Grind Rail Review
Clarinet Reed Making
A methodical and common sense approach to reed making.
This guide is a step by step overview of clarinet reed making. It includes brief descriptions of most reed making tools on the market. This site is updated regularly as new products and techniques are explored.
Introduction
This guide has been moved to:
http://www.clarinetreedmaking.com/
The content on the new site has been extensively updated from the material here on Google Knol.
Many clarinetists have thought about reed making at one time or another. Reed making is regarded by most as a very complex and time consuming endeavor. Many try with limited success and ultimately give up. I've assembled an approach to reed making that is fast(8 minutes per reed), accurate, consistent and produces finished reeds that require less hand finishing work then a typical Vandoren. This approach stresses the importance of quality tools, every step of the way. For clarinet reed making, the options for blank making tools and profilers are very limited. Some tools will get you close, but never allow you to achieve ideal results. Therefore, choosing the right tools and knowing how to use and maintain them is critical to successful reed making.
The tools mentioned in this primer are not intended as endorsements, and other fine tools may exist that were not mentioned. In many cases only one viable tool exists for the task at hand. For many readers this manual will serve as a guide as to what tools exist and where to find them.
The methods I have arrived at are for the most part nothing new, I've just tried to compile the easiest, fastest and best ways to achieve consistent results. The opinions expressed in this article are solely my own. I welcome your input. If there is a section that is unclear or if there is a tool or method I don't know about, please let me know!
Benefits of reed making
Better Reeds
If your handmade reeds are not dramatically better, then chances are good the tools you are using are not allowing you to achieve the proper dimensions consistently or you haven't found a type of cane that works for you. Successful reed makers find their own reeds are superiour to commercial reeds in virtually every way.
Ability to tailor every aspect of the reed to your preferences
Want a thin(blue box style) blank with a V12 vamp and Morree taper, made with your cane of choice? No problem.
Longer lasting reeds
Reed makers almost universally agree that hand made reeds last substantially longer, with or without curing. The reasons for this are debatable, but it's reasonable to assume that the higher quality of the cane has a large impact on reed life.
Every reed is the perfect strength
Clipping a hand made reed is different from clipping a box reed. By making the vamp slightly longer or shorter you have complete control over the strength. A clip of a hairs width can make all the difference. To some degree controlling overall vamp thickness is a factor but it has less effect on reed strength then most people assume.
Reed Myths and Common Misconceptions
Myth: I should improve my skills adjusting reeds before attempting to make my own reeds.
Adjusting finished reeds and making reeds are completely different disciplines. Before manual profilers existed the the skills were more related but now, with an accurate profiler you are basically producing a commercial grade reed that needs to be clipped. From that point the reed is ready to play and you can adjust the reed as you would any commercial reed.
Myth: Harder reeds are thicker.
No. Reed strength is determined by cane density. For example, all Vandoren reeds are made to the same specifications and then are then strength tested and sorted. If you own a reed gauge you can prove this to yourself by measuring reeds of all different strengths, you will find no thickness trends corresponding to reed strength.
Myth: Hand made reeds don't warp as much because they are cured.
Not true. Warping is a direct result of the expansion and contraction of the cane as it transitions from wet to dry. The more saturated the reed and the dryer the environment, the more dramatically it will warp. This is simply a physical property of cane and does not change no matter how many time it is been wet and dried. Curing however, does seem to change the playing characteristics of the cane, which some players prefer.
Myth: Clarinetists don't have to know how to sharpen reed knifes.
If you choose to adjust reeds with a knife, know how to sharpen it and sharpen and hone your blade often. A sharp blade will take off less cane, more accurately, requiring no pressure to remove material.
Myth: It's so time consuming....I don't want to be like an oboe player making reeds all the time!Single reed making is much simpler than double reed making. Investigate an oboe player's reed making process and you will see there are much fewer steps in the process to make a clarinet reed. With the right tools, each step only takes minutes(or less). Also keep in mind these reeds last longer, so you will need less reeds overall.
Myth: Every hand made reed plays exactly the same because you have more control over the measurements.
Even if the dimensions of each reed are exactly the same, no two reeds will ever play alike because each piece of cane will be different. However if you are achieving consistently precise dimensions on a type of cane that you like, your percentage of good reeds will be much higher than commercial reeds.
Preparation
Sharpening your tools
Sharpening a single bevel blade is a simple two step process. First you grind the flat side to a mirror smooth finish:
Second you grind the bevel side with the aid of a honing guide to hold the exact angle(most block plane and chisel blades are at a 25 degree angle):
Selecting cane
When making your own reeds, you have the luxury of eliminating cane that you know will not yield ideal dimensions. Some factors to consider when selecting cane:
- Cane diameter
- Cane wall thickness
- Straightness(and flatness)
Diameter
Typical clarinet reed cane should have a diameter of about 25 millimeters. A smaller diameter will produce a blank that has thinner rails. Thinner rails mean that, the rails of the reed will generally be harder because they closer to the bark of the reed. A larger diameter cane may not sit properly in the holding chamber of the planer, though this depends on the style of planer used.
Wall thickness
Clarinet cane is similar to bassoon cane, but it is thicker walled. The walls are anywhere from 2.5mm to 4.5mm thick, sometimes even thinner or thicker. Cane density is not uniform throughout each piece. The inside of the tube is the least dense and softest part of the cane. As you move closer to the bark the cane becomes harder or more dense. Thus, thinner blanks will generally yield harder reeds because the tip is closer to the bark. The opposite is also true, thicker blanks yield softer reeds because the tip of the reed will be farther away from the bark. If 3mm thick blanks are made from tubes of different thicknesses, the thicker tube will generally yield a harder reed. This is because, proportionally that reed's tip is closer to the bark of that tube.
Straightness
Most tubes are not perfectly straight or flat. A tube that is not flat means that after the reed is planed(flattened), parts of it will be thinner or thicker, obviously not ideal. If the reed is not straight you can see the grain of the reed veer of to one side. Also, not ideal.
In the image below the you can see the areas that are not straight. The straightest sections have been selected.
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Types of cane available
Try as many different types of cane as you can. The differences between brands of cane are vast, some will work great for a certain playing style or mouthpiece but not at all for another.
Curing cane
Curing is the process of wetting and drying your cane or blanks before you turn it into a finished reed.
To Cure or Not to Cure?
The benefits of curing cane are debatable. Curing does have an effect on the performance of the reeds, however not all players find curing improves their reeds. Each player needs to decide for themselves whether curing their cane is beneficial or not. The best way to decide if curing is beneficial would be to make two batches of reeds, one cured and another uncured and compare the results. For my taste and playing style, I have found uncured reeds to be the best.
Warping
Many players believe that a major advantage in curing is that after the curing process the cane will be less prone to warping. I dispute this assumption. Any organic material will expand when wet and contract while drying. This expansion and contraction cause warping. The best way to combat warping I have found is to rotate your reeds often while practicing so no one reed gets too waterlogged and also to store them in an airtight container with a humidity control device like the Rico Reed Vitalizer to keep your reeds stabilized.
Some Curing Methods
The methods outlines below are just a few variations on common curing practices. They can and should betailoredto your preference. The soaking lengths as well as repetitions of soaking can be altered in any number of ways. It's important to be consistent and methodical in your approach, that way a more informed decision can be made on whether or not the method is beneficial.
If the cane is soaked for a very long time(24 hours or more) you will see bubbles and discoloration in the water and an strong odor. This is the sap coming out of the cane. Whether or not this isdesirableis again, debatable and up to personal taste.
Tube Curing
- Soak 8 hours or overnight let dry completely
- Soak 4 hours, let dry completely
- Soak 2 hours, let dry completely
Blank Curing
Blank curing is typically shorter than tube curing. During this process the blanks will warp, sometimes greatly, requiring a great deal of sanding work to flatten. Some players sand the blanks flat between each step.
- Soak 2 hours, let dry completely
- Soak 1 hours, let dry completely
- Soak 15 minutes, let dry completely
Blank Curing Variation
Another school of thought on blank curing is to expose the cane to conditions similar to actual use.
- Wet the blank for 15 seconds, let dry completely
- Repeat this process 3 times a day for a week or longer.
Blank Making
Using Pre-made Blanks
Many types of cane are available in blank form. Some pre-made blanks can yield good reeds but I have yet to find a pre-made blank that is equal to hand made blanks and the reasons are many.
When choosing pre-made blanks you sacrifice much of the control over critical aspects of the blank. Blank thickness and length are often overlooked. The thickness usually varies a great deal and most pre-made blanks are cut to 68mm which does not account for material that will need to be clipped at the end of the process, so you are usually left with slightly shorter reeds.
Spitting and cutting cane to length
First the cane has to be split and cut to length. Some reed makers, cut the tubes to length first and then split it. Splitting the cane before cutting to length has it's advantages. After the cane is split, it is much easier to locate the flat and straight parts of the cane.
To split the cane you could use a cane splitter like this:
Or this:
or just a simple chisel or old reed knife.
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Each tube is split into four sections. Before splitting the cane examine it for symmetry and decide where the best divisions should be.
Cut the Cane to Length
Once the cane is split examine each length and locate the straightest and flattest sections. A quarter of cane that is long enough to yield two or three reeds often only has enough prime material for one reed. A traditional reed is 68mm in length. I cut mine to 70mm to allow for material I will remove later during the clipping process.
To cut the cane to length it's easiest to use a cane guillotine. A bassoon guillotine can work for clarinet, but sometimes they are not up to the task of cutting thicker walled cane. Another option might be a miter saw designed for wood working, like the one here.
You can also cut your tubes to length with a Miter Box and hacksaw first and then split them. This method does not allow you to be as selective with your cane as it's easier to judge straightness and flatness when the cane is in strips.
Planing
Once the cane cut to size, it now has to be made perfectly flat. Planing is often where many reed makers run into big problems. Beginning reed makers often do not realize their blanks are not completely flat. Check for flatness by laying a blank on a piece of glass and rocking it from side to side and end to end. The blank should not lift off at all. If you are not sure if it is flat enough, compare it to an unplayed Vandoren reed.
The planer should be capably of producing perfect or near perfect results without the need for sanding. Sanding should be used mostly as a means to smooth and seal the cane. Also note that sanding occurs after shaping the taper and will be covered in that section.Planing Technique
Ideally the planer should be secured firmly to the table's surface to allow for the smoothest cutting motion. Some planers can be secured with screws or clamps.
The most common mistake is adjusting the blade depth in the block plane while planing. Some reed makers even use the blade depth to control reed thickness. This is problematic for two reasons. First it does not yield accurate and repeatable results. Second if the shavings being removed are too thick, some cane will be torn off rather then smoothly cut, making it impossible to achieve a perfectly flat surface.
The blade depth should remain the same at all times. This will ensure smooth cutting and consistent blank thickness when the planing is done. An easy way to find the proper blade depth is to protrude the blade just slightly past the opening and then begin planing. From there retract the blade little by little back into the mouth of the plane until you are achieving feathery thin shavings. These shavings should measure around 0.04mm. Anything much thicker and smooth cutting becomes very difficult, anything much thinner and the blade will stutter along on the cane. For the proper results it's imperative that the blade is properly sharpened. If the blade is not sharp enough or the shavings are too thick you will have to use excessive downward pressure to cut though the cane and perfectly flat results will not be possible. Keep planing until no more material comes off. This will ensure that your blanks are being cut to the same thickness each time. If the blade is sharp enough, the final strokes will be removing cane dust only. These final strokes are critical to ensuring that your blank will be as flat as possible off the planer.
To speed up the process I use two block planes. First a lower quality plane set to take off thicker shavings. As I get closer to finishing I switch to my Lee Valley plane. This also reduces the wear on the Veritas blade. This planing process takes less than two minutes per reed.
Once you are done check your work with calipers. If you are aiming for 2.90mm blanks, measure many points along the reed. Because of natural imperfections on the bark, you will get some variance along the reed but you should be close to your desired measurements.
I have come to the realization that getting perfectly flat blanks right off of the planer is often not possible even with the best tools because of the imperfect nature of cane. For example if a piece of cane has a wide diameter it may ride higher in the holding chamber of the planer and it will result in a thinner blank than desired. If the cane is twisted slightly or curved at one end, this will also adversely affect the results. Take care to select only the straightest pieces of cane and also rock them from end to end on a piece of glass after you cut them to length to check for flatness. Discard anything cane that is wildly off.
Choosing a blank thickness
In the section on selecting cane I highlighted the relationship of cane density to it's location in the cane wall. To review, cane closer to the bark is harder and cane farther from the bark is softer. This is contrary to many players first instincts with reeds. In an attempt to get a bigger sound some players make very thick blanks but the result is often a reed with very littleresiliencebecause the cane in the reed vamp and tip is very far from the bark, thus less dense or too soft to be an effective reed.
Blank thickness can make or break a reed. My cane of choice right now is lousy as a thick blank, lacking clarity of sound and has a terrible response. But at the right thickness the sound comes into focus and offers great response. Consistency in thickness is critical to knowing whether your approach is working or not. I recommend measuring your favorite style of reed, use that blank thickness as a baseline and experiment from there.
Planer Models
Dilutis
Robert Dilutis makes a simple plane that comes with a Stanley Block plane. With proper sharpening and calibration this tool can yield near perfectly flat reeds. Reed thickness is controlled by building up tape on the surface of the planer that the blank rests on.
I have made some modifications to my Dilutis planer to improve it's performance. I replaced the original tightening screw with a wingnut screw. Wingnut screws can be found at any hardware store. It makes tighting much faster and it's easier on your fingers. It originally comes with two metal strips for the reed to rest on. I've removed those to metal strips and used the holes to screw the plane jig directly into my workbench. Alternately you could fasten it to a table or bench with C clamps. Securing the plane eliminates wasted motion and makes it easier to make smooth strokes.
With the proper attention to detail and sharpening, the Dilutis will produce nearly perfectly flat reeds. They will still require some sanding to work out imperfections, but it gets you quite close. The performance of the machine can probably be further improved by investing in a better block plane.
James Greg James makes a more expensive planer that is constructed entirely steel and brass. It alsoincorporates a first jig cut which quickly and evenly removes bark from the vamp of the reed after planing.
His planers are built to order and can accommodate different brands of block planes if requested. I recommend the Veritas Low Angle Block Plane. The advantages of this high cost block plane are many. The precision ground sole is absolutely flat and very thick, and will allow no warping as the blade is tightened. The blade adjustments are finer and easier to control. There are two adjustment screws near the mouth precisely center the blade, critical for flat results. The blade itself is made of a high grade A2 tool steel which holds an edge better and longer than cheaper steels.
There are a few nice design features in this planer. First, the holding mechanism for the piece of cane is spring operated, no need to screw and unscrew each reed into place. You simply push in the screw to open the mouth and the cane is held tightly by the spring. Secondly, James has build in an easy and accurate way to control blank thickness. Under the brass plate that holds the reed is another plate that is on a slant. By moving this lower plate forward or back you can adjust the overall thickness(adjustable from about 2.5mm to 4mm). There are lines etched in the brass to help you keep track of the setting you like. The planer comes with mounting screws to secure it to your workbench. Alternately, Greg James recommends clamps, but clamping this unit would be awkward at best.
The first jig cut makes the initial cut into the bark. It's located on the planer below the main cane holder. The reed is held in place by sliding the silver metal bar up. It holds the reed at an angle so when you cut with the block plane it creates a smooth first cut on the vamp of the of reed. The first jig cut works well, it's much faster and safer than cutting the bark by hand.
Overall this planer is a big improvement in my workflow. I've cut my planing time down to about two minutes including jig cut and I get a more consistent result. I was hoping it would be able to produce perfectly flat reeds with almost no need for sanding however this is not the case. They come off a little flatter than the Dilutis and the thickness is more consistent. So they still need some finishing work with glass and sandpaper but generally not as much.
Reeds 'n Stuff Reeds 'n Stuff makes a planing device that is along the lines of a bassoon gouger, but has a straight blade rather than a curved blade of course. Blank thickness is controlled by moving the entire cane holder back and forth along a track which is on a slant(much like the James). There are millimeter etchings along the track that you can guide to. The cane is locked into place by tightening a screw. The screw is large enough and fairly easy to tighten but it is awkwardly located with no clearance under it . The blade is replaceable and double sided, so when one side wears out, you can remove it and flip it to the new side. An adjustment screw controls the depth that the blade can cut. If the shavings are too thick, you will have a hard time getting smooth cuts. Aim for shavings around 0.04mm. The cutting arm slides back and forth along a metal rail. The cutting begins at a slight angle, but slowly becomes parallel as you continue cutting. When the blade is completely parallel, it is held in place by a roller which stops further cutting and the reed is now flat. The construction of this planer is very solid, you can really go to town without fear of over doing it. The results of the this planer are on par with the Greg James. Not perfectly flat every time but generally very close, the reeds will still need some finishing work on sandpaper. The only improvement I could imagine for this design would be a spring loaded holding mechanism to hold the cane in place. That said, this is the fastest planer I have tried and easiest to use.
Shaping the taper of the reed
This step is very easy if you have the right tools. First you need to decide what kind of taper you would like. Tapers can range from a fairly standard V12 style, to a faster taper like a Gonzales, or even custom measurements of your own. Do not underestimate the difference that the taper will have on the sound and response of the reed. I would recommend starting with a taper similar to the reed you like the most and experiment from there.
Shaper Technique
A proper shaper just needs to follow a few simple concepts. Most importantly it should cut from thick to thin or tip to butt. If you cut from the thin to thick, the cane tends to tear along the grain into the shaper, thus ruining your taper. You should never have to cut towards yourself. The shaper should be easy to hold and offer quick tightening action.
It is quickest, easiest and safest to cut the reed with a chisel. Chisels are precision tools and can be sharpened to a very fine edge. The excess material will be completely and cleanly removed with only one or two strokes. The weight of the chisel makes it much more effective than the more commonly used, exacto or razor knifes. These are not as safe to use, cannot be sharpened, and take much longer to finish the taper.
Dilutis
Robert Dilutis offers a fine shaper that is modeled after a V12, they can also be made to your custom measurements. The Dilutis shaper is a standard handle design. It can be easily used with a chisel or other blade. For the sake of consistency it's helpful to measure and tape off the exact point to put the cane each time.James
The Greg James shaper is made to order, he will grind them to any dimension. The steel is heat tempered, so the finished product does not suffer as much scratching while cutting(the difference is actually noticeable). It has to be used with the included wooden brace. You set brace on your table and then put the shaper on the brace. One side of the reed will be sticking up and you cut it to shape with a chisel(both hands on the chisel, you don't hold the shaper or brace). The shaper has an adjustment screw on one side that acts as a stopper for the reed. You can slide this up or down to change the overall width of the reed. This saves time vs. guiding it to a visual mark and the resulting blanks are exactly uniform. Reeds 'n Stuff
This shaper is unique in that it is completely adjustable. This shaper can make any type of reed, from Eb clarinet to baritone saxophone. It has mechanized blades the cut to shape in one quick stroke. The reed rests against a flat stopper, so it is critical that the blank has been cut cleanly and squarely on each end, otherwise it will want to skew to one side. After resting the guiding the reed on the cutting rails, you bring the arm down. The armsimultaneously holds the reed and place and drags the mechanized cutters to cut the reed. It cuts in one stroke and the blank is finished. The final product is no better than the other shapers mentioned in this guide, but the adjustability and speed of this shaper has a great appeal.
Sanding the Back
Now that your blank is done you need to do a final flatness test. I finish my reeds on a 220 Grit wet dry sandpaper. If your planner is up to the task and all went well the blank should be almost perfectly flat. It will only need a little work on sand paper to finish it off.
If the blanks are far from flat, the sanding process can be the most time consuming and treacherous step of the entire reed making process which is why I strongly advocate extreme attention to detail during the planing step(sharp blade, proper blade depth, reed height set correctly etc) to achieve the flattest results before sanding. If the blank needs to be sanded too must during this step, it makes it impossible to keep consistent blank thicknesses, because by the time the blank has been sanded flat, the thickness has been changed drastically. Lastly, if your blank is far from flat to start with, it is almost impossible to sand it flat because of the unavoidable rocking motion with each stroke.
A word of warning: plexiglass can warp. Don't leave it by a window where it may get baked in the sun. Because of this danger I only use glass(3/8 inch thick or thicker). Make sure the glass edges are beveled smooth for safety.
First and foremost, make sure your sandpaper is completely flat and on a flat surface with no dust or grit trapped under it. Some people spray glue their sandpaper to plexiglass. This wastes the glass when the sandpaper wears out and more importantly, you invariably end up trapping some dust or grit on the glue or end up with tiny air bubbles between the paper and the glass. These imperfections will destroy any chance of flatness.
One method I use is to run warm water all over the sandpaper on both sides for a few minutes until the paper is saturated. The water on the back of the sandpaper will create a seal on the glass. When the paper is saturated and lying completely flat on the glass, pat the water off of the surface of the sand paper with a dry paper towel. The top of the paper will dry very quickly and you will be ready to start sanding. This only works on wetdry paper and the paper can be reused many times.
It is also possible to tape the sand paper at the edges to hold it flat. Be sure the paper is drawn tight over the surface of the glass. Double sided tape is great for this.
Sand the reed in a circular motion holding the reed lightly with three fingers. Pressing on the reed while sanding will result in uneven wear. If your reed was flat to start with you will need only a few strokes to seal the back of the reed. If your reed was not quite flat it may take a few minutes or even longer to make it perfectly flat. Check your results on glass to endure that it is flat.
Finishing the blank
Precut the vamp
Before profiling it is helpful to make a rough initial cut to the bark on the vamp area. Removing this saves time and also saves your blade as the bark is the hardest area of the cane.
This step can be done by hand with a sharp razor style knife. Long shallow cuts are best, be careful not to cut too deeply or you might ruin your blank.
As noted early you can quickly do this step on the James planer with his first jig cut
Reeds n Stuff also has a specialty tool for this job.
Profile the Vamp
Ideally you want your profiler to be capable of making exact 1:1 copies(or very close to it) and not all profiling machines available are up to this task. If the machine is not up the task there are usually steps you can take to improve the performance but in the end the reeds will require more hand finishing than if they were made on a higher grade machine. This does not mean great reeds cannot be made, it will just require more time and effort and the results won't be as consistent. As with all of the other tools, I recommend investing in the highest quality profiler that you can afford.
Profiling Techniques
The types of profilers are too varied to offer general technique advice about. I will try to offer general tips/tricks/principles for each machine in the descriptions. However I haven't tried them all, so if you have anything to add, please contact me.
Measuring your ResultsIt is important to measure your results often to make sure you are on the right track. I don't recommend doing judging proper thickness by feel or sight. The difference between 0.11mm and 0.16 is impossible to see or feel, but the response and quality of sound with be totally different. Invest in a reed gauge to make sure you are in the ballpark. Probably the most common reed gauge is the perfecta reed, although Jeanne makes anice gaugeas well.
The most critical measurement is at the tip of the reed. That part is also the easiest to measure because you can be sure of where to measure on the reed each time. You should aim for a tip measurement of either 0.09mm, 0.10mm or 0.11mm. Anything much thinner or thicker will adversely effect the response. Also whatever measurement you arrive at, the tip measurements must be absolutely consistent across the entire tip. If the tip is not even you will notice response and intonation issues that become worse in the higher registers. I mark all of my reeds lightly with pencil along the tip line of my profiler and take measurements along that line to make sure the measurements are consistent. Adjust your profiler's thickness control until you are consistently getting good results.
RPM 68Hermann Uhl'sRPM 68is my top choice for reed profiling. The construction and precise machining of this profiler are incredible and it's capable of making exact copies that are accurate to within 0.01 of a millimeter. It copies premade plastic guides which are modeled after many commercial vamps. Hermann Uhl can also produce a plastic guide to custom dimensions. It can also copy cane reeds. The RPM68 is easily adjustable, cuts with no pressure and creates accurate copies with almost no learning curve. A detailed review can be foundhere.RPM 82This profiler by Hermann Uhl is exactly the same as the RPM 68 but slightly larger to accommodate bass clarinet and saxophone reeds.
Reedual
The Reedual seems to have gained the most popularity in the US. As far as reed profilers go, the reedual is quite cheap in price. The reedual can produced fine reeds however it has manyidiosyncrasies and is not machined to a high enough tolerance to produce copies that are accurate to within 0.01mm. In most cases when using the reedual, the model reed needs to reverse engineered or modified a bit to compensate for theidiosyncrasies of the machine.The Reedual requires some skill as the pressure with which you cut can greatly affect the resulting reed. The quick deterioration of the sandpaper also adversely affect consistency. For best results change the paper for each reed.
The Reed MachineThe Reed Machineby Robert Dilutis can also be used to make fine reeds but like the Reedual it not machined to exacting tolerances. It is made of aluminum which is a strong light metal, but not as strong as steel and thus the machine requires a fine touch as excess pressure can have an adverse effect on the reed. The Dilutis Reed Machine does not work well copying cane reeds as a model, the action of making a reed tends to destroy the model reed before the blank is finished. It works best with his steel guide.Some other tips to keep in mind with The Reed Machine. Robert Dilutis recommends that you soak the blankthoroughlybefore profiling it. This makes the cutting easier and improves the final result however, I would imagine that some warping will occur during this process.Greg James Profiler
Greg James has a profiler that is mostly used by Bassoonists but he makes a variation that copies clarinet reeds. The cutter is a drill bit. It has adjustment guides on every axis to ensure all the parts are parallel. Greg James can also retrofit the Reedual with similar adjustment guides to improve it's accuracy. I have not tested this machine.
Reed 'n Stuff Profiler The Reeds 'n Stuff profiler operates in almost exactly the same way the RPM 68 does. It appears to use a metal guide as a model. The cutting arm only slides back and forth. If you'll notice the angle of the vamp is created by rotating the plate that the model and blank rests on and the cutting arm stays in place. I have not tested this machine..jpg)
BKM4The BKM 4 operates on the same principles as the Reedual. It is made in Germany. It is said to have a more powerful motor and is more accurate than the Reedual. Based on this picture you can see some design improvements over the Reedual. The method of installing sandpaper is more elegant. There is a ring where you can easily attach a vacuum head to take care of the dust. Thickness control looks much more accurate and refined compared to the Reedual. I have not tested this machine.Clipping the reeds to strength
It can be useful to profile reeds with tips a millimeter or two longer than they need to be. This ensures that almost no reed that comes off of the profiler is too hard, saving the time of doing a rerun if that were the case. This means you may have to clip the reed up to 10 or more times to get it to strength. This is normal. Many new reed makers are afraid to clip more than a few times. When you feel like you are approaching the desired strength be very conservative with your clips, clip as little as possible. A skilled reed maker can clip 5-8 times and only remove a millimeter of length.
Cordier
The Cordier is still the most common reed clipper used. Unfortunately they are inconsistent in cut and shape. I would advise any serious reed maker to order at least three to try out and pick the best from that lot. The advantage of the Cordier is that it is very quick and easy to use and allows for infinite adjustment. It's main drawback is the tip shape does not match many modern mouthpieces. I recommend removing the guide and clamp on the bottom end of the clipper. With a little practice its faster and more accurate to line it up by sight and hold the reed in place with your thumb while you clip.
Dilutis
This is clipper uses a swinging arm with tip cutter on it. The tip cutter isinterchangeableand three different tip shapes are available. You place the tip of the reed against a stopper and swing the arm to clip. The drawback to this design is, there is no way to control the amount of reed you clip. It clips off the same amount each time and the clip is much larger than I usually clip, especially when getting close to strength. Because of this you run the risk of over clipping.
Uhl
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Final Thoughts
My main tools of choice right now are:
Greg James Planer with Lee Valley Block PlaneGreg James Shaper with custom taperUhl RPM68 Reed ProfilerCordier Reed Clipper
It's important to be systematic about your reed making and keep track of what is working for you. I mark the back of all of my reeds with a fine sharpie pen. I note many critical aspects of the reed to include:
Original tube thicknessBlank thicknessCane typeDate created
This information, in particular the tube and blank thickness help me get a sense of what is working best for me and what type of cane to look for.
Each step of the reed making process is critical. This is why I recommend using the best tools at each step of the process. Not only do they save you time, they offer a higher degree of accuracy that in many cases cannot be achieved with lesser tools.
With that said, if you have access to an old reedual or other style tools, that can be a great stepping stone and learning experience. Those reeds can be every bit as good but may require more effort. Don't give up!
Internet Resources
Jeanne-inc
Lee Valley Tools
RDG Woodwinds
Reedual
Reeds 'n Stuff
Robert Dilutis
Uhl Technik
Videos:
Gonzales Factory TourMarca Factory TourRico Factory Tour
Reeds n' Stuff Masterclass Part One
Reeds n' Stuff Masterclass Part Two
Review : Freshpark Grind Rail
fingerboard Grind rail review
my tony hawk grind rail review
Next page: Agatha Ruiz De La Prada Kids Clothes
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