point me towards a single reed adjusting group ?
>>
>>     I've read the Ray Reed and Larry Teal books, and currently
>>     interested in corner shape at the tip.
>>     Thanks.
>>     Ross
>>
>>         ------------------------------------------------------------------------
>>         **
>>
>

I experiment with the range that Vandoren produce. On the basis that they have very accurate machines producing hopefully consistent profiles, their Java (red & green), V12, V16, ZZ along with their "Traditional" reeds in every half strength gives a range of profiles which I've only just lightly sampled!  

 I like Trad 2.5, Java red 2.5 - 3 and V16 2.5 depending on the mouthpiece. They seem remarkably consistent across the ranges but I do have a couple of very dark cane trad 2.5s which I've labelled "Hard" 'cos they play like 3s at least. The dark cane really stands out visually and I assume is the reason for this.

Thanks Barry and others

Those have been pretty much the methods I've been using to improve rattle / response.I put most effort into my rock and roll piece which is a jumbo java that already has a huge baffle and a .105 tip.

I will try your double lip suggestion for testing, I've tried using it to play, but couldn't get used to it.
Ray Reed suggests thinning a small area at the centre tip, but doesn't say what change it should produce.What would you expect the difference to be ?I've tried it on many reeds but didn't notice an obvious change.
As for reeds themselves, the vandoren java's are far more expensive, but have far smaller machining marks.Many of the others were pretty crudely made by comparison.Ross



      From: "Barry Levine barrylevine@... [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
 To: MouthpieceWork@yahoogroups.com 
 Sent: Wednesday, June 3, 2015 8:29 AM
 Subject: Re: [MouthpieceWork] A little off topic.... Reeds
   
Taking a little off the bottom front 1/3 or 1/4 of the shaped part of 
the reed by stroking it on sandpaper (stroking away from the tip) 
usually gives a reed a bit more "rattle" in my experience, brightens it. 
That's assuming that the reed is otherwise symmetrical, balanced.  
Especially true when a reed has been clipped.

Balancing the resistance of the reed corners a la Ridenour may be all 
that's necessary, though. Using fine sandpaper as he does, the amounts 
taken off are rather small. Basically, one rotates the mouthpiece on the 
instrument a bit to either side in one's mouth so that one edge of the 
reed is dampened, and pops out a note. He suggests doing this with a 
double-lip embouchure. One can feel if there's a difference in response 
between the 2 reed corners. Take down the harder corner a wee bit, test 
play, check the balance if not satisfied, repeat.

Another way for more reed buzz is to add a baffle insert.

Some synthetic reeds are more buzzy than cane. I find they are also more 
efficient sound producers than cane, especially the Hartman and (if you 
can get them) Hahn reeds.  And far more durable.

I'm speaking of tenor and alto reeds here for jazz/pop/blues style 
playing, not "legit."



On 6/2/2015 6:25 PM, ROSS SMITH ross.smith@... [MouthpieceWork] 
wrote:
> Thanks Barry
> I'm an intermediate serious amateur that's been at it for fifty plus 
> years, getting most ideas from Larry Teal and Ray Reed.
> I play tenor and clarinet, but have far more problems with tenor reeds.
> Mojo has worked on both of the mouthpieces, and that improved things 
> overall.
>
> But when trying to increase the rattle in an already decent reed, I'm 
> wondering what effect the corner tip radius might have, as well as the 
> overall width of the blade.
> I thought removing material from the most active area should make it 
> quicker to respond, but I've spoiled as many as I've helped.
>
> I don't have the spirit to start a group, but would contribute if one 
> existed.
> Thanks.
> Ross
>
>
>
>
>    ------------------------------------------------------------------------
>    *From:* "Barry Levine barrylevine@...
>    [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
>    *To:* MouthpieceWork@yahoogroups.com
>    *Sent:* Tuesday, June 2, 2015 5:44 PM
>    *Subject:* Re: [MouthpieceWork] A little off topic.... Reeds
>
>
>
>    AFAIK, there isn't a single reed group. There ought to be.
>    Reeds really are a bete noir, unless one has by some chance found
>    a perfect match of reed and mouthpiece.
>
>    I actually set up a single reed group on Yahoo in a brief fit of
>    ambition, but then never did the work to get it started, and they
>    shut it down due to inactivity. But there's a lot to discuss. 
>    Care to start a single reed group?
>
>    The Ridenour method works pretty well, that is, his method of
>    balancing the L & R side of reeds, and adjusting using a cushioned
>    sanding block w fine paper, and sanding from tip to front, and at
>    an angle across the harder reed corner towards the opposite
>    corner, more or less. Happy to go into more detail. Tom's kit is
>    pricey (but pays for itself both in money spent on reeds, as well
>    as in player satisfaction... "priceless") One can easily make
>    sanding blocks of the sort he uses. His method should be a basic
>    article of instruction for single-reed players... Maybe it is already.
>
>    Barry Levine
>
>
>
>
>
>    On 6/2/2015 6:57 AM, ROSS SMITH ross.smith@...
>    <mailto:ross.smith@...> [MouthpieceWork] wrote:
>>    Can anyone point me towards a single reed adjusting group ?
>>
>>    I've read the Ray Reed and Larry Teal books, and currently
>>    interested in corner shape at the tip.
>>    Thanks.
>>    Ross
>>
>>        ------------------------------------------------------------------------
>>        **
>>
>



------------------------------------
Posted by: Barry Levine <barrylevine@...>
------------------------------------

Got a Mouthpiece Work question?  Send it to MouthpieceWork@yahoogroups.com

Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see the Files, Photos and Bookmarks relating to Mouthpiece Work.

To see and modify your groups, go to http://groups.yahoo.com/mygroups
------------------------------------

Yahoo Groups Links


    http://groups.yahoo.com/group/MouthpieceWork/





   

>> Ray Reed suggests thinning a small area at the centre tip,

In general, thinner sides of a reed make a darker sound and thinner center
make a brighter sound. 

That is why the old Rico (flat cut) reeds were brighter than the Vandorens
(round cut with stronger center).

Today, most reed brands have many different cuts but the results are the
same.

KenL 

 

 

From: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com]

Sent: Wednesday, June 03, 2015 9:40 AM
To: MouthpieceWork@yahoogroups.com
Subject: Re: [MouthpieceWork] A little off topic.... Reeds

 

  

Thanks Barry and others

 

Those have been pretty much the methods I've been using to improve rattle /
response.

I put most effort into my rock and roll piece which is a jumbo java that
already has a huge baffle and a .105 tip.

 

I will try your double lip suggestion for testing, I've tried using it to
play, but couldn't get used to it.

 

Ray Reed suggests thinning a small area at the centre tip, but doesn't say
what change it should produce.

What would you expect the difference to be ?

I've tried it on many reeds but didn't notice an obvious change.

 

As for reeds themselves, the vandoren java's are far more expensive, but
have far smaller machining marks.

Many of the others were pretty crudely made by comparison.

Ross

 





  _____  

From: "Barry Levine barrylevine@... [MouthpieceWork]"
<MouthpieceWork@yahoogroups.com>
To: MouthpieceWork@yahoogroups.com 
Sent: Wednesday, June 3, 2015 8:29 AM
Subject: Re: [MouthpieceWork] A little off topic.... Reeds


Taking a little off the bottom front 1/3 or 1/4 of the shaped part of 
the reed by stroking it on sandpaper (stroking away from the tip) 
usually gives a reed a bit more "rattle" in my experience, brightens it. 
That's assuming that the reed is otherwise symmetrical, balanced.  
Especially true when a reed has been clipped.

Balancing the resistance of the reed corners a la Ridenour may be all 
that's necessary, though. Using fine sandpaper as he does, the amounts 
taken off are rather small. Basically, one rotates the mouthpiece on the 
instrument a bit to either side in one's mouth so that one edge of the 
reed is dampened, and pops out a note. He suggests doing this with a 
double-lip embouchure. One can feel if there's a difference in response 
between the 2 reed corners. Take down the harder corner a wee bit, test 
play, check the balance if not satisfied, repeat.

Another way for more reed buzz is to add a baffle insert.

Some synthetic reeds are more buzzy than cane. I find they are also more 
efficient sound producers than cane, especially the Hartman and (if you 
can get them) Hahn reeds.  And far more durable.

I'm speaking of tenor and alto reeds here for jazz/pop/blues style 
playing, not "legit."



On 6/2/2015 6:25 PM, ROSS SMITH ross.smith@... [MouthpieceWork] 
wrote:
> Thanks Barry
> I'm an intermediate serious amateur that's been at it for fifty plus 
> years, getting most ideas from Larry Teal and Ray Reed.
> I play tenor and clarinet, but have far more problems with tenor reeds.
> Mojo has worked on both of the mouthpieces, and that improved things 
> overall.
>
> But when trying to increase the rattle in an already decent reed, I'm 
> wondering what effect the corner tip radius might have, as well as the 
> overall width of the blade.
> I thought removing material from the most active area should make it 
> quicker to respond, but I've spoiled as many as I've helped.
>
> I don't have the spirit to start a group, but would contribute if one 
> existed.
> Thanks.
> Ross
>
>
>
>
>
------------------------------------------------------------------------
>    *From:* "Barry Levine barrylevine@...
>    [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
>    *To:* MouthpieceWork@yahoogroups.com
>    *Sent:* Tuesday, June 2, 2015 5:44 PM
>    *Subject:* Re: [MouthpieceWork] A little off topic.... Reeds
>
>
>
>    AFAIK, there isn't a single reed group. There ought to be.
>    Reeds really are a bete noir, unless one has by some chance found
>    a perfect match of reed and mouthpiece.
>
>    I actually set up a single reed group on Yahoo in a brief fit of
>    ambition, but then never did the work to get it started, and they
>    shut it down due to inactivity. But there's a lot to discuss. 
>    Care to start a single reed group?
>
>    The Ridenour method works pretty well, that is, his method of
>    balancing the L & R side of reeds, and adjusting using a cushioned
>    sanding block w fine paper, and sanding from tip to front, and at
>    an angle across the harder reed corner towards the opposite
>    corner, more or less. Happy to go into more detail. Tom's kit is
>    pricey (but pays for itself both in money spent on reeds, as well
>    as in player satisfaction... "priceless") One can easily make
>    sanding blocks of the sort he uses. His method should be a basic
>    article of instruction for single-reed players... Maybe it is already.
>
>    Barry Levine
>
>
>
>
>
>    On 6/2/2015 6:57 AM, ROSS SMITH ross.smith@...
>    <mailto:ross.smith@...> [MouthpieceWork] wrote:
>>    Can anyone point me towards a single reed adjusting group ?
>>
>>    I've read the Ray Reed and Larry Teal books, and currently
>>    interested in corner shape at the tip.
>>    Thanks.
>>    Ross
>>
>>
------------------------------------------------------------------------
>>        **
>>
>



------------------------------------
Posted by: Barry Levine <barrylevine@...>
------------------------------------

Got a Mouthpiece Work question?  Send it to MouthpieceWork@yahoogroups.com

Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see the
Files, Photos and Bookmarks relating to Mouthpiece Work.

To see and modify your groups, go to http://groups.yahoo.com/mygroups
------------------------------------

Yahoo Groups Links

 


    http://groups.yahoo.com/group/MouthpieceWork/





 

 

Thank you so much Ken, brighter is where I'd like to be, and I've been adjusting for the opposite.Ross

 
      From: "'Ken Lagace' kenlphotos@verizon.net [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
 To: MouthpieceWork@yahoogroups.com 
 Sent: Wednesday, June 3, 2015 9:53 AM
 Subject: RE: [MouthpieceWork] A little off topic.... Reeds
   
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>> Ray Reed suggests thinning a small area at the centre tip,In general, thinner sides of a reed make a darker sound and thinner center make a brighter sound. That is why the old Rico (flat cut) reeds were brighter than the Vandorens (round cut with stronger center).Today, most reed brands have many different cuts but the results are the same.KenL     From: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com] 
Sent: Wednesday, June 03, 2015 9:40 AM
To: MouthpieceWork@yahoogroups.com
Subject: Re: [MouthpieceWork] A little off topic.... Reeds    Thanks Barry and others  Those have been pretty much the methods I've been using to improve rattle / response.I put most effort into my rock and roll piece which is a jumbo java that already has a huge baffle and a .105 tip.  I will try your double lip suggestion for testing, I've tried using it to play, but couldn't get used to it.  Ray Reed suggests thinning a small area at the centre tip, but doesn't say what change it should produce.What would you expect the difference to be ?I've tried it on many reeds but didn't notice an obvious change.  As for reeds themselves, the vandoren java's are far more expensive, but have far smaller machining marks.Many of the others were pretty crudely made by comparison.Ross  

From: "Barry Levine barrylevine@... [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
To: MouthpieceWork@yahoogroups.com 
Sent: Wednesday, June 3, 2015 8:29 AM
Subject: Re: [MouthpieceWork] A little off topic.... Reeds
Taking a little off the bottom front 1/3 or 1/4 of the shaped part of 
the reed by stroking it on sandpaper (stroking away from the tip) 
usually gives a reed a bit more "rattle" in my experience, brightens it. 
That's assuming that the reed is otherwise symmetrical, balanced.  
Especially true when a reed has been clipped.

Balancing the resistance of the reed corners a la Ridenour may be all 
that's necessary, though. Using fine sandpaper as he does, the amounts 
taken off are rather small. Basically, one rotates the mouthpiece on the 
instrument a bit to either side in one's mouth so that one edge of the 
reed is dampened, and pops out a note. He suggests doing this with a 
double-lip embouchure. One can feel if there's a difference in response 
between the 2 reed corners. Take down the harder corner a wee bit, test 
play, check the balance if not satisfied, repeat.

Another way for more reed buzz is to add a baffle insert.

Some synthetic reeds are more buzzy than cane. I find they are also more 
efficient sound producers than cane, especially the Hartman and (if you 
can get them) Hahn reeds.  And far more durable.

I'm speaking of tenor and alto reeds here for jazz/pop/blues style 
playing, not "legit."



On 6/2/2015 6:25 PM, ROSS SMITH ross.smith@... [MouthpieceWork] 
wrote:
> Thanks Barry
> I'm an intermediate serious amateur that's been at it for fifty plus 
> years, getting most ideas from Larry Teal and Ray Reed.
> I play tenor and clarinet, but have far more problems with tenor reeds.
> Mojo has worked on both of the mouthpieces, and that improved things 
> overall.
>
> But when trying to increase the rattle in an already decent reed, I'm 
> wondering what effect the corner tip radius might have, as well as the 
> overall width of the blade.
> I thought removing material from the most active area should make it 
> quicker to respond, but I've spoiled as many as I've helped.
>
> I don't have the spirit to start a group, but would contribute if one 
> existed.
> Thanks.
> Ross
>
>
>
>
>    ------------------------------------------------------------------------
>    *From:* "Barry Levine barrylevine@...
>    [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
>    *To:* MouthpieceWork@yahoogroups.com
>    *Sent:* Tuesday, June 2, 2015 5:44 PM
>    *Subject:* Re: [MouthpieceWork] A little off topic.... Reeds
>
>
>
>    AFAIK, there isn't a single reed group. There ought to be.
>    Reeds really are a bete noir, unless one has by some chance found
>    a perfect match of reed and mouthpiece.
>
>    I actually set up a single reed group on Yahoo in a brief fit of
>    ambition, but then never did the work to get it started, and they
>    shut it down due to inactivity. But there's a lot to discuss. 
>    Care to start a single reed group?
>
>    The Ridenour method works pretty well, that is, his method of
>    balancing the L & R side of reeds, and adjusting using a cushioned
>    sanding block w fine paper, and sanding from tip to front, and at
>    an angle across the harder reed corner towards the opposite
>    corner, more or less. Happy to go into more detail. Tom's kit is
>    pricey (but pays for itself both in money spent on reeds, as well
>    as in player satisfaction... "priceless") One can easily make
>    sanding blocks of the sort he uses. His method should be a basic
>    article of instruction for single-reed players... Maybe it is already.
>
>    Barry Levine
>
>
>
>
>
>    On 6/2/2015 6:57 AM, ROSS SMITH ross.smith@...
>    <mailto:ross.smith@...> [MouthpieceWork] wrote:
>>    Can anyone point me towards a single reed adjusting group ?
>>
>>    I've read the Ray Reed and Larry Teal books, and currently
>>    interested in corner shape at the tip.
>>    Thanks.
>>    Ross
>>
>>        ------------------------------------------------------------------------
>>        **
>>
>



------------------------------------
Posted by: Barry Levine <barrylevine@norwoodlight.com>
------------------------------------

Got a Mouthpiece Work question?  Send it to MouthpieceWork@yahoogroups.com

Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see the Files, Photos and Bookmarks relating to Mouthpiece Work.

To see and modify your groups, go to http://groups.yahoo.com/mygroups
------------------------------------

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I am not sure mechanically what is going on but a guess is that the weak
center is hitting the tip first and the sides slap against the edges of the
tip whereas the strong tip is letting the edges down 1st to 'slide' open
before the tip closes. It would be interesting to get a slo-mo video of what
is going on.

 

From: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com]

Sent: Wednesday, June 03, 2015 10:22 AM
To: MouthpieceWork@yahoogroups.com
Subject: Re: [MouthpieceWork] A little off topic.... Reeds

 

  

Thank you so much Ken, brighter is where I'd like to be, and I've been
adjusting for the opposite.

Ross





  _____  

From: "'Ken Lagace' kenlphotos@... [MouthpieceWork]"
<MouthpieceWork@yahoogroups.com>
To: MouthpieceWork@yahoogroups.com 
Sent: Wednesday, June 3, 2015 9:53 AM
Subject: RE: [MouthpieceWork] A little off topic.... Reeds

 

 

>> Ray Reed suggests thinning a small area at the centre tip,

In general, thinner sides of a reed make a darker sound and thinner center
make a brighter sound. 

That is why the old Rico (flat cut) reeds were brighter than the Vandorens
(round cut with stronger center).

Today, most reed brands have many different cuts but the results are the
same.

KenL 

 

 

From: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com]

Sent: Wednesday, June 03, 2015 9:40 AM
To: MouthpieceWork@yahoogroups.com
Subject: Re: [MouthpieceWork] A little off topic.... Reeds

 

  

Thanks Barry and others

 

Those have been pretty much the methods I've been using to improve rattle /
response.

I put most effort into my rock and roll piece which is a jumbo java that
already has a huge baffle and a .105 tip.

 

I will try your double lip suggestion for testing, I've tried using it to
play, but couldn't get used to it.

 

Ray Reed suggests thinning a small area at the centre tip, but doesn't say
what change it should produce.

What would you expect the difference to be ?

I've tried it on many reeds but didn't notice an obvious change.

 

As for reeds themselves, the vandoren java's are far more expensive, but
have far smaller machining marks.

Many of the others were pretty crudely made by comparison.

Ross

 

 

  _____  

From: "Barry Levine barrylevine@... [MouthpieceWork]"
<MouthpieceWork@yahoogroups.com>
To: MouthpieceWork@yahoogroups.com 
Sent: Wednesday, June 3, 2015 8:29 AM
Subject: Re: [MouthpieceWork] A little off topic.... Reeds


Taking a little off the bottom front 1/3 or 1/4 of the shaped part of 
the reed by stroking it on sandpaper (stroking away from the tip) 
usually gives a reed a bit more "rattle" in my experience, brightens it. 
That's assuming that the reed is otherwise symmetrical, balanced.  
Especially true when a reed has been clipped.

Balancing the resistance of the reed corners a la Ridenour may be all 
that's necessary, though. Using fine sandpaper as he does, the amounts 
taken off are rather small. Basically, one rotates the mouthpiece on the 
instrument a bit to either side in one's mouth so that one edge of the 
reed is dampened, and pops out a note. He suggests doing this with a 
double-lip embouchure. One can feel if there's a difference in response 
between the 2 reed corners. Take down the harder corner a wee bit, test 
play, check the balance if not satisfied, repeat.

Another way for more reed buzz is to add a baffle insert.

Some synthetic reeds are more buzzy than cane. I find they are also more 
efficient sound producers than cane, especially the Hartman and (if you 
can get them) Hahn reeds.  And far more durable.

I'm speaking of tenor and alto reeds here for jazz/pop/blues style 
playing, not "legit."



On 6/2/2015 6:25 PM, ROSS SMITH ross.smith@... [MouthpieceWork] 
wrote:
> Thanks Barry
> I'm an intermediate serious amateur that's been at it for fifty plus 
> years, getting most ideas from Larry Teal and Ray Reed.
> I play tenor and clarinet, but have far more problems with tenor reeds.
> Mojo has worked on both of the mouthpieces, and that improved things 
> overall.
>
> But when trying to increase the rattle in an already decent reed, I'm 
> wondering what effect the corner tip radius might have, as well as the 
> overall width of the blade.
> I thought removing material from the most active area should make it 
> quicker to respond, but I've spoiled as many as I've helped.
>
> I don't have the spirit to start a group, but would contribute if one 
> existed.
> Thanks.
> Ross
>
>
>
>
>
------------------------------------------------------------------------
>    *From:* "Barry Levine barrylevine@...
>    [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
>    *To:* MouthpieceWork@yahoogroups.com
>    *Sent:* Tuesday, June 2, 2015 5:44 PM
>    *Subject:* Re: [MouthpieceWork] A little off topic.... Reeds
>
>
>
>    AFAIK, there isn't a single reed group. There ought to be.
>    Reeds really are a bete noir, unless one has by some chance found
>    a perfect match of reed and mouthpiece.
>
>    I actually set up a single reed group on Yahoo in a brief fit of
>    ambition, but then never did the work to get it started, and they
>    shut it down due to inactivity. But there's a lot to discuss. 
>    Care to start a single reed group?
>
>    The Ridenour method works pretty well, that is, his method of
>    balancing the L & R side of reeds, and adjusting using a cushioned
>    sanding block w fine paper, and sanding from tip to front, and at
>    an angle across the harder reed corner towards the opposite
>    corner, more or less. Happy to go into more detail. Tom's kit is
>    pricey (but pays for itself both in money spent on reeds, as well
>    as in player satisfaction... "priceless") One can easily make
>    sanding blocks of the sort he uses. His method should be a basic
>    article of instruction for single-reed players... Maybe it is already.
>
>    Barry Levine
>
>
>
>
>
>    On 6/2/2015 6:57 AM, ROSS SMITH ross.smith@...
>    <mailto:ross.smith@...> [MouthpieceWork] wrote:
>>    Can anyone point me towards a single reed adjusting group ?
>>
>>    I've read the Ray Reed and Larry Teal books, and currently
>>    interested in corner shape at the tip.
>>    Thanks.
>>    Ross
>>
>>
------------------------------------------------------------------------
>>        **
>>
>



------------------------------------
Posted by: Barry Levine <barrylevine@...>
------------------------------------

Got a Mouthpiece Work question?  Send it to MouthpieceWork@yahoogroups.com

Visit the site at http://groups.yahoo.com/group/MouthpieceWork to see the
Files, Photos and Bookmarks relating to Mouthpiece Work.

To see and modify your groups, go to http://groups.yahoo.com/mygroups
------------------------------------

Yahoo Groups Links

 


    http://groups.yahoo.com/group/MouthpieceWork/





 

 

 

 

Actually this is not off topic as I find it is a combination of the
mouthpiece, reed, and ligature that makes the sound producing trilogy. The
reed becomes half of the tone generating system. I have used Tom's method
for many years plus the use of a good knife. To shape the reed to the facing
is imperative in my opinion. We can make the mouthpieces but the players are
then required to become reed EXPERTS. The reed companies, if the cane is
good, come close but they can't make the final cuts, only the musician can.

 

Mike Vaccaro

 

I'd like to add - there is actually a sound producing quadrilogy - the air
is number four. At least on clarinet, the type of air you send into the
mouthpiece has a lot to do with the sound production. 

I never played the saxes well enough to know if it makes a difference.

 

 

From: MouthpieceWork@yahoogroups.com [mailto:MouthpieceWork@yahoogroups.com]

Sent: Wednesday, June 03, 2015 11:16 AM
To: MouthpieceWork@yahoogroups.com
Subject: [MouthpieceWork] Re: A little off topic.... Reeds

 

  

Actually this is not off topic as I find it is a combination of the
mouthpiece, reed, and ligature that makes the sound producing trilogy. The
reed becomes half of the tone generating system. I have used Tom's method
for many years plus the use of a good knife. To shape the reed to the facing
is imperative in my opinion. We can make the mouthpieces but the players are
then required to become reed EXPERTS. The reed companies, if the cane is
good, come close but they can't make the final cuts, only the musician can.

 

Mike Vaccaro

 

I agree completely Mike, but you've raised another topic, "ligatures"I've never been able to feel / tell a difference between cloth and metal.

Also is there an opinion on how tight the reed should be held ?I can get a seal with the lig. very loose, but have a problem with loose reeds moving when you have to adjust tuning.For that reason I've gone back to firmer lig. tensions.Any thoughts ?

 
      From: "mike@... [MouthpieceWork]" <MouthpieceWork@yahoogroups.com>
 To: MouthpieceWork@yahoogroups.com 
 Sent: Wednesday, June 3, 2015 11:15 AM
 Subject: [MouthpieceWork] Re: A little off topic.... Reeds
   
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Actually this is not off topic as I find it is a combination of the mouthpiece, reed, and ligature that makes the sound producing trilogy. The reed becomes half of the tone generating system. I have used Tom’s method for many years plus the use of a good knife. To shape the reed to the facing is imperative in my opinion. We can make the mouthpieces but the players are then required to become reed EXPERTS. The reed companies, if the cane is good, come close but they can’t make the final cuts, only the musician can.  Mike Vaccaro   



   

Thanks for the warnings/suggestions everyone! I decided not to do anything to it, but Il keep it so that I might be able to reface it in the future when I'm much more experienced.  


     On Wednesday, 3 June 2015 5:51 PM, "pfdeley@... [MouthpieceWork]" <MouthpieceWork@yahoogroups.com> wrote:
   

     They're still avaijlable. We should all store up  on a few to fix future mouthpiece dings. I'm sure it would work and, until very recently there was always one at hand.  #yiv8868340596 #yiv8868340596 -- #yiv8868340596ygrp-mkp {border:1px solid #d8d8d8;font-family:Arial;margin:10px 0;padding:0 10px;}#yiv8868340596 #yiv8868340596ygrp-mkp hr {border:1px solid #d8d8d8;}#yiv8868340596 #yiv8868340596ygrp-mkp #yiv8868340596hd {color:#628c2a;font-size:85%;font-weight:700;line-height:122%;margin:10px 0;}#yiv8868340596 #yiv8868340596ygrp-mkp #yiv8868340596ads {margin-bottom:10px;}#yiv8868340596 #yiv8868340596ygrp-mkp .yiv8868340596ad {padding:0 0;}#yiv8868340596 #yiv8868340596ygrp-mkp .yiv8868340596ad p {margin:0;}#yiv8868340596 #yiv8868340596ygrp-mkp .yiv8868340596ad a {color:#0000ff;text-decoration:none;}#yiv8868340596 #yiv8868340596ygrp-sponsor #yiv8868340596ygrp-lc {font-family:Arial;}#yiv8868340596 #yiv8868340596ygrp-sponsor #yiv8868340596ygrp-lc #yiv8868340596hd {margin:10px 0px;font-weight:700;font-size:78%;line-height:122%;}#yiv8868340596 #yiv8868340596ygrp-sponsor 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