Parents of young clarinetists and saxophonists soon become familiar with the expense and frustration of choosing reeds for their children. This guide is designed to take some of the mystery out of buying reeds -- for parents, students, and adults rediscovering music.
Most of the cane used in the manufacture of reeds is grown in the "VAR" region of Southern France. The cane grows in tall stalks, is harvested, bundled, and aged for up to three years. As with any naturally grown crop, there are good years and bad years. Temperature, rainfall, humidity, and sunshine all affect the cane while it is ripening and after it is cut.
Reed makers offer essentially two styles or "cuts" of reed. The first is the American or "jazz" cut reed. Examples of this style of reed include Rico, Rico Royal, LaVoz, and HMG. An American style reed is identified by a relatively thick tip and a low heart (see Parts of the Reed diagram). The other style of reed is the French or "classical" cut. Makers of this type include Vandoren, Mitchell Lurie, and Fred Hemke. A French style reed is recognized by a very thin tip and relatively high heart. Most beginners, young players, and many commercial and jazz players use the American cut reeds. Those whose activities are directed toward orchestral, chamber, and solo performance use the French style reeds. American cut reeds tend to be less expensive than the French reeds, and they are also very consistent from reed to reed. The French reeds have a pure, rich tone, but they can be somewhat inconsistent in quality and cut. Despite this, classical players invariably choose the French style reeds.
Reed strength is a measurement of the density and stiffness of the cane. Strength may be indicated by numbers, for example, 2½ or 3. The lower the number, the softer the reed. Reed strength may also be denoted by words, such as "medium soft" or "hard". Generally, younger or less experienced players use a softer reed than advanced players and professionals do. The following chart shows how reed strength works.
Please keep in mind that this is only a general guideline for reed strength. Strengths will vary from brand to brand -- for example, a Vandoren #3 clarinet reed plays harder than a Mitchell Lurie #3.
No matter what brand, cut, or strength of reed you choose, all reeds have a few things in common. They are very fragile and should be stored on a flat, rigid surface that gives protection to the thin tip. We recommend either ReedGard™ by LeBlanc or a Vandoren or Selmer reed case. The ReedGard™ is made of plastic and comes in two models that will hold two or four reeds. The Vandoren model completely covers the reeds and has a desiccant in the case to absorb extra moisture. Selmer makes a reed case that presses the reeds between a flat plate of glass and a cushion of velvet. All three models are sturdy and protect the tip of the reed. Some reed players wind rubber bands around a sheet of Plexiglas or rigid plastic, then slide the reeds (carefully!) under the bands. Whichever method you choose, it is an economically wise decision to protect your reeds. An investment now will save you money in the long run.
Cane, being a natural substance, will eventually wear out. Sugars in the saliva will cause the cellulose in the reed fibers to deteriorate. A reed may also wear out from simply vibrating against the mouthpiece. This often happens long before any damage occurs to the reed. There is no way to tell how many days or weeks a certain reed will last. There is a complex calculation to determine the number of hours of vibration time in which the reed will be at optimum performance, but that is beyond the scope of this guide. If your child (or you) have been playing on the same reed for two weeks, a new reed is needed, even if the one on which you or your child have been playing appears undamaged. Playing on a soft, worn out reed is detrimental to the development of good tone and accurate intonation. If your child rotates several reeds rather than playing only one until it is "dead", the reeds will last longer and your child will have the advantage of having several backup reeds in case one should break during a performance.
A reed will play more efficiently if it is soaked in water before playing (about two minutes for a new reed, less time for broken-in ones). Both butt and tip should be soaked. A shot glass or empty spice bottle makes a handy container to soak reeds. DO NOT use 35mm film canisters or old prescription drug bottles. The chemicals in the film and residue from medications remain in the container even after washing and will transfer to your reeds. We recommend soaking reeds in water because the sugars in saliva will break down the cellulose in cane. Although the reed will be exposed to saliva while playing, there is no need to hasten the deterioration process. The shot glass enables several reeds to be soaked at a time. In Arizona's dry climate, you may find it necessary to re-soak the reed during a rehearsal. This is fine, but take care not to over soak a reed -- when a reed takes on too much moisture it becomes waterlogged. A few minutes of soaking is sufficient.
Beginners and young players may skip this section. It is offered only as an introduction to more advanced players who want to get more out of their reeds. Those wishing more detailed information about working on reeds should consult their private instructor or band director.A reed will play more evenly if the back or "table" of the reed is absolutely flat. After soaking the reed (see above), take a piece of 400 or 600 grit wet/dry sandpaper and place it abrasive side up on a rigid, flat surface. Rub the flat portion (the table of the reed) a few strokes across the sandpaper, making sure to sand with the grain of the reed rather than across it. Avoid sanding the area behind the tip of the reed. It is only necessary to polish the portion of the reed that rests against the flat table of the mouthpiece. Rubbing in the area from the butt to a point about one inch below the tip of the reed is satisfactory.
A less demanding method of polishing uses plain white typing or computer paper. Be sure to use a high quality paper with a high linen rag content. The rougher texture of this paper polishes the reed more easily. Proceed with the polishing as if you were using the sandpaper. Because the typing paper is less abrasive than the sandpaper, you may polish the entire length of the reed, from butt to tip. When the back of the reed feels smooth and shiny, the polishing is complete.
- Before coming to the store to purchase reeds, know what brand and strength of reed you or your child are using. If you are unsure, ask the band director or private teacher to make a recommendation, or, if that is not possible, we would be happy to help.
- Store your reeds on a flat, rigid surface (see Reed Care, above). It keeps the reed flat, protects the fragile tip, and saves you money by lengthening the life of the reed.
- Be sure to soak the reed in water. A reed that is too dry will not play at optimum efficiency.
- Always have several reeds on hand ready to play, not just one. Use your reeds in rotation, on alternating days. This way, they may last longer.
- To save money, buy reeds by the box. It is usually 20% to 40% less expensive per reed to purchase reeds by the box rather than buying reeds individually. Also, the odds of getting an excellent reed or two are increased when you have an entire box to choose from. Sometimes with certain brands of reeds you might get even further discounts for multiple box purchases.
- Caution your students/children to avoid handling the tip of the reed. It is very fragile and easily damaged.
- Do not play on a reed that is cracked or chipped. It is difficult to develop a good tone on a damaged reed.
- Do not leave the reed on the mouthpiece after you have finished playing. As the reed dries, it will warp into the mouthpiece opening (window), and molds and fungi will grow on the reed. After playing, remove the reed from the mouthpiece, wipe it, and place in your form of reed protection.