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Bassoon Reed Making Guide
Bassoon Reed Making Guide
Bassoon
Reed Making
Arundo Donax
From the Wikipedia Page:
Arundo donax, giant cane, is a tall perennial cane. It is one of several so-called reed species. It
has several names including carrizo, arundo, Spanish cane, Colorado river reed, wild cane, and
giant reed.
Arundo donax grows in damp soils, either fresh or moderately saline, and is native to the
Mediterranean Basin and Middle East, and probably also parts of Africa and the southern Arabian
Peninsula.
Tube Cane
Cane is selected based on its diameter thickness of 24-26mm and is measured with a
caliper tool. After cut to the correct lengths, the cane then sits for an average of 1 to 2 years
to cure.
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There are essentially six stages of the reed making process. We will dive into each of the
steps specifically but laid out they are:
1. Gouged
2. Shaped
3. Profiled
4. Formed Tube (Cocoons)
5. Blank: Wired/Sealed/Turbaned
6. Finished Reed: Cut tip & Scraped
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Shaping
In this process, the gouged piece of cane is soaked for 2-3 hours then placed into a straight
shaper. The metal shaper helps act as a guide to cut out the given shape. This is done with
a ceramic knife, x-acto knife, and a diamond file.
There are many different types of shapers that vary in the width and are measured at the
tip, middle (narrowest point), and the end. The shape shown below is the H Bell Shaper.
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Profiling
After shaping, the cane is then run through the final piece of machinery to carve off the
outer layer of bark from the edge to the tip or the center fold line of the reed. It will
eventually stop when it hits the thickness determined by the guiding metal plate.
Once one side is done, the barrel with the cane is flipped and the other side is then scraped
in the same fashion to create a mirror image on the other side. After, the piece of cane is
then set to rest and dry out for a few days.
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[Tools Needed: water kettle, towel, easel, ruler with 32nds of inches marked, pencil, x-acto
knife, sand paper, end nippers, and cotton string]
*please note: because it will be folded in half to create a mirror image of each side of the
reed, be sure do these steps on both bark portions of the cane.
1. Place cane into a bowl or jar and pour boiling water into it. This will then sit and
soak in this water to cool for 3-4 hours or until all the cane has sunk to the bottom
of container.
2. Take out a piece of cane and dry it with a towel
3. Taking a ruler and pencil, place the cane on the easel- measure and mark out
3/32nds from the throat. From that first line, measure and mark out 1 inch. Then
measure 10/32nds from the top line and bottom line.*
4. Take the x-acto knife, score over the pencil lines to deepen the markings.*
5. With the end nippers, cut off the last portion of each side of the cane from the 4th
end line. This will make sure the tube is the same length when folded.*
6. Bevel the four corner rails of cane. Lay a piece of sandpaper down on an elevated
flat surface and hold the cane on its side corner at a 45 degree angle to sand off a
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little bit of the sides. This will help when forming that the sides will join flat together
in the round and create tension from the back to keeping an open tip.*
8. Using the straight edge of the ruler, fold the center of the cane.
9. Wrap the cotton string tightly around to “cocoon” the reed. Starting around the
throat, tightly wrap twice creating an x to ensure that the blade won’t crack. (A) Work
the wrapping all the way towards the end of the reed, making sure to leave a bit of
space at the bottom as it will stretch when being formed. (B) Make your way back up
towards the middle of the tube and tie off. (C)
[Tools Needed: gas range stove, water kettle, forming mandrel, holding mandrel, pliers,
and drying rack]
1. Boil water from kettle and wait until steam is coming out from spout
2. Take the forming mandrel and heat the metal pin in fire while placing the end of the
prepped reed held by pliers towards the steam. Hold both in place and count to 30.
3. Insert the heated forming mandrel into the gently opened steamed reed (you
should hear a sizzling sound), then take out mandrel
4. Repeat #2 & 3 with the holding mandrel, pushing it to the 2nd notched line. Take
pliers and mold/squish the cane around the mandrel to create its perfect circular
shape
5. Place cocoons on a drying rack and allow for 2 weeks to completely dry out
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3. Using duco cement, add glue from second wire down, leave to dry (2-5 minutes).
Again, this will help keep air from leaking out the sides of the reed as you to play it.
4. Wrap turban
Tie around the third wire Wrap around once to secure Wrap 2nd round above 1st
Now wrap it under the 1st Keep wrapping to cover wire Wrap to desired size
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Before cutting, be sure to check both sides to make sure you are cutting straight
across.
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1. T
ip: Use a straight blade knife, or sandpaper- should be fairly thin for a good
response
2. W
ings: Using a straight blade knife and diamond triangle file, define the pyramid tip
at the top. Make sure it thins out away from the thicker heart towards the corners of
reed
3. Channels: Scrape all the way from the back, up through the wings with a curved
blade knife
4. Back: Scrape as much as needed to even out wings, go lightly through spine and
heart to balance out reed
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In the following description I outline different ways of approaching that which your
reed lacks.
This doesn't mean that you should apply all of the remedies for each point, do that only in
the worst cases. The measures described are in an order that I find suitable. Alternate
between the different ways to reach the desired goal as all corrections have their side
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effects and some of these side effects can be put in balance to achieve that which you wish
with your reed.
If the reed is too hard: see that the middle of the reed ( 15) isn't too thick in comparison to
the edges, if so scrape here. If you have too much wood in your reed, start to scrape evenly
over the whole reed (8). Try to discern if the e.g. high register becomes light and the low
becomes heavy or vice versa. Then stop and do some further scraping on the areas you are
not satisfied with. If the cane is very hard, you can as a last resort dip the whole reed (8) in
boiling water for approx. 10 secs.
Too soft: If the reed is only partly soft, try to pull and tighten the first and second rings ( 10),
(11). If it is not enough, pinch up the reed on both sides just behind the first ring at point
(14). If the reed is very soft, then cut the tip about 0,5 -1,0 mm.
Too heavy in the low register: Scrape the back part ( 3). You can also pinch the second
ring under and over ( 13). To a certain extent it helps to scrape the outer corners on point
(18), but it also makes the high notes easier. Point ( 1) makes the lows somewhat easier, but
mainly makes the whole reed freer.
Too heavy in the high register: Scrape at point (21). Tighten and pinch the second ring on
both sides (11). Scrape at point (2), but if not enough even at point (7) and (18). If required,
ream out the reed or cut it.
Too dark sound: Start scraping the tip evenly all over ( 9). See that the "heart" at point (4)
isn't too thick compared to the surrounding areas. Just take a little at a time here, since you
lose "sound" and stability but on the other hand gain more freedom and flexibility. If even
more is needed, proceed to point (7). Pinch both sides of the reed at the second ring (11).
Finally, drag the knife in one stroke along the reed on each side of the absolute middle ( 19).
This scraping should be done as a last resort and not too much.
Too bright or too sparkling: Scrape down the edges on both sides ( 6). Even at point ( 1)
that goes further towards the middle makes the reed darker. Pinch with a pliers on both
sides of the reed, behind the first ring at point ( 14). The reed will have a larger opening that
you squeeze together with your fingers in front of the first ring. You will also have
increased resistance by pinching at point ( 14). Further, pinch over and under the second
ring (13).
Too hard tonguing: Scrape with a knife the outer side of the tip (5 and (7). Point (9) will
give you easier striking and larger flexibility. Try also the points at (1) and (4).
Too easy tonguing: Pinch together the reed with your fingers and grind (with wet-strength
sandpaper P1000) the front edge of the tip (17), or cut the reed 0,5 mm. Tighten the first
ring (10). Further scrape at point ( 21). You can also pinch the reed on both sides at point
(14).
Too low in the high register: Ream out the reed or cut it. Pinch on both sides of the reed
at second ring ( 11) and/or pinch together the reed at the first ring, point (12).
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Too high in the low register: Pinch together the reed at second ring ( 13). Scrape at point
(1), and if needed at point (3). Scrape at point ( 16), the "eyes"".
14) The sides behind the first ring. Pinch here and you will get a darker sound, more
resistance and stability.
15) "The Back"". Too much wood here will give you a hard, stubborn reed. Too little wood
will cause the reed to collapse.
16) If you grind here the reed will become more flexible and more vibrant. Also the high
register is improved. The sound gets brighter.
17) Pinch together the tip with your fingers and grind the front edge if the tonguing is too
easy.
18) Improves the tonguing in the high register and the gives a freer low. The more you
grind towards the middle of the reed (the marked lines), the darker, more flexibility and
better striking and legato you will get.
19) If you feel that the sound is "dead" you can, as a last resort, drag the knife along these
lines, but only a couple of times. This will give you more sting in the sound.
20) If you have a gauge you can measure different points of thickness on the reed. This
suggestion will give you a reed in good balance with a lot of power when using normal
dense cane. At the same time it gives you an idea of the incline from the tip of the reed to
the back (when looking from the side). If you want a lighter reed, just evenly scrape down
the whole surface so the relations will remain within the reed. Measure in the middle of the
reed (the back) from the tip. Four mm into the reed the thickness is 0,55 mm, eight mm
into the reed - 0,65 mm, twelve mm in - 0,70 mm, sixteen mm in - 0,80 mm, twenty mm in -
0,85 mm, and twenty-four mm in - 0,90 mm.
21) Holds back the sound, gives more resistance and darker sound. Improves upper
register.
Cane
I personally use Miller Select and Danzi from Miller Market
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Bassoon Resources
Bassoon Pedagogy
- www.millermarketingco.com - www.singindog.com
-www.rdgwoodwinds.com - www.bartoncane.com
-www.forrestsmusic.com - www.arundoreeds.com
-www.charlesmusic.com - www.gobassoon.com
-www.christliebproducts.com - www.jendeindustries.com
-www.mmimports.com -www.mdreedproducts.com
Media
Blogs:
MUSIC SOURCES
· International Music Score Library Project (IMSLP)
o Provides free parts, scores, arrangements and recordings for thousands of pieces in
public domain. This is a resource musicians use constantly!
· TrevCo Varner Music
o TrevCo Varner Music is the "World's Foremost Purveyor of Fine Sheet Music for Double
Reeds", with over 12,000 titles in stock.
· JDW Sheet Music
o Music company that specializes in transcriptions for double reed ensembles of all
combinations.
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SUMMER CAMPS
· Bocal Majority
· Idyllwild Arts
· Arrowbear Music Camp
· Wildwood Music Camp
*Special thanks to Concordia University for supporting our Double Reed Day event!
**As with bassoon pedagogy, reed making has many different “schools” and traditions. My
reed making skills stem from Norman Herzberg, Dr. Rebecca Rivera, and Judith Farmer all
of whom I offer complete credits to.