Review: ReedGeek “Universal” reed tool

ByBret Pimentel

reedgeek-1_mini

I’m a little late to the party on this, as the ReedGeek has been around for a number of years now and has been widely reviewed, but I finally picked one up (at ClarinetFest) after a long conversation/demonstration with inventor Mauro Di Gioia.  I have been using mine for a few months now and wanted to add a few points to the conversation. Here is my take.

The ReedGeek isn’t completely replacing my traditional reed tools, but, I am using it for some of the tasks that I used to do with those tools:

  • Flattening the backs of single reeds. This seems to be what the ReedGeek does best, and it is now my go-to tool for this procedure (by far the most frequent adjustment I make to my clarinet and saxophone reeds). I used to do this with wet-dry sandpaper on a piece of glass, and with flat files prior to that. Using the ReedGeek is faster and neater, doesn’t remove as much cane unnecessarily, and leaves a nice smooth non-shredded finish even on wet cane. I had also experimented in previous years with using knives for flattening, which is fast and leaves a nice finish but is risky because it’s so easy to gouge out chunks of cane by accident. The ReedGeek is much safer.reedgeek-2_mini
  • Smoothing out oboe reed windows. I still like my double-hollow-ground knives for carving out oboe reed windows, but I do have a tendency to leave the windows a bit rough and craggy (like from knife chatter). That’s fussy and time-consuming to fix with a knife, and if not handled delicately a knife can actually exacerbate the problem. But the ReedGeek cleans up my windows pretty quickly and easily, with much less risk of making the gouges worse. I mostly use the squared-off end for this.reedgeek-5_mini
  • Scraping bassoon reed channels. The concave parts of a bassoon reed blade are all but impossible to get at with a straight knife, and I find round files or sandpaper to be only a little less clumsy. The ReedGeek’s slightly curved tip works very well for this. Mr. Di Gioia describes this as being similar to using a pencil eraser—you just “erase” the cane you don’t want.reedgeek-4_mini

I’m not currently using the ReedGeek for:

  • Balancing the corners of the tips of single reeds, though it certainly can be used for this. I’m still used to sandpaper and glass, which at this point feels more controlled to me. If I have both tools available I still grab the sandpaper but if I’m away from my reed desk and traveling light, the ReedGeek will do the job. The ReedGeek can, I think, be used effectively to target specific spots on a reed’s profile (using either the square or the curved end), but I personally do very little of that.
  • Double reed making. (It’s fair to point out that the ReedGeek isn’t exactly being marketed as a tool for this anyway, though the company does publish a document on its website that provides some instruction for double reed players.) For one thing, the ReedGeek is quite small, and for reedmaking I like big, chunky, comfortable knife handles. A handle would also get my hand out of the way, which was a problem for me when I tried to use the ReedGeek for some fine tip work on oboe reeds—it was hard to get everything angled so I had control and could see what I was doing. I spoke to Mr. Di Gioia on the phone while preparing this review, and he hinted at a soon-to-be-revealed, more double-reed-oriented version of the ReedGeek, with some kind of extension for increased leverage (though he shied away from calling it a “handle”), and with scraping surfaces tailored more for double-reed applications. Because of the ReedGeek’s extremely hard alloy, it may be tougher on reed plaques than a traditional knife, but if you’re planning to use the ReedGeek in that way, the price difference between the ReedGeek and a good knife will buy you dozens of plaques.

The ReedGeek is very portable, won’t be confiscated at an airport security checkpoint, and doesn’t need sharpening like a knife or replacing like sandpaper. (When I spoke with Mr. Di Gioia he joked that he has to hope that people lose them so they will have to buy more.)

The ReedGeek has a hole drilled though one end (visible in the oboe reed picture), which I thought might be a way to attach some kind of handle, or perhaps to put it on a lanyard or keyring. In my follow-up call with Mr. Di Gioia, he explained that the hole has to do with the ReedGeek manufacturing process, and that keeping the ReedGeek on your keyring would likely damage your keys as it is much harder than the metals keys are made from. Also, the ReedGeek’s edges feel sharp to me, but not really in such a way that I would cut myself on them; Mr. Di Gioia recommends handling it with care but isn’t aware of people injuring themselves with it. He has an idea for a sleeve or sheath that may become available at some future date, and that could make carrying the ReedGeek in your pocket more feasible.

The verdict: for me, it’s useful and I will easily get my money’s worth out of it as long as I don’t lose it. For a single-reed player, I think it can realistically replace most or all of your tools. For a double-reed player, it’s currently a supplementary tool at best, but stay tuned for a possible new product.

At the time of this writing the ReedGeek goes for right about $50 from the ReedGeek store; some retailers also carry it.

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  • Review: D’Addario Select Jazz alto saxophone mouthpieces

    ByBret Pimentel

    I like mouthpieces that are easy to play, especially in terms of response and tuning. But I also really like something easy to replace; I don’t like the idea of a mouthpiece that is so expensive, variable, or rare that if I drop it I can’t just order a new one, have it in a few days, and expect it to play like the old one.

    A few years back I did a fairly detailed review of the Rico Reserve clarinet mouthpieces (in two parts), and have been happily using the Reserves as my main clarinet mouthpieces ever since. The Reserves are, in particular, astonishingly consistent from specimen to specimen, presumably due to the very precise tooling that obviates the need for hand-finishing (which sounds cool but ultimately means a relatively high degree of variability).

    The pro-line products formerly released under the Rico name are now D’Addario Woodwinds products, and they now include some alto saxophone mouthpieces, the Select Jazz series. I was pleased to hear from a contact at D’Addario Woodwinds who sent me some samples to try out.

    My point of reference is the various Meyer-ish alto mouthpieces I have played for about the last 20 years, most recently the V16 series from Vandoren. I used the A6/medium chamber for a number of years, but more recently switched to the A6/small chamber, which gave me a little more bite in my sound that works well for me in louder situations (like big band lead playing, or blues gigs here in the Mississippi Delta) without having to strain as much.

    The new D’Addario Select Jazz alto mouthpieces are currently available in three flavors, the D5M, the D6M, and the D7M. Larger numbers in the middle correspond to larger tip openings (details at D’Addario’s website). I got a couple of each to try. Each one says “medium chamber” on the box, so maybe D’Addario is considering other chamber sizes. At the moment street price seems to be a little higher than the V16s, but still basically in the same class.

    If you read the second part of my Reserve mouthpiece review, then you won’t be surprised to see that the Select Jazz mouthpieces are extremely consistent. Check out the very even and symmetrical rails and tips.

    L-R: two each of the D5M, D6M, and D7M. Click for higher resolution.
    L-R: two each of the D5M, D6M, and D7M. Click for higher resolution.

    As mentioned in a couple of other reviews, the Select Jazz mouthpieces have an unusually tight fit on the neck cork, and they chewed up my aging cork a bit. Cork grease!

    The mouthpieces have individual serial numbers, like the Reserve clarinet mouthpieces. When I asked about this during my clarinet mouthpiece review, the Rico/D’Addario rep told me there might in the future be some way of registering your mouthpiece online, maybe to access some kind of members-only content. I haven’t seen anything happen along these lines, so maybe there’s a more logical explanation, like that the numbers are just for quality control.

    Here is a sound clip of each of the six mouthpieces I received, plus my two V16 mouthpieces for comparison. For all the sound clips I used the same inexpensive fake-leather-type ligature, but different reeds, a D’Addario Select Jazz filed 3S and a filed 3M, depending on which worked best with each individual mouthpiece. The V16s and the Jazz Select D5Ms worked better with the 3M reed, and the Jazz Select D6Ms and D7Ms seemed to prefer the 3S reed.

    D’Addario Select Jazz D5M, specimen #1

    D’Addario Select Jazz D5M, specimen #2

    D’Addario Select Jazz D6M, specimen #1

    D’Addario Select Jazz D6M, specimen #2

    D’Addario Select Jazz D7M, specimen #1

    D’Addario Select Jazz D7M, specimen #2

    My old Vandoren V16 A6M

    My old Vandoren V16 A6S

     

    The differences are minor at best, and really in a pinch I could make any of these eight mouthpieces work, but here are a few observations:

    • The Select Jazz mouthpieces have noticeably more stable intonation than the V16s, especially the D5M. This is a bigger deal than tone, which is more malleable and more subjective.
    • The Select Jazz mouthpieces are, again, very consistent. This is the killer feature of D’Addario’s mouthpieces. I found the two D5Ms to be virtually interchangeable in terms of tone, response, and tuning, and the two D7Ms too. One of the D6Ms (#2) has, to my ear, just a tiny bit of an edge that I find unpleasant. I suspect that this one is slightly “off,” but the difference between the two is still quite minor compared to the differential in hand-finished production mouthpieces.
    • I do still want something with some edge to it, and the V16 small chamber still feels like is has more of that than any of the seven others, but not by much. The Select Jazz mouthpieces seem to have a bigger core and body to the sound, plus a bit higher volume, so I’m thinking it may be an acceptable tradeoff as far as making my presence known among the electric guitars.
    • Overall, I find the Select Jazz to respond better both down low in the staff and up above it than the V16s do. I didn’t play any altissimo in the sound clips, but I find the Select Jazz to have a slight advantage in that register as well.
    • The D5M and, to a lesser extent, the D6M, seem to be the best fit for my style and needs. The D7M doesn’t work as well for me—it has the louder but more spread tone and less-stable intonation you might expect from a larger tip opening—but it’s still one of the best mouthpieces I’ve played in that category, and it’s really only slightly large, not nearly as extreme as the tip openings offered by some other makers.

    I think the Select Jazz D5M is going to be my new mouthpiece. (I’m keeping a D6M in my case for now too until I can try them both on a loud blues gig, but so far the D5M has worked well for small-group jazz.) The combination of solid intonation, pretty-but-gutsy tone, budget-friendly price, and amazing consistency make this a solid, versatile, and practical option for a working saxophonist. They are great for educators, too—they are easy to recommend to students because they are so easy to play and because they are so reliable in quality (much less need to order a half-dozen on approval and hope there’s a “good” one in the bunch). A great all-around, no-nonsense alto jazz mouthpiece.

    I look forward to more offerings from D’Addario Woodwinds, perhaps alto mouthpieces in other chamber sizes, or mouthpieces for other saxophones.

  • Pitfalls of giving musical instruments as gifts

    ByBret Pimentel

    Giving someone a musical instrument as a surprise is a generous and thoughtful idea. But getting it right can be tricky. Here are some things to consider:

    • For serious musicians, like a student studying with a private teacher, a college music major, or someone who does any kind of (semi-)professional playing, an instrument is a very personal choice. Even if you know what brand and model they have been eyeing, they will probably want to try several, since they all play a little differently. If they are a student, their teacher should also have significant input on any instrument purchase.
    • Nice instruments are expensive, and serious musicians invest in them as something they will use every day and possibly use to make a living. Certain instruments can cost as much as a very fancy car! So, if your budget doesn’t stretch quite that far, it might make more sense to make a contribution toward an eventual purchase.

    For beginners or more casual hobbyist musicians, their preferences might not be as specific or costly. But if you don’t have some expertise in musical instruments (more than Internet research can provide!) there are still dangers.

    • The very inexpensive “instruments” sold in big-box stores or online megastores are sometimes not really playable instruments but more like realistic-looking toys, despite what they say on the box or website.
    • Used instruments from classified ads or pawn shops may be in unplayable condition, in ways that aren’t obvious to an untrained eye, even an eye that is otherwise good with mechanical things, furniture pieces, etc.
    • If your idea is for a youngster to join up with, say, a school band program, that program might have some guidelines or requirements about what instruments are appropriate.
    • Information you might find on the internet isn’t a substitute for advice from a good private teacher, and music store employees may have motives besides helping you find the best possible instrument at the best possible deal.

    If you are thinking about giving an instrument as a gift, consider these alternatives:

    • Buy a young recipient some lessons with a reputable teacher, and have that teacher work with you on eventually upgrading to a nicer instrument.
    • Ask the recipient what smaller-ticket, lower-stakes items they might need, like a new instrument case, strap, stand, etc.
    • Contribute toward (or fund outright!) a future purchase of an instrument to be selected by the recipient. A college-aged student might be gradually paying off the nice instrument they already have, and might really appreciate having it paid off in part or full.

    Happy gift-giving!

  • Review: D’Addario Reserve alto saxophone mouthpieces

    ByBret Pimentel

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    If you have read my reviews of the D’Addario clarinet and jazz alto and tenor saxophone mouthpieces, you won’t be surprised to learn that I’m a big fan of their new classical alto saxophone mouthpiece, too. (As with the last several reviews, D’Addario sent me some mouthpieces at no cost, with the possibility but not the promise of a review.)

    I’ve been hammering on one point with all the D’Addario mouthpieces, but it’s worth bringing up again because it’s an important innovation in how mouthpieces are made and bought. D’Addario’s manufacturing process (precisely milling mouthpieces from solid rod rubber) produces mouthpieces that are extremely consistent, much more so than other mass-produced professional mouthpieces, which are generally finished a little by hand. The old system is that you try out a bunch of mouthpieces that are the same make and model (by going into a store or putting a big deposit on your credit card), and pick out the one that plays best. The new system is that you order a D’Addario mouthpiece from your favorite retailer, and know that it plays just like all the others. This is a game-changing development in the sub-$200 mouthpiece market.

    And, of course, like the other mouthpieces in D’Addario’s lineup, the new Reserve alto mouthpiece plays great.

    I’ve been playing on a Vandoren Optimum AL3 for the last 8 or 9 years (and used an AL4 for a few years before that). What I like about the Optimum is that it’s very easy to play, with good response in all registers, good dynamic range, a lot of stability (so pitch and tone are very consistent, without much effort from the player), and tone that tends toward a warm, almost muted quality (in a good way). It’s a mouthpiece for a 21st-century classical saxophone player.

    The D’Addario mouthpiece has these same qualities, with some subtle but important improvements. When I started playing on the AL4 I liked its richness of tone, but ultimately decided I needed to sacrifice that a little to embrace the AL3’s superior high register. The D’Addario Reserve does an impressive job of blending those qualities, and even improving upon both.

    In particular, I have been impressed with scalar movement in the altissimo register, which on my Vandoren mouthpieces could be just a little lumpy as I crossed from one partial to another. The D’Addario mouthpieces make this feel really smooth, effortless, and secure.

    I have been using mostly D’Addario Reserve reeds for classical saxophone playing, and with my Vandoren mouthpieces I sometimes wished I could get a reed strength between 2.5 and 3.0. I did hope that switching to the D’Addario mouthpiece would eliminate that need, but after trying them I still feel like a 2.5+ would be a useful option. (D’Addario does make some “plus” reeds, such as the Reserve alto saxophone 3.0+.) If I have one complaint about the Reserve mouthpiece, it’s that I don’t get quite the ease of low-register response I would like with the 3.0 reed. A 2.5 helps that but plays a little brighter than I want.

    The Reserve mouthpiece comes in three flavors at the moment: D145 (1.45mm tip/medium facing), D150 (1.50mm tip/medium-long facing), and D155 (1.50mm tip/medium facing—yes, it is the same tip opening as the D150). The mouthpiece has what D’Addario touts as a “unique oval inner chamber.”

    I’m really quite impressed with all three of the Reserve options, and not 100% settled yet on which will be my go-to. But I recently used the D150 (with a Reserve 3.0 reed) for a concerto performance with band that involved some double tonguing and plenty of altissimo. The D150/3.0 setup worked well for that situation—just the right amount of resistance to make the double-tonguing comfortable and easy, good security in the altissimo, and enough guts to be heard over the band without getting spread or edgy.

    Here’s a quick comparison between the D’Addario Reserve D150 and the Vandoren Optimum AL3. I’m using the same ligature and reed in both clips.

    D’Addario Reserve D150:

    Vandoren Optimum AL3:

    To my ear, the D’Addario has a richer, fuller, and more even sound, and also responds better to dynamic changes.

    So far D’Addario is scoring 100% with me on their mouthpieces: each new mouthpiece they have released has replaced my former setups (clarinet, jazz alto, jazz tenor, and now classical alto). I look forward to whatever is next.

  • Review: Duos for Doublers by Gene Kaplan

    ByBret Pimentel

    I was pleased to hear from woodwind player and composer Gene Kaplan, who sent me a copy of his new duets books, Duos for Doublers. These, as far as I know, are a one-of-a-kind set of duets for two woodwind doublers, with the first part including flute, clarinet, and alto saxophone, and the second part including flute, clarinet, and tenor saxophone. The instruments are used in various combinations, with each player playing at least two instruments on each duet (with one exception, where the second part is tenor-only on one of the duets).

    s402299382826402121_p2_i1_w640

    The style and the difficulty level of the duets varies. They are probably not suitable for those just starting out on their doubles (yet), as they do not shy away from bugaboos like the flute’s third octave, the clarinet break, and the saxophone’s below-the-staff notes.

    I think a real benefit of these is that they do require quick instrument switches in real time and without losing your place (something that’s much easier to “fudge” with, say, solo etudes), in the company of someone who presumably will be understanding if you need to back up and try again. These duets would be great for getting together with another woodwind doubler for a little friendly challenge.

    I’m on record as saying that saxophone-flute-clarinet-“only” doubling is a somewhat dated approach, and that modern doublers need to take the double reeds seriously, as well as auxiliary instruments in each woodwind family, plus probably some “world” woodwinds. These duets are still useful for working one commonly-used subset of those skills. (Gene is a double reed player himself, and acknowledges that he didn’t include them here in order to make these duets playable for more woodwind doublers.)

    The set costs $30 at the time of this review (shipped free in the continental US). They are self-published, with paper covers and a clear plastic sheet over the front. The plastic comb binding is exactly what is needed for a book of sheet music to lay flat and stay open (something that some large sheet music publishers get wrong).

    There are a couple of issues with layout that make these a little bit of a hassle to play, but which also probably provide just the kind of training that aspiring woodwind doublers need for real-life gig situations. The first is (some) impractical page turns, sometimes in places where the only option is to photocopy a page or to drop out for a couple of bars. Some happen during short rests, and some of those also coincide with an instrument change. The second issue is that each of the books includes only one part. My preference for duet playing is one book with both parts on the page, score-style. (This can also potentially mitigate the page turn problem, if you have four hands available instead of two.)

    Here’s a quick video demo of “Acapulco Nights” by me and my less-handsome twin brother.

    I’ve added these to my list of compositions for multiple-woodwind instrumentalists. Let me know if there’s anything else on your radar that should be included.

    Get Duos for Doublers from Gene Kaplan’s website.

     

  • Brand snobbery

    ByBret Pimentel
    Photo, Steve Rawley

    I recently met a fellow woodwind player, and the conversation inevitably turned to gear. We had each recently tried out an instrument by a relatively new maker. My new acquaintance found it not to his liking. “I’m a _____ snob,” he proudly explained, naming a very popular and well-established instrument maker.

    I also recently read a woodwind-related message board thread (why do I torture myself?) in which some discussion was taking place about an accessories maker who had recently branched out into a new venture. A commenter scoffed at the new product and at the maker in general, indicating his disinclination even to sample any of their (generally well-regarded) products. He offered no explanation for his strong and seemingly arbitrary opinion.

    Your gear choices are your own. But if you find yourself clinging to brand names, and defending those choices with something besides objective comparisons, then you might be missing out.

  • Review: NewMusicShelf Anthology of New Music: Alto Saxophone, Vol. 1

    ByBret Pimentel

    Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.

    I don’t typically do reviews of new sheet music publications unless they have a specific woodwind-doubling focus, but I’m making an exception here because I think this is a project that is especially useful and has potential to change the landscape of “classical” saxophone repertoire (and other instruments, too).

    I have a repertoire problem. My file cabinet is full of wonderful, important music that is written almost exclusively by dead white men. I would like to change that—to perform and teach music representing a greater diversity of composers, and particularly living composers.

    But it’s hard to escape the inertia of the “standard repertoire.” And sorting through mountains of new pieces by composers I haven’t heard of (yet), to find the best ones, the ones at the right difficultly level for my students, and so forth, could cost me thousands of dollars and thousands of hours. It’s daunting, and so I fall back on the same pieces I’ve taught over and over.

    NewMusicShelf Anthology of New Music: Alto Saxophone, Vol. 1 is an elegant solution. For the price of a standard-repertoire concerto, it contains 16 works composed (or at least revised) within the last 20 years. The composers (listed on NewMusicShelf’s website) are diverse and distinguished. Many are young.

    The collection is curated by Alan Theisen, a composer and saxophonist well-positioned to accomplish this task due to his interests and connections in the world of new music. (One of his own compositions is included in the anthology.)

    For me as a performer and educator, this anthology helps solve several problems: the pieces are thoughtfully selected for quality and variety, the publication is very affordable, and its presence in my studio is a strong step toward currency and representation in concert saxophone music. All are for solo alto saxophone or saxophone and piano, so the performance logistics are simple (no large/unusual ensembles, electronics, or other potential barriers). The pieces are playable by undergraduate-level students (but, as Theisen points out in his introduction, “absolutely suitable” for more advanced players as well). It’s an easy, cheap, and practical way to grow my performing and teaching repertoire. (This is an unsolicited review of a copy I purchased myself.)

    A couple of small complaints: the saxophone and piano parts are “perfect bound” (like a paperback book) and thus don’t lay flat on a music stand. NewMusicShelf indicates on their website that this is to facilitate library shelving (and points out that, hey, you can disassemble and re-bind it yourself if you want), but I’d rather see a more performer-oriented solution. And the books contain a web link promising composer headshots and program notes, but the link is currently broken and I couldn’t locate the content on the website. Still, a very worthwhile purchase.

    The “Volume 1” label is hopefully indicative of more to come. A flute volume appears to be in the works, and calls-for-scores for clarinet, bassoon, and some other instruments are currently open. Collections for voice and for viola are already available. Kudos to NewMusicShelf and Alan Theisen for this extremely valuable aid for teachers and performers.

    NewMusicShelf Anthology of New Music: Alto Saxophone, Vol. 1

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