I think I’ll stick with my natural reeds for now. I am still trying to master embouchure, air support, articulation. I’ll play with different types of reeds when I feel like I have solid control of those three factors.
I think that is a great plan! It is helpful to have a good understanding of how playing a bunch of cane reeds feels before branching out to figuring out which synthetic will work for you.
Wanted also to ask...do you have a procedure for moving a reed around on the mouthpiece to alter its playing characteristics? Perhaps drifting it off to one side slightly, moving it higher or lower to change the gap at the MP beak, etc etc? Maybe these changes are more critical with synthetic reeds.
A little bit. I have heard (and experienced) that the placement can be really finicky with the European cut, but have found the French cut to behave more similarly to a cane reed and be a bit more forgiving in this regard. The general rule is if you move the reed up it gets stiffer and if you move it down it gets softer, which I have found to generally be true with the French cut reeds. Moving side to side would affect the balance of the reed. In general I wouldn't recommend this for a synthetic reed since they are generally quite well balanced. However, if you know how to test reed balance you can give it a try!
That was particularly difficult for me on other brands as well, and has even been a bit of a struggle on Legere at times when going for the very high super altissimo notes. I do find on all brands though when you have the right strength at least up to altissimo E is quite smooth and responsive.
Great video, Josh! I bought a European Cut 3.75 in Dublin, which played beautifully then got really soft very fast. I tried bumping up to a 4.00, but this particular one felt on the harder side, so I softened it a bit, which ended up a little closer to what I like. I would love to get a "true" 3.75 each time, but like you say, it's a crap shoot.
Thanks Josh, hearing your observation of slightly thinner right side of reed for the 3.75s that you like ... Can you turn a 3.75H into a reed that you like by removing a little thickness (sanding/scraping) on that side? Intrigued to know if you've tried working on them.
I haven't tried working on them, and am a little nervous to mess up a $30 reed, but I might experiment with it a bit! I did try moving the reed off to the side a tiny bit, which should create the response of one side being softer, but that didn't really seem to help.
Thanks for creating such a valuable video, Josh! It strikes me that there is still too much non-value added hocus-pocus when it comes to reeds and mouthpieces, both. The lack of consistency is much more apparent with cane, as opposed to synthetic reeds, as you pointed out. It seems likely that a more highly reliable synthetic reed manufacturing process will evolve sooner than an improvement over Mother Nature in the fabrication of cane reeds. If so, cane reed production will soon be a thing of the past. May we live long enough to see standardized measures of mouthpiece performance across the multiplicity of manufacturers, too. Meanwhile, (at least some) artistic folks will continue to swim in a sea of ambiguity.
Yes, it does seem like things should be easier to standardize and control. But on the other there is so much variability within our anatomy from player to player and even within the same person from day to day that I imagine the ambiguity will never truly be solved. I do think synthetic reeds will likely overtake cane reeds within the next 10-20 years though!
My main takeaway from your video is that synthetic reeds have all the troubling uncertainty and variability of cane reeds...but they last longer! If I had unlimited $s and time, I would try lots of them from different brands and in different strengths, in combination with lots of different mouthpieces...and maybe find a winning combo? But otherwise, synthetic reeds seem to be a risky, expensive gamble, no better than cane reeds. I wish I had a good plan for exploring them more thoroughly!
That is a great summary! The one other big benefit is that they don't dry out and work better in cold or outdoor environments. I am really grateful that I have been able to try lots of strengths and different mouthpieces to find some great options. One way you could get a similar experience to that would be at a local clarinet day or the annual ClarinetFest where they have tons of mouthpieces and reeds to try.
Checking the price of fantastic Plastic in the USA, it is less than half that in Australia and then a legere signature costing over $200, All for Just One reed !!! for that price I would expect perfection and infinite livability sadly that does not seem the case and I have had friends say they do break down in less than six months. so at this stage, I dont think the value is there .
Definitely don't pay $200 for any reed! That is wild! I have a student who has ordered Legere reeds from AliExpress and actually had success with them being authentic and much more affordable. Definitely go for that at your own risk, but also if you are content with your current setup then don't fix what isn't broken.
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I think I’ll stick with my natural reeds for now. I am still trying to master embouchure, air support, articulation. I’ll play with different types of reeds when I feel like I have solid control of those three factors.
I think that is a great plan! It is helpful to have a good understanding of how playing a bunch of cane reeds feels before branching out to figuring out which synthetic will work for you.
Wanted also to ask...do you have a procedure for moving a reed around on the mouthpiece to alter its playing characteristics? Perhaps drifting it off to one side slightly, moving it higher or lower to change the gap at the MP beak, etc etc? Maybe these changes are more critical with synthetic reeds.
A little bit. I have heard (and experienced) that the placement can be really finicky with the European cut, but have found the French cut to behave more similarly to a cane reed and be a bit more forgiving in this regard.
The general rule is if you move the reed up it gets stiffer and if you move it down it gets softer, which I have found to generally be true with the French cut reeds. Moving side to side would affect the balance of the reed. In general I wouldn't recommend this for a synthetic reed since they are generally quite well balanced. However, if you know how to test reed balance you can give it a try!
My biggest problem with a synthetic reed is reaching high notes. I do like the easy playability otherwise
That was particularly difficult for me on other brands as well, and has even been a bit of a struggle on Legere at times when going for the very high super altissimo notes.
I do find on all brands though when you have the right strength at least up to altissimo E is quite smooth and responsive.
Great video, Josh! I bought a European Cut 3.75 in Dublin, which played beautifully then got really soft very fast. I tried bumping up to a 4.00, but this particular one felt on the harder side, so I softened it a bit, which ended up a little closer to what I like. I would love to get a "true" 3.75 each time, but like you say, it's a crap shoot.
Did you soften it by putting it in hot water? Did it make them better? I might need to experiment with that a bit.
@@QuickStartClarinet yes, dipped in boiling water for literally 3 seconds, which I feel helped ease of blowing.
Thanks Josh, hearing your observation of slightly thinner right side of reed for the 3.75s that you like ... Can you turn a 3.75H into a reed that you like by removing a little thickness (sanding/scraping) on that side? Intrigued to know if you've tried working on them.
I haven't tried working on them, and am a little nervous to mess up a $30 reed, but I might experiment with it a bit! I did try moving the reed off to the side a tiny bit, which should create the response of one side being softer, but that didn't really seem to help.
Thanks for creating such a valuable video, Josh! It strikes me that there is still too much non-value added hocus-pocus when it comes to reeds and mouthpieces, both. The lack of consistency is much more apparent with cane, as opposed to synthetic reeds, as you pointed out. It seems likely that a more highly reliable synthetic reed manufacturing process will evolve sooner than an improvement over Mother Nature in the fabrication of cane reeds. If so, cane reed production will soon be a thing of the past. May we live long enough to see standardized measures of mouthpiece performance across the multiplicity of manufacturers, too. Meanwhile, (at least some) artistic folks will continue to swim in a sea of ambiguity.
Yes, it does seem like things should be easier to standardize and control. But on the other there is so much variability within our anatomy from player to player and even within the same person from day to day that I imagine the ambiguity will never truly be solved. I do think synthetic reeds will likely overtake cane reeds within the next 10-20 years though!
My main takeaway from your video is that synthetic reeds have all the troubling uncertainty and variability of cane reeds...but they last longer! If I had unlimited $s and time, I would try lots of them from different brands and in different strengths, in combination with lots of different mouthpieces...and maybe find a winning combo? But otherwise, synthetic reeds seem to be a risky, expensive gamble, no better than cane reeds. I wish I had a good plan for exploring them more thoroughly!
That is a great summary! The one other big benefit is that they don't dry out and work better in cold or outdoor environments. I am really grateful that I have been able to try lots of strengths and different mouthpieces to find some great options. One way you could get a similar experience to that would be at a local clarinet day or the annual ClarinetFest where they have tons of mouthpieces and reeds to try.
Checking the price of fantastic Plastic in the USA, it is less than half that in Australia and then a legere signature costing over $200, All for Just One reed !!! for that price I would expect perfection and infinite livability sadly that does not seem the case and I have had friends say they do break down in less than six months. so at this stage, I dont think the value is there .
Definitely don't pay $200 for any reed! That is wild! I have a student who has ordered Legere reeds from AliExpress and actually had success with them being authentic and much more affordable. Definitely go for that at your own risk, but also if you are content with your current setup then don't fix what isn't broken.
It's a bit like digital cameras I was a total afficiado of film till i got my digital and won't look back ..so it may happen with synthetics .
That’s a perfect analogy!