Learn About My Oboe Reed Making Process
About My Oboe Reeds
Every oboe reed maker is on the quest for the holy grail of oboe reeds. That includes me. I work hard to make great reeds for players that play like me, and for others who do not. There are always obstacles to getting it right. Oboe reeds are fickle. Oboe cane is sensitive and variable. Oboe reed tips are hair thin with lots of opportunities for forced and unforced errors even under the knives of skilled reed makers. I know that every reed will always have its own personality, that no one reed is right for everyone, but that there is the just right home for most reeds I make.
My reeds simply perform better, last longer, and rarely require more than a light adjustment, which saves valuable lesson time. Magic Reed customers play their concerts with more assurance that their fresh oboe reeds will play great, make it to the last note, with plenty left over for more play.
Approach To Oboe Reed Making
My approach to oboe reed making starts with an understanding of how oboists blow either by developmental stage or by personal preference. There is a range of production (blowing) styles, tonal preferences, and even schools of reed making from top professionals designed to support these preferences. I, too, have my own production style, and personal preference toward a beefier reed. However, to be a successful professional oboe reed maker, I must be flexible in approach. While my signature Magic Reed scrape is present in all of my reeds, each benefits from customized construction and nuanced scraping to achieve specific outcomes by model, including a lighter response.
That being said, I specialize in high end reeds, and I believe that experienced players deserve well structured oboe reeds with the beef and nuance to fully take advantage of their playing capabilities. I have studied/tested many options on the market, and realized that the market lacked highly nuanced reeds made from harder and denser oboe cane. For me, harder cane permits much more nuance than softer cane, and for me, more consistent and superior results. High volume reed makers avoid harder cane because it is more difficult to work with, produces lower yields because of possible cracking, and is generally more time intensive.
Oboe Cane Management
Oboe Staple Management
I employ the American long scrape in my oboe reeds, which is used almost exclusively in the USA. The reed is structured with a somewhat defined tip with an inverted soft V. The tip has a medium to somewhat shorter length, defined heart and back (with windows). The definition between the back and the heart is pronounced, except for student reeds. My heart has a thickness @ .4 (where we all measure it) with blending over the shoulders. This is not a one size fits all system. I never sacrifice tone and pitch in pursuit of the response needed by grade. Extra drying/finishing cycles promote a better and more reliable reeds for you.
Aperture management, in my view, is a critical factor to achieving personalized results for Magic Reed customers. Generally, my apertures get larger going from student to professional grades because players can handle increased size as they develop their production skills.
My original Magic Reed brand features a robust in scrape and somewhat larger aperture than others on the market. I have many loyal customers who love this structure and sound their best. Some players, however, prefer a high end reed with lots of nuance with a smaller aperture for a more free blowing experience. Now, I offer a First Chair (Slimline) and Reed Monkey (Streamline) brands to accommodate these and other preferences. My free blowing oboe reeds combine medium strength cane in a larger diameter resulting in a smaller aperture. I also use a specialized professional staple to assist with the effort.
Smaller apertures rely less on a strong or covered embouchure. Players will still need enough air speed and pressure to open the reed, and fibrate the fibers- but for most, it is less strenuous. Players have an opportunity to manage aperture size prior to play with the reed prep (soaking) strategies. Suggestions are included in packages. The downside of highly responsive reeds with smaller apertures is a shorter lifespan. This should be considered when planning for monthly needs.
When I make an oboe reed I have you in mind. When I test a reed, I test it with an approximation of the embouchure and support system I think you have, based on the information you have given me. Reeds are adjusted accordingly. It seems to work.
I have chosen a business model that keeps my work highly focused, hands-on and relationship driven. I know that this is a winning formula for my customers because I plan for quality and service above all else. I focus on products that are supported by core competences, and that are truly differentiated in the market. This is what I do. I don't have other jobs/obligations that compete for my time, so I can dedicate as much time as I need to meet schedules on time. I don't think it is reasonable for buyers to wait 4-6 weeks for an oboe reed order to arrive. Imagine being left without a serviceable reed the day before a concert. As I have said, I plan ahead so you do not have to so much. Best of all, reed orders typically ship in 3-5 days, and include multiple drying cycles. This is the service I would want if I were on the market for handmade oboe reeds.