Maybe not everyone reading this has driven a car, but you wouldn't want to tap the accelerator and have the car go 90 mph, but instead, you would want to have the control to ease on the accelerator to increase your speed. Only use your air. Think about your reeds in the same way where you wouldn't want to lightly play and have the dynamic come out as a fortissimo. Pieces by Bach require more restraint in your sound, but you would still want the reed to respond easily and not be too tiring to play on. It is important to use as many adjectives as we can to describe our reeds (and our playing too) to help zero in on the precise problem. Reeds are listed here in order of most free-blowing to most resistant: M – Very free-blowing, long tip, larger aperture in general, responds well to a firm embouchure. Duration. Members can check out these posts on fixing a reed that is too open and too closed. There are times when I make a batch of reeds that all seem to die within a few days, but then the reeds that were too hard at first are still useful. Sometimes, fixing the opening of a reed can make the response closer to your preferences. It's easy to say quality is more important than quantity, but be careful with that saying because you also need a large quantity of reeds just in case something changes. If your knife isn’t as sharp as possible, take the time to sharpen it before scraping your reeds. Place your reed into the top of the oboe, holding the base of the top joint. By having some restraint to our sound, it will improve the tone quality. The reed, in turn, is the voice box of the oboe—and the tiniest tweak in a double reed changes an oboe’s sound significantly. This includes helpful articles, diagrams, and more. Flexibility (sound and dynamics) 3. Sometimes the reed that is too heavy will be just what you need if you are playing in a black box theater with very dry acoustics. For me, response means that if I try to play a low C, middle C, and high C, all notes in all registers should play on command. Also, the heart and windows should be balanced so that they are not so thick that the reed doesn't vibrate, and of course, not too thin that the reed is flat and too 'loose' in how it responds. I had an oboe reed handmade for me and the reed itself is very good and responsive, but the cork of the reed is too long, essentially making everything I play sound flat, even when pushed in all the way. Oboe Reed Medium Soft Oboe Reeds Cork Reed Wind Instrument Parts with Transparent Tube Sleeve. Scrape the reed several times on each side from one corner to the other. I think some of us have slightly different definitions of words like 'response' or 'medium-hard reed'. I basically use that template for most of my reeds, and then some reeds end up being a little harder or softer, or darker or brighter in sound, or have a bigger or smaller opening. Check to make sure the ends and corners of the tip are as thin as you can make them. When clipping with either a knife or razor blade, hold the reed in one hand, and the knife in the other. Aug 20, 2018 - Explore Andrea Oosterhouse's board "Oboe" on Pinterest. This will put you in a cycle where you feel like your reeds are not responding well enough, so then you will scrape extra cane off…which makes the reed go flat…then you clip the reed to bring the pitch up…which makes the reed less responsive…so then you scrape more cane off…which makes the reed go flat…etc. This kind of response is mostly from how the tip is scraped and how the reed is balanced. The hardness or heaviness of a reed is very often mistaken for response. 4:59. Lessons. 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