I

Secrets to a Better Bassoon Reed

by
Mark G. Eubanks

Arundo R-arch Company - Bo11 4952 - Portland. (Mpt - 97208

 The following terms are used to describe the architecture
of the reed. The surface of the blade is divided into
three sections: The front (which includes the tip section
The information in this publication is dt·:; u111e11 to help and heart), the middle and the back. The blade slopes up
you make successful bassoon reeds from A.R.f. shaped and into the tube at the shoulder (or ledge). The tube
profiled cane. We recommend that you make reeds in includes the collar (area between shoulder and 1st wire),
batches rather than one at a time. Prepare all your cane the throat (area between the 1st and 2nd wire), and the
up to Sect ion 6 before forming. Be sure to murk the cane butt section. See Figure 1.
in sonie way to indicate the shape and cane type.
( '
In the following text, tools and supplies available from ·rront Middle Back ·, Collar Throat
,I
Butt
Arundo Research Company will be CAPITM..llED. Tools are
available individually or in our discounted Build A
Reed11aking Kit. Send for our free Double Reed Catalog at
Box 4952, Portland, OR 97208.
, Blade Tube

Other publications available from Arundo Research Company

are: Tip· ~ ·Heart
Figure l
Secrets.to a Better Oboe Reed
Reed Adjustment Brochure Additional Terms .
Adv.-.ced Reed Dnign I Tnting Procedures
a.nd Director S..aeoon Clinic Spine - the center ridge going from the back to the heart.
Edges - the surface of the blade on the extreme right and
left edge of the blade.
Channels - area between the spine and the edges.
Eyes - thinner areas in the heart or back (sometimes
called windows).
Rails - (sometimes called side rails) edges of the two
blade halves that outline the reed shape.
1. Deter11ine the Dimensions - On our standard 30
millimeter tube, the 1st wire is placed 2 to 3 millimeters
from the shoulder, the 2nd wire 8 to 9 millimeters from
the 1st wire. Mark the cane where the wires will go. You
may want to make permanent marks on the EASEL for easy
c Arundo Research Cmpany 1985 reference. For a shorter tubel the 30 millimeter length
All r igtits reserved. No part of this publ 1cat ion may be can be modified in two ways: lJ Place cane on the EASEL,
reproduced, stored in a retrieval system, or transmitted cut cane off the end of the tube (this can also be
in any form or by any ineans, electronic, mechan1c1d, accomplished after the tube is formed). 2) Place cane on
photocopyin~, recording or otherwise, without the prior the EASEL, move the shoulder back by filing a deep notch
consent of he copyright owner. in the bark with a KNIFE FILE and peel the cane back to
the notch with a KNIFE.
2. Sand and Burnish the Cane - Wrap the EASEL with SANDIMi
FILM. While holding the SANDIMi FILM tightly against the
EASEL in one hand, place the gouged surface of the cane

against the film and sand lightly with the grain. Be sure
to sand in an absolutely straight line as any rocking may
distort the edges of the sides and later cause leaks
between the blades. Start with the lowest numbered grit
that allows easy sanding. Repeat sanding with
progressively higher numbered grits (finer). When the
gouge is perfectly smooth, reverse the film so the plastic
side is up and burnish the cane (rub briskly) against the
plastic until its gouged surface is smooth and shiny.
The surface of the profiled cane should also be lightly
sanded. Place the cane on the EASEL and sand and burnish
with SAN>ING FILM or RUSH. Be sure not to sand the edges.
If you find that you always remove large amounts of cane
from the blade when finishing and adjusting, you may want
to scrape and sand these areas thinner now. However, do
not thin the back of the blade. Hold the cane up to a
strong light to check for a balanced shading, adjust if
necessary.
3. Soaki~ - Some think it is necessary to soak cane for
long per1Cls (days even) to make it pliable. If you do
soak for long periods, allow the cane to dry and repeat
Section 2 to smooth the raised grain. Otherwise soaking
cane in very hot water (not boiling) for 10 to 15 minutes
is usually sufficient. Prolonged soaking weakens the cane
making it softer.
4. Fold Cane and Adjust the Shape for a Perfect Match
- Measure and mark the midway point between the two
shoulders with a millimeter RlLER. fold the wetted cane
over the edge of the KNIFE at the mark. Be sure that the
folded cane lines up exactly at the shoulders. You may
need to slip one blade up or down for proper alignment.
(If tip opens hold shut with a clothespin.) See figure 2.
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t _______ _
Figure 2
Once shoulder alignment is accomplished, slip the blades
to the right or left until the side rails are flush. See
figure 3.
D~ ,.
Figure J
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After adjustment, if one side is aligned (edges flush) but
the other is not, the blade edge (side rail) sticking out
must be reduced to match the adjacent rail exactly. Use
a RllJGH CUT FILE. Be careful not to take off too much
material as a distortion of the shape may result.
However, you may want to experiment with 'fterrowing the
shape at some point prior to forming (tip, belly, throat,
butt) especially if you always do this after the reed is
formed. flared shapes #5 and 17 should be narrowed at the
butt. The importance of matching the rails cannot be
overemphasized. Mismatched blade halves will cause
uneven blade slippage, unequal tension between blades,
and affect symmetry in the reed throat. If the butt
section of the reed is to be beveled (optional), the
bevels should produce a symmetrical "V". See figure 2.
5. Wr!j the folded cane with a rubberband - Use a size
#32 or 33 rubberband only (cut to make a single strip).
Wrap the rubberband onto the folded tube section of the
cane from the butt up to 4 to 5 millimeters from the
shoulder. The rubber band must be stretched extremely
~ as you wrap (approximately 30 wraps). Wrap the
Diaae portion of the cane with WAXED STRING evenly from
the shoulder up the blade. (Use at least a 15 inch piece.)
Leave a space between the ru.bberband and string for the
1st wire. Double check rail alignment between rubberband
and string! Re-adjust rails so they are flush if
necessary.
6. ScoriTt - Cut four or more equidistant scores,
completely hrough the bark and cane at the butt. See
Figure 4.
. ... . . -
Rubberband:
~~cor!ls:
· String
Figure 4
7. Wax the Mandrel/Varpir - Wax the tips of the mandrels
with Parafin Wax. Re-we the cane in hot water. Insert
the smallest end of the A.R.C. THROAT
ADJUSTMENT/PREFORMING MAtl>REl into the end of the tube.
Repeat with larger pins. Scores should crack up into the
tube. Remove and finish with the A.R.C. FORMING MAN>REL.
Shove the reed completely up to the stopping collar.
Place a wire near the butt and stretch and tighten it
securely. (This collar is the exact dimension for 9
millimeter bocal penetration without reaming.) Secure
the butt (3rd) wire. Check the "V" between the side rails
at the gap between the rubberband and thread. It should
be symmetrical on both sides. Slip the blades at the
throat if necessary with the thumb nail or small
AD.:JJSTMENT PLIERS. If necessary remove the rubberband to
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effect alignment. Otherwise leave the rubberband on until
after the 1st wire is secured.
8. Consistent measurement -To help eliminate variables
in reed making, always place the wires in the same
locations and pull the wires so the dimensions in the
throat of the reed are consistent. Use a CALIPER to
measure in front of the wires, and/or a THROAT
ADUSTt£NT/PREFORHINi MAN>REL to measure "internal"
dimension. Number 21 gauge wire is recommended for the
1st wire if you are a first bassoonist, 122 gauge for a
second bassoonist. Depending on the shape, the dimension
at the 1st wire should be 7.00 - 7.50 millimeters. Shapes
with the narrowest throats (12, flB, #9) pull to 7.00
millimeters. Shapes 11, 13, #5 and #7 pull to 7.25
millimeters and 14 and #6 to 7 .5 millimeters. These
dimensions are for our standard gou9e. Other gouges
should depend on the THROAT ADJ0Sft£NT/PREFORMINi MAN>REL
as a gauge for throat size. The smaller the throat
dimension, the greater the pitch stability and the darker
and smaller the tone. The larger the throat, the more
flexibility and the brighter and bigger the tone. A
throat that is formed too big, will be buzzy, too flat in
the second octave and will require a very short blade
length. The 2nd wire should be a slightly smaller
dimension than the 1st. Rock the wires from side to side
while stretching the wire until the desired dimension is
achieved. Once the wires are adjusted properly re-insert
the THROAT ADJUSTt£NT/PREFORMINi MAN>REL, and rotate (see
A.R.C. Throat Adjustment/Preforming Mandrel Instructions)
to effect perfect symmetry. View the inside of the tube.
If the inside of the reed throat is not symmetrical use
SMALL ADJUSTt£NT PLIERS. Squeeze the tube between the
first two wires on the sides and top with the THROAT
ADJUSTt£NT /PREFORMIMi MAN>REL inserted. Rock the wires
again. Also squeeze between the 2nd and 3rd wires. A
stubborn case may also require gentle squeezing at the
collar (between 1st wire and shoulder). The end result
should be a vert symmetrical, and quite round throat.
This will be dif icult to impossible if Steps 4, 5 and 6
are not carefully observed. Remove the string from the
blade area, insert FORMINi MAN:>REL tip to stopping collar
and tightly wrap rubberband onto tube from butt to 2nd
wire. Allow reed cocoon to dry completely at least 24
hours.
9. Apply bindi!![I before ~ning the tip - Immediately
after removal of~e rubber~d, apply plastic binding or
turk's head. Do not tighten 1st and 2nd wires, reposition
them if they have slipped. Aft er binding cement is
completely dry, soak cane in hot water for a few minutes,
cut tip open with REED CLIPPER and allow to dry NOT on a
mandrel.
10. R~at Soaking until reed quits "crackling" as it
dries ou. This may take weeks! Prepare a number of reeds
following the above method and stockpile them. You will
lose your "reed paranoia" if you have a large number of
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slable reeds made at consistent dimensions from which tu
choose.
II. Shaa\iV' the Knire.., 8assoon1sts rarely havt- sharp
enough nives. A 11'.VELED or BEVELED/CIN:AVE KNIFE ls
preferred for roughinq out the scrape. Uae a well
sharpened RAlDR TYPE KNIFE for finishing work. It is
important that the rinishing knife be sharpened to produce
a slight burr on its edge. This will allow you to wh1ttle
small a•ounts or cane to produce an extremely thin tip.
Dull or h1properly sharpened knives are the principle
cause or ruined reed tipa. To test the condition of a
knife's edge, run the knire along the edge or a
fingernail. See Figure 5.
~
Figure S
If it fee ls rough or you not ice bumps, it should be
sharpened f1rst on a tEDI~I~ CERAMIC BENCHSTONE until
the blade edge feels smooth. If the blade is extreimely
dull or rough it may take 1DBny strokes on the stone to
sharpen the edge. The angle of the knife to the stone
should be guile low, and sharpened on both sides for RAlDR
KNIVES. See figure 6. BEVELED KNIVES are laid flat on
the stone. See figure 7.
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I I
r igure 6 figure 7
Wipe the surface of t_he stone clean frequently with
I 11Jhter fluid to remove the build-up of metal residue.
Once the blade is smooth put the frnishinq edge and burr
on w1 th a HARD ARICANSAS STONE a r Fl~ CERAMIC BEtotST ONE •
To achieve the burr, the knife blade is raised to a
slightly higher angle with 3 strokes from right to left
(f lqure ti) followed by 1 stroke fro• left to right at a
[2u
greater •mg le (figure 9). (Reverse i f left-handed.)
I~[~[]
d
r igure 8 r igure 9
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BP surp for ell knife sherpeninq that thP bledP is prPssed
•
firmly end squerPly aqeinsl lhP stone and doPs not rork
Be surf' for ell knifp snerpening that the blade is prPsspd
firmly and squarPly aqainst the stone end dof's not. rock
es it passes across the stone. A light HONlll: Oil should
be used with the HARD ARKANSAS STIN:. ,.. If you havP
achieved the proper angles to produce a burr on the kni fp,
the knife will "catch" if dropped lightly 11qainst 11
downward angled finqernei I. If the knifp is too dul I or
has too much "hook" it wi 11 s lidf' off t hp n11 i I • Many top
rPPd lllflkPrs re-establish· the burr aft pr only thrPP or four
scrapes•

12. Thin the T~ - Wet the reed thorouqhly insPrt a PlAQlI

end scrapP and.or whittle the tip of !hp rf'Pd down with a
ICNJf[ unt ii 1t is quite thin. BP surf' lo scrape the
PxtremP end and sides of the tip. UsP a wh1ttJP stroke
of thP knife to remove i:enP quickly (somewhat like
sherpPninq a ppnci I with a knife) (Figure HI) em• a
srrepinq strokp to smooth 11nd balance (f iqurf' I "
--....
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f UjUl1! 10 ,- .1.gure 11

If the inside of the tip oppning looks rough, use a

SNl>lll: Pl.AQlI to smooth the rouqh grain. When the tip
is thin enouqh the reed will pPep whPn you blow it. YQU
may need to squep7p the 1st wire from top to bottom to gPt
a norme l tip opening (l. 5 mi 11 imf'l er gap). Ho Id the. rf'ed
up to a strong light source lo be sure the tip has a
balanced shading (equal thicknf'ss side-lo-side).

lJ. Uee e C-i•tent Teeti~ Techni&i - Use A.R.C. REED

TESTIJC PMlilUl'.s or A.~[. ADV D REm !»:SIGN &
TESTill: PROCEDURCS. Be patient; always take several
sessions t.o tPst. a reed. If a reed is not responding we 11,
set it aside end come beck to it later. Avoid adjustinq
reeds during extremes of high or low barometric pressure,
temperature or humidity. If a reed seems sluggish, set
it eside and try another one from your stockpile. The
best and longest lastinq reeds we've ever made were the
ones that did not iwtpress us initially and sat for more
than a year before tryinq them again! If you make a reed
today, play it tonight; it will be chanqing tomorrow,
maybe riqht in the middle of your solo!

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