Oboe reedmaking resources

ByBret Pimentel
One of mine.
One of mine.

There’s no way around it—if you’re going to be a serious oboist, you have to learn to make your own reeds. Even fine handmade reeds purchased from an excellent reedmaker can’t compete with reeds made to your own personal specifications, suited to your highly individual combination of embouchure, instrument, playing style, and performance situation. A reed is in a constant state of change, from initial scraping until eventual retirement, and needs the daily ministrations of a skilled reedmaker to keep it playing at its best.

Woodwind doublers who take up the oboe as a secondary instrument will need to learn at least basic reed adjustment techniques in order to have reeds they can count on in professional situations. But if you’re going to learn the mysteries of fine-tuning “finished” reeds, you’re most of the way toward learning the whole process—consider at least learning to tie blanks from cane that you purchase already gouged and shaped. Starting from tube cane gives you even more control over the finished product, but requires the use of gouging and shaping equipment ($1200+, all told).

There’s no real substitute for learning reedmaking at the feet of a skilled oboe teacher, but here are some of my hand-picked favorite guides and tutorials online. These can serve as a good introduction for a beginner, and more experienced reedmakers may like to cull a few new ideas from the wide variety of opinions and approaches represented here.

Online oboe reedmaking resources

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    • Does this new equipment make it easier or more comfortable to do what I do? Or am I hoping it will magically endow me with abilities I didn’t have before?
    • Does this materially improve some concrete aspect of my playing, like intonation, response, dynamic range or finger movement? Is it an improvement that is more subjective, fleeting, or malleable, like tone quality? (Tone quality isn’t nothing when purchasing woodwind gear, but it’s not everything, either.)
    • Does this really change how I sound? Does it change how it feels to play, physically? Does it change how it feels to play, emotionally? (All of these can be valid reasons to change, but it’s worth sorting out what’s really changing.)
    • Is this new equipment appealing in some way that is more about appearance or cachet than playability? Is that worth the investment to me? Would I be sacrificing some playability for bling factor?
    • How did I come to desire this particular item? Was I influenced by advertising, celebrity endorsements, a commissioned salesperson, an internet stranger, or someone/something else that might have motivations separate from my success? Was I happy with my current setup before I learned of this product’s existence?

    If you’re currently a student, be sure to check in with your teacher before any new gear purchase!

  • Beginners, parents, and making double reeds

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    photo, Javier
    photo, Javier
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    • Reedmaking is expensive! Someone studying the art of reedmaking will make many, many, many reeds before it starts to be a good deal financially. A minimal set of tools can be had for maybe the cost of a couple of car tires, but will require the purchase of cane that is already partially prepared. Each piece of prepared cane costs about as much as a large order of French fries, and a beginning reedmaker may ruin dozens or hundreds of them before making their first somewhat usable reed, and hundreds or thousands more before they can make reeds as good as ones from an excellent private teacher. (Cane purchased in its raw tube form is cheaper, but requires additional equipment costing as much as a transatlantic flight, plus extra hours of work.)
    • It may be worth pointing out, too, that reedmaking involves razor-sharp tools. These can of course be handled safely with proper training, but it’s still a concern where small hands are involved. Pieces of cane can be dangerous, too—I’ve cut myself more times with sharp or jagged pieces of cane than I have with knives or razor blades.

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    Practice slump checklist

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    photo, Katy Wrathall
    photo, Katy Wrathall
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      • Is your instrument functioning well? If you know how, check the most important adjustment screws (oboe: left hand stack, left G-sharp key, F resonance; saxophone: bis, G-sharp, right hand stack). Re-check basics like alignment of bridge keys. And, of course, make sure your instrument gets regular (at least annual) maintenance checkups. Professional instruments should probably get full mechanical overhauls every 5-10 years.
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      • Are you eating balanced meals? Are you eating enough? Are you eating too much? Is your diet too low on good stuff and/or too high in bad stuff?
      • Are you getting outside for at least a few minutes of sunshine and “fresh” air? Sunshine is important to your body’s vitamin D level.
      • Are you stressed, or otherwise not at your best mentally? In some cases, professional counseling and/or treatment may be needed. If you are a college student, there is a good chance there are free, discreet counseling services available on your campus. In other cases, taking a break, getting a little exercise, talking something out with a friend or loved one, or just getting a change of scenery might be enough.
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      • What locations are most conducive to good practice sessions? Sometimes just changing the scenery can revitalize your focus and productivity. Practicing in places with different acoustical qualities can make you hear yourself in new ways and get your creative juices flowing.
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    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    I made a small modification to my Hercules instrument stands so I could clip them onto my instrument cases for easier carrying.

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    Remove the nut from the center of the bear’s forehead:

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    I’d be curious to hear about your favorite equipment modifications in the comments.

One Comment

  1. Pingback: Can I make my own oboe reeds? A beginner’s guide to DIY reed crafting - PlayWoodwinds

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