Hey Reader,

Happy Labor Day week! I’m a proud member of the American Federation of Musicians - they help me make (closer to) a living wage for my performance work with orchestras, and even once helped me get an orchestra to cover the repair costs for my English horn cracking! (tl/dr: someone had left the stage door open and it was 56 degrees on stage during rehearsal).

My favorite union factoid is that labor unions’ advocacy for workers was responsible for making the 40-hour work week a thing, as well as other workplace protections against hazards, violence, and toxic chemicals. Yay unions!

Now on to the newsletter. I’ve been reading some of the preliminary results from my informal subscriber survey which closes on Saturday [Please take the survey and weigh in!], and universally information about reeds has been highlighted as helpful and interesting.

There are a lot of things about reeds that I feel comfortable teaching and talking about, but I also am very aware that different preferences exist and I’m only one voice. I think most oboists agree that cane selection is one way to produce more consistent reeds, though what aspects we value differ from maker to maker. With that in mind, today’s newsletter describes the aspects of cane selection that I think most oboists think about and care about.

Parts of cane selection that everyone cares about

• Straightness: The ideal piece of cane is straight in two really important ways: from one end to the next once it’s split, and flat when placed on a surface.
  • I personally will accept a piece of cane that curves slightly upwards at the ends, but NOT downwards. The downwards curving pieces of cane encourage the tip of the reed to be loose, affecting the vibrational potential of the reed. On the other hand, the slightly upward curved pieces may help the tip seal more tightly because they’re naturally bowed towards each other.
• Symmetry of the curve: I look at this aspect of the cane when marking where to split the cane. The more symmetrical the curve of the cane, the easier it will be to achieve a symmetrical opening. The less symmetrical the piece, the more you’ll have to scrape in particular ways to get the opening to be symmetrical, and could result in an over-scraped or unbalanced reed.
• Diameter: The diameter of the piece of cane determines the size of opening that you have to contend with. Generally the smaller the number the larger (or more circular) the opening will be. I take the extra step of measuring the final diameter of the gouged cane so I can sort and label it appropriately.
  • Which diameter you use can change depending on the altitude at which you play, or your preference.
  • A standard diameter for sea-level oboe reeds is 10.5 mm.
• Gouge and shape choice: Since there are many different gouging machines and shape templates available, which one you choose is going to matter. Depending on how much of the process you do on your own, you may or may not get to choose both variables.
  • The gouge affects how thick the cane is in different places. It can make the reed feel harder or easier, and it can affect the overall tone color your reeds produce. I recommend using cane from the same gouging machine brand each time you purchase, if you can.
  • Different shapes change the tone color and intonation of the reeds. Shapes that are more narrow at the top can help keep the pitch up, while shapes that are more flared at the top can produce a darker sound. You should absolutely choose a shape that works best for you and stick with it!

To keep this newsletter brief, I’ll address the less common details of cane selection in my next edition in two weeks, including color, bendiness, hardness, and density.

Until next week,

Alli

Hey, Reader, Do you have any burning questions about playing oboe? Reply to this email and ask, and you might see the answer in the next newsletter!

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