Since finding your TH-cam channel, I've learned more in a couple of days than I ever learned through all my schooling. Why didn't anyone teach me about reeds, distance of the register key and symmetry of the mouthpiece when I was at music college?! I've been struggling for years trying to improve thinking it was all my fault, left feeling confused at the end of a practise session wondering why, when I try to create a good tone, I'm left not knowing what to do with my embouchure, other than force through biting, which sounds terrible and is the wrong way to play. This has given me the confidence to step forward and become, finally, a good player (hopefully). I've already sorted out the register key on one of my clarinets which has made a BIG difference and am getting my mouthpiece checked over by an expert. I've purchased your ATG system so I can correct my reeds. With all this sorted and with consistency of what the instrument will do, I can then work on what I need to correct with myself playing-wise. I might finally be happy with the results I get! Thank you so much for your years of dedication 😃; I just wish I was told all this stuff when I was studying music. I'm sure you've changed the quality of play for many clarinettists around the world.
Hi Tom. Is French Embouchure Part IV still on the way? Thanks for all the great content this year and Merry Christmas! Also, a video about breaking in reeds would be great. You seemed to make a passing comment in another video about breaking in reeds being of no value. Did I misunderstand? That is certainly a topic that could attract some new viewers. Your videos don't get nearly the views they should considering the value of the content!
The first synthetics I tried about a decade or more ago were fine, but they were not as good in the third register as well balanced cain reeds. Lately, I find they are also poorly balanced, still with an inferior third register. Sad to say.
Tom, how much of the poor balancing of those reeds is due to inconsistent machining and how much to inconsistent cane density? I don't really know how reliable the measurements are that I get using Ben Armato's Perfecta-Reed dial gauge, but I can easily find reeds in any manufacturer's reed boxes that measure the same and yet are very much stiffer on one side than the other. I've never been sure - is it inaccurate cutting or blanks that are denser on one side?
9 out of 10 hard on the left side. Same experience as I have with these reeds. But with some ATG finishing I can get at least 8 out of 10 to be usable maybe 2 concert quality. And yes sir all of the 20+ brands I've tried needs adjustment. The ATG system has made life much easier amen.
I just got my clarinet and ATG system yesterday, and without really knowing what to feel/hear yet, I Did do basic balancing on Ricos and did find a difference even though this is the first time I played an instrument in over 20 years! So if you need to balance all reeds, does it make any difference what brand reed you buy in the first place? Should you at least use commercial brands as a baseline? Or just buy any cheap generic reed on amazon?
It definitely makes a difference. Cheap generic reeds on Amazon are going to be so much more work and probably the cane will be very bad. Can't fix bad cane, and even if you manage to improve it the usefulness will be very brief.
None. Some are better. Some producers are better than others. If they have very few machines and they are properly adjusted by someone who knows what they are doing, those reeds will be the most consistent out of the box. Rigotti, IMO, is closest at present, but I haven't tested all the brands at present.
@@avarmadillo I'm curious to know if you've tried Steuer reeds. I've had much better luck since switching to those from the brand you are talking about here. It's been 5 years and no regrets.
@@andersnelson3655 I've never played Steuer reeds. Seldom do I ever find a reed from a box I can play without adjustment---and mostly considerable adjustment. I doubt Steuer would be the least different. None of the makers produce consistently well balanced reeds. Maybe 1 out of 20, and it still requires refinement.
writing as a bit of a wide eyed novice clarinettist who in the past has always used cane reeds out of the box(V.12's) I wonder about better quality synthetic reeds: in your assessment does the manufacturing process of these reeds result in a more consistent - less open to the troubles identified - product?
Had better luck with the Pilgerstorfer Dolce and the D Addario Reserve Evolution ... I have to balance about 1/4 if the Dolce and about 2/3 of the Evolution. Usually they are all too heavy on mostly one side. All are thick blanks, which apparently is softer cane, therefore less critical in cutting the vamp. MP is Reserve Evolution 440/442 played on Ridenour clarinets ... IMHO, the 2nd most important thing about reeds is to not let them totally dry out ... I keep them at about 72% RH ... and to wipe them with hydrogen peroxide to kill the bacteria after use. I don't seal them or baby them in some crazy reed ritual ... just break them in over several days ...
If you’re using the reed brand I think you’re using, then everything I’ve been saying about them is true and I have no clue how anyone plays them out of the box. I feel a little less crazy about it. I found after they started individually sealing them they were worse and had to leave them sit out for a few days before they’d be worth anything.
Once you take an unbalanced reed and "season" it you have a seasoned unbalanced reed. It's cure is not "seasoning" but balancing; side to side, tip to back.
@@avarmadillo I wish I had access to this info in high school 10 years ago, or wasn’t discouraged from learning it. I knew reeds needed to be adjusted then, but I was told it was too complicated and unnecessary. Now I’m finding I have to learn the clarinet all over again. But it’s such a great experience, and both your clarinet (I have the Libertas) and all the resources you’re putting out make it possible.
I haven’t had the chance to purchase your reed system just yet, but when I do I feel I’ll leap over many things preventing me to be at the level I should be.
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Since finding your TH-cam channel, I've learned more in a couple of days than I ever learned through all my schooling. Why didn't anyone teach me about reeds, distance of the register key and symmetry of the mouthpiece when I was at music college?! I've been struggling for years trying to improve thinking it was all my fault, left feeling confused at the end of a practise session wondering why, when I try to create a good tone, I'm left not knowing what to do with my embouchure, other than force through biting, which sounds terrible and is the wrong way to play.
This has given me the confidence to step forward and become, finally, a good player (hopefully). I've already sorted out the register key on one of my clarinets which has made a BIG difference and am getting my mouthpiece checked over by an expert. I've purchased your ATG system so I can correct my reeds. With all this sorted and with consistency of what the instrument will do, I can then work on what I need to correct with myself playing-wise. I might finally be happy with the results I get!
Thank you so much for your years of dedication 😃; I just wish I was told all this stuff when I was studying music. I'm sure you've changed the quality of play for many clarinettists around the world.
Thank you so much. Yes, I really and sincerely hope to help.
Great video! I was wondering if you could make a video showing how to balance reeds, if you haven’t already😊
Tom, why don’t you start manufacturing well balanced reeds? I’d buy them
Hi Tom. Is French Embouchure Part IV still on the way? Thanks for all the great content this year and Merry Christmas! Also, a video about breaking in reeds would be great. You seemed to make a passing comment in another video about breaking in reeds being of no value. Did I misunderstand? That is certainly a topic that could attract some new viewers. Your videos don't get nearly the views they should considering the value of the content!
Your videos are really helpful. Just wondering how you feel about synthetic reeds?
The first synthetics I tried about a decade or more ago were fine, but they were not as good in the third register as well balanced cain reeds. Lately, I find they are also poorly balanced, still with an inferior third register. Sad to say.
Tom, how much of the poor balancing of those reeds is due to inconsistent machining and how much to inconsistent cane density? I don't really know how reliable the measurements are that I get using Ben Armato's Perfecta-Reed dial gauge, but I can easily find reeds in any manufacturer's reed boxes that measure the same and yet are very much stiffer on one side than the other. I've never been sure - is it inaccurate cutting or blanks that are denser on one side?
9 out of 10 hard on the left side. Same experience as I have with these reeds. But with some ATG finishing I can get at least 8 out of 10 to be usable maybe 2 concert quality. And yes sir all of the 20+ brands I've tried needs adjustment. The ATG system has made life much easier amen.
I just got my clarinet and ATG system yesterday, and without really knowing what to feel/hear yet, I Did do basic balancing on Ricos and did find a difference even though this is the first time I played an instrument in over 20 years!
So if you need to balance all reeds, does it make any difference what brand reed you buy in the first place? Should you at least use commercial brands as a baseline? Or just buy any cheap generic reed on amazon?
It definitely makes a difference. Cheap generic reeds on Amazon are going to be so much more work and probably the cane will be very bad. Can't fix bad cane, and even if you manage to improve it the usefulness will be very brief.
Very revealing video. In your experience, which commercially available brand do you find produces balanced reeds using high quality cane?
None. Some are better. Some producers are better than others. If they have very few machines and they are properly adjusted by someone who knows what they are doing, those reeds will be the most consistent out of the box. Rigotti, IMO, is closest at present, but I haven't tested all the brands at present.
@@avarmadillo I'm curious to know if you've tried Steuer reeds. I've had much better luck since switching to those from the brand you are talking about here. It's been 5 years and no regrets.
@@andersnelson3655 I've never played Steuer reeds. Seldom do I ever find a reed from a box I can play without adjustment---and mostly considerable adjustment. I doubt Steuer would be the least different. None of the makers produce consistently well balanced reeds. Maybe 1 out of 20, and it still requires refinement.
writing as a bit of a wide eyed novice clarinettist who in the past has always used cane reeds out of the box(V.12's) I wonder about better quality synthetic reeds: in your assessment does the manufacturing process of these reeds result in a more consistent - less open to the troubles identified - product?
Hoping for that answer too.
Had better luck with the Pilgerstorfer Dolce and the D Addario Reserve Evolution ... I have to balance about 1/4 if the Dolce and about 2/3 of the Evolution. Usually they are all too heavy on mostly one side. All are thick blanks, which apparently is softer cane, therefore less critical in cutting the vamp. MP is Reserve Evolution 440/442 played on Ridenour clarinets ... IMHO, the 2nd most important thing about reeds is to not let them totally dry out ... I keep them at about 72% RH ... and to wipe them with hydrogen peroxide to kill the bacteria after use. I don't seal them or baby them in some crazy reed ritual ... just break them in over several days ...
If you’re using the reed brand I think you’re using, then everything I’ve been saying about them is true and I have no clue how anyone plays them out of the box. I feel a little less crazy about it. I found after they started individually sealing them they were worse and had to leave them sit out for a few days before they’d be worth anything.
Once you take an unbalanced reed and "season" it you have a seasoned unbalanced reed.
It's cure is not "seasoning" but balancing; side to side, tip to back.
@@avarmadillo I wish I had access to this info in high school 10 years ago, or wasn’t discouraged from learning it. I knew reeds needed to be adjusted then, but I was told it was too complicated and unnecessary. Now I’m finding I have to learn the clarinet all over again. But it’s such a great experience, and both your clarinet (I have the Libertas) and all the resources you’re putting out make it possible.
I haven’t had the chance to purchase your reed system just yet, but when I do I feel I’ll leap over many things preventing me to be at the level I should be.
Eddie you have to master this. Without doing so you are crippling yourself and slowing your development.
@@avarmadillo I completely agree. It’s like a butcher working with dull knives. Hopefully I can get the ATG system soon!