Reeds

Introduction

There are many varied makes of reeds, some good and some not so good. Below are the reeds I have used in the past, but I urge you to try and find the reeds that suit you and your playing style.

The reed is the part of the saxophone which it gives its place in the woodwind instrument family. Not a brass instrument. The reed is made from cane, the best cane comes from the Var region in the South of France. Reeds are strong along their length but across the tip reeds are very fragile and easily broken. Great care needs to be taken when placing the reed onto the mouthpiece and when removing them, especially if you are a new student. A good policy is to start playing with inexpensive reeds so you can break them and its not going to be too costly. Remember that the combination of reed and mouthpiece affects the sound you produce.

Reeds Numbering

Reeds are given a number and this number relates to how hard the reed is. For example; No.1 reeds are very soft and good for kids to start learning with.

No.5 reeds are very hard and are much more difficult to produce a note with if you are just starting to play. [Note: the numbers go up in half's]

For the student who is just starting out I would recommend a No.1-1/2 or a No.2. As you progress you will need a No.2 or 2-1/2 or a N0.3.  See what suits you and experiment.

Rico Royal.  These where the first reeds that I ever used. I had a No.1-1/2 on a student mouthpiece and found that this produced a note which was dull and woolly. These reeds are OK for the student as they are relatively inexpensive, so breaking a few is no great problem. As with most reeds the higher the number the harder the reed. This is true with the Rico range, but I have found that a 2 Rico reed is softer than a 2 Vandoren. In my experience the Rico reed produces a raw, harsh almost shrill note.

Rico Plasticover.  These reeds are coated with plastic as the name suggests. I have used these in the past and found them to be just about indestructible! Good for kids and the clumsy students among us who are learning how to play. As I have progressed I find their ton to be shrill and I tend to produce more squeaks squeals and buzzes with these reeds than with any other. Expensive to buy but they do last forever - you will get bored of them before you wear them out. Try one and see for yourself.

Rico Jazz. These are the best reeds from the Rico range and  are the most expensive [£4.00 each I paid]. they come in the usual numbers and each number has a soft, medium and hard option. Confused? It just means more choice for the experienced player. I remember the launch of these reeds as in every sax / music related magazine I picked up there was Sonny Rollins endorsing them. I tried one and still found these to produce a dull rather mellow note, the reed I tried was a No.2 medium. Sorry Rico!

Vandoren Paris

Vandoren Traditional. These reeds are far superior to any other reed that I have used. I have found them to be of consistent quality so when you are spending around £15.00 for a box of 5 reeds this is most important. The Vandoren Traditional for me produces a full mellow and smooth note with a good jazzy feel. I have used 2 and 2-1/2s and had no problems with them. they last a long time and can stand being played and gigged regularly and hard.  Does it get any better? read on....

Vandoren V16. Yes it does get better. The V16 was a god send for me personally, when I first played a V16, I finally found the reed that I had been looking for. I play a lot of loud stomping SKA music so I like a full, loud tone and the reed has to be sturdy and positive. This is the feeling I get from a V16 reed. I find also I can produce a good tone from the lowest notes up to and into the harmonics with these.  Just the best I've used so far!

Vandoren Java.  The V16 is a good reed - but the Java is even better. If it can be easier to produce a note and tone of sustained quality throughout the range of a saxophone then these reeds make the difference. They make it easier to produce  a quality sound and tone than any other reed I've tried.

*If you know different then please email me - as I'd hate to be missing out*

If you got this far then you deserve to have this info go to www.reeds-direct.co.uk for next day delivery on reeds etc.

Care for your reeds.

The combination of the reed and the mouthpiece are the most important part of your saxophone as it is these two components that produce the overall tone and feel of your notes. Remember that the tip of the reed is the delicate part, the whole reed needs to be moist to be able to vibrate properly when being played, so always moisten the reed before you play. When you load the reed into the mouthpiece be careful not to over tighten the ligature as this may prevent the reed from vibrating properly. We don't break many reeds while playing - but I have had one breakup in my mouth as I was playing one night. We usually break a reed when assembling or stripping down the saxophone after playing. After playing remove the reed, wipe it and return it to its reed holder. This ensures that the reed dries flat as a wrinkly reed will not produce a good tone. Let the reed dry fully before using it again, this will add to the life of the reed and prolong its quality. If a reed splits along the end then a reed cutter can be used to return it to a clean edge.

It is a good idea to soak the whole reed for 5 minutes or so before playing, lie them on a flat, ideally glass surface, to prepare the reed.

Note: I am being very careful about recommending certain makes of mouthpiece or reed. There are too many variables and everyone has their own individual requirements. A good quality 'stock' Selmer or Yamaha close-lay mouthpiece is usually best for the beginner. As the embouchure and tone develop the requirements change. It is not a good idea to rush out and buy an expensive mouthpiece as a 'magic fix' for tone or intonation problems. As you have read, all the following variables affect the tone & response of a mouthpiece:

 * tip opening 

* length of facing (or lay) 

* height of baffle 

* size and shape of chamber 

* thickness of side rails 

* thickness of tip rail 

* material 

The embouchure needs to be well developed before exploring these variables. 

I would caution anyone against buying secondhand mouthpieces without an experienced player present. Mouthpieces are often sold on because the owner has been tinkering with them or they have been refaced one time too many!

Happy blowing.