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Reeds How do you know when to change a reed?

When should you change a reed?​

When to change a reed
Cane Reeds are extremely annoying. They are sent here to try our patience in more ways than one:

  • You buy a box of reeds and it’s often the luck of the draw whether all, some, or even any of them will work well.
  • Once you get a good one, it doesn’t stay good. There is no immortal reed (not even synthetic reeds can make that claim) and sooner or later (usually sooner) it will die, sometimes without any warning.
Before you think about determining when a reed is no longer any good, it’s important to establish that any possible defective performance is incurable. In other words is it dying or just feeling a bit under the weather? (Literally if it is due to low humidity).

You may have noticed that sometimes a reed seems to get worse (less responsive or stuffy) after playing on it just for a few minutes. But after taking it off and then coming back to it a bit later it seems fine, only to deteriorate again after a while. If this is happening it could mean the reed is swelling and distorting, in which case it can probably be cured using the method describe in the Cane Reeds page: Conditioning a Reed


How long should a reed last​

So let’s assume we now have a reed that we know is nicely run in, and is playing well so this is definitely a reed we can use with confidence. However we are aware that reeds don’t last indefinitely (even synthetic reeds) but how do we know how long that is? We know when to change the ink in a printer because either there is a warning indicator or else we print a page and we can immediately see there is something wrong. Obviously we don’t know when that is going to happen as it is dependant on how much printing we have done, not how long the cartridge was in the printer.

Same with reeds: unfortunately we can’t say whether a reed will last two weeks or three months. It all depends on the amount of use it has been getting. And not just the amount of use in terms of playing hours, but in many cases the type of playing. getting back to our printer cartridge analogy, if you were printing pages of double spaced light grey text you would expect to get more pages per cartridge than if you print single spaced bold black text.

How do we know when to actually change the reed then?​

It would be nice if we got a warning indicator, so we know to go out and buy a new reed, or start running one in. But sadly we don’t and the worst of it is that a reed can suddenly either die all of a sudden, or (more often) die a slow and horribly painful death possibly along with all the coughing, spluttering, rattling and squeaking you may expect form something dying.

This is the reason it can be a good idea to have several good reeds that are nicely run so that there is always a spare if the reed dies just before an important performance. Many players like to uses these reeds in rotation, but as long as you have one or two ready that is the main thing.

The biggest problem is of course knowing when it is about to happen, as opposed to knowing that it has just happened in the middle of an important solo in front of an audience or a panel of judges. This is not such a problem for experienced players and professionals who know their abilities and so are generally confident that various issues are not their fault. Also they very aware of subtle changes in the response of their equipment.

It may be a bit harder for beginners to know when they are struggling with a dying reed, as opposed to struggling with the saxophone in general, so here are some general words of advice.

  • Keep your saxophone in good condition, don’t scrimp on servicing – if in doubt about leaks take it to a good tech
  • Get the tech, or a good teacher, to check that the mouthpiece is not damaged, the ligature fits securely.
  • Learn to look for visible signs of reed wear: a dirty appearance, splits and divots, taking on a permanent bend (due to the mouthpiece curve contour)
  • Make notes about your progress in regard to tone, range and response. Is there a high note you could get a couple of days ago but can no longer sustain? A low note that you could play quietly but now you have to honk it out? These are al tell tale signs the reed is “on its way out.”
  • Always make sure you have some back-up reeds ready to go. For important performances use a reed you have confidence in, one that is quite new but comfortably run in.
 
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Well, I play only cane reeds, and I play them probably too long.

I have to force myself to occasionally introduce new reeds into the group, just so I don't get used to gradually softer and softer reeds and then get the bends when I have to replace them.

My practice routine is in shreds at present, what with two cross country moves and a constant churn in which groups I'm playing with, and which instruments I'm using, so I'm sure that all my reeds need a thorough going-over, the most worn to be discarded, and some fresh ones introduced into the "rotation". (I use inverted commas because I don't explicitly rotate reeds according to a schedule, I just grab them at random and assume that each one will get roughly the same amount of playing time.)

I see that I've gotten really sloppy with reed management over the last 10 years or so. Back when I was playing only one main voice with occasional detours, it was a lot easier to keep up with this stuff.

But to the actual question, when they feel too soft, floppy, don't respond to clipping, or just a subjective "lost their springiness" - that's when I declare defeat and toss 'em.
 
@turf3 you mention "clipping".... Now I've heard of this but I haven't done any homework /research on it. I'm presuming it prolongs the life of the reed a bit?
Hmm, yea maybe and no maybe. If you clip off the end of a reed it makes it effectively a bit harder. But it destroys the original design in that the heart of the reed is closer to the tip. If the reason to do it is because there is less apparent resistance due to the reed having bent a bit, then it is only a "sort of" remedy IMO.
 
If they've gone that soft I just stop using them and move on 😊
Whether they actually "go soft" or just seem that way because they take on a bentness and so effectivly make a smaller tip opening is the thing. People use the terms soft and hard, but IMO it's not an accurate way to describe. Flexible or inflexible would be better. But I get your point band agree - just get a new reed.
 
I’d have trouble describing it and my hearing isn’t good anyway for subtle or even not so subtle differences which is probably why I can’t decide.
There is a brief description of them on sax.co.uk
Even Alexander site doesn’t say much
Thanks, that's where I've seen them recently in Sax. Co just wish I'd got some then 🙄😂
Having read all 3 for tenor I still can't decide which one would be better to try? Maybe the NY? It compares to D'addario select jazz unfiled reeds which were going to be my next purchase.
 
Thanks, that's where I've seen them recently in Sax. Co just wish I'd got some then 🙄😂
Having read all 3 for tenor I still can't decide which one would be better to try? Maybe the NY? It compares to D'addario select jazz unfiled reeds which were going to be my next purchase.
As I’ve just walked up two flights of stairs to check what I’m using, both tenor and alto, yes go with the NY.
 
I play Java green box 3.5's, although have been trying some others lately, like Ishimori and Rigotti -- and still like the Java's -- so far anyway. I keep 15-20 in a rotation all the time. I flatten them with a lathe mini bit until they start to speak well. They'll work great for maybe 3-4 playing sessions, then get too flexible and don't respond in altissimo as well, so I clip them. Sometimes I clip them twice. They'll keep playing well after that, for the most part, until they start to sound funny, as if you took a graphic eq and slammed all the faders to the bottom except maybe 1 midrange fader. Then I discard them, even though they might still respond just fine. I'm really about the response as much or more than the tone, but when they're dead they're dead. Sometimes they last a couple of weeks, sometimes a couple months. Sometimes longer, I'll practice with reeds that don't speak very well on purpose, and they seem to break in well without my interference. Plus gives me kind of a workout.

I was looking up stuff about reeds lately and noted with interest a new thing to me, that reeds of a specific manufacture are all cut to exactly the same dimensions and specifications, then graded for strength based on the amount of effort is takes to bend them -- a measure of elasticity rather than thickness, and based on characteristics of that particular chunk of cane. Maybe everyone knew that but me, but I found it very interesting.
 
My suggestion when trying new reeds is only do one brand at a time, and compare them with what you’re currently using. And play a whole box of 5 (or 10!) because there’s always a stinker or two in each box 🙂 That’s especially important if you don’t adjust your reeds (though I recommend learning how).

Regarding the reed clipper, I have one for each horn I play. I used the tenor one once this year; the others not at all. A reed clipper was introduced to me by my clarinet teacher in 1963, as an essential part of my clarinet kit. I still have that clipper, and it’s the only one I have for clarinet; it works just as well as the ones I bought more recently (we’re talking mid 1980’s here) for the other voices.

The best ones are branded Cortier, made by Marca. They have not changed at all in the intervening years. A few years ago I had to buy one for soprano sax, as I mislaid mine somewhere. It’s exactly like the ones I got last century.

Are they useful? Yes. Are they necessary? No; in a pinch you can use a nail file/emory board to shorten the tip, or the old school coin plus lighter trick. Mostly it’s not an issue at all. I have had no luck using them to revive a dead reed. Some luck using them to adjust too-soft new reeds. If you get a box of reeds that are too soft for you, it’s cheaper to buy a new box of stronger reeds than to buy a clipper.
 
I was looking up stuff about reeds lately and noted with interest a new thing to me, that reeds of a specific manufacture are all cut to exactly the same dimensions and specifications, then graded for strength based on the amount of effort is takes to bend them -- a measure of elasticity rather than thickness, and based on characteristics of that particular chunk of cane. Maybe everyone knew that but me, but I found it very interesting.
It is amazing to me how many experienced players don’t know this. I have had people call me crazy when I pointed this out, claiming that they knew for certain that I was wrong.

This aspect of cane, the fact that the same material can vary so much in resilience and flexibility, is why I balance every reed for equal response on both sides. This also lets me tone down reeds that are a bit too hard. A “3.5” strength reed is really a range between 3.25 and 3.75, and the cane can easily vary in response from side to side. Plus no two mouthpieces, and no two mouths, are exactly the same 🙂
 
I was looking up stuff about reeds lately and noted with interest a new thing to me, that reeds of a specific manufacture are all cut to exactly the same dimensions and specifications, then graded for strength based on the amount of effort is takes to bend them --
Yes in fact strength is a bit of a misnomer, as are hard and soft. For me reeds only have varying amounts of flexibility.
 
The profile of the tip of a reed is different from brand to brand and cut to cut.

After using a clipper on a Vandoren reed, the profile of the reed tip more closely matched the profile of the Lelandais mouthpiece tip rail.

Some tip rails are so slim that this can make a real difference. I have roll over baffle pieces that it's hardly there at all.
 

Similar threads... or are they? Maybe not but they could be worth reading anyway 😀

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