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CHAPTER XIX
Concerning the Making of Bassoon Reeds.

§.1.
Having brought himself through thorough and diligent study to a meaningful artistic level the bassoonist is nonetheless sometimes very dependent on his bassoon reed. He may possess the most delightful instrument as well as the best, most artificial humour, however when he plays a bad reed he must be its slave and cannot move freely. It is therefore unavoidably necessary for the bassoonist, if he himself does not want to make his own reeds, to gain precise knowledge of the building of the same; that he may inform whomsoever who makes his reeds how he wishes to have them, namely: broad or narrow, short or long, here gouged thin, there left thick in cane, etc., as there are, after all, many different calibres and shapes of reeds. One type of reed used on this instrument is perfectly in tune, and is on that one completely false. It is therefore necessary that the bassoonist always keeps to that species of reed with which his instrument has been attuned.
If I now part here with my opinion in general concerning the manufacturing of bassoon reeds: so may it be especially applied to my species.

§.2.
For the manufacturing of bassoon reeds one uses cane which has been grown in Spain, or also in Italy. Of the former, I have until now used the most for this, of the second much less, not because it could be worse than the former but because I have had until now little or no opportunity to procure this. I do not know the cane that grows in southern France. Spanish reedcane in Germany is most easily to be had in the manufacturing quarters, where is it often processed into a tool necessary for clothmakers. The cane which one chooses here to manufacture bassoon reeds must have grown straight, and the cylindrically formed pieces (see illustration [III Illustrations, i. Almenräder, a), below]) must have a diameter of at least one rhinelandic inch [26.15-26.99mm] and has to be as long as the length of the bassoon reed; so that when the cylinder piece is split into four equal parts, each part will have the sufficient width and length of a reed.
The good and suitable properties of cane for a bassoon reed are most surely perceived during the working of the reeds. It must neither be too hard nor too soft, nor have been stored for years in one place where no clean air could pass through it and where it must therefore have gone mouldy; the meat on the inside during gouging must seem strong and fresh, be of an even white and possess a certain toughness, the last being noticeable due to gouging smoothly. Some would even differentiate suitable from unsuitable cane through many other characteristics, e.g. through the outer colour, whether this is a pale or bright yellow, whether its colour is dappled; also by cutting into the cane and then wetting the cut they would recognise whether it sucks up water and has pores which are too rough. As much effort as I have put in to precisely follow these characteristics when choosing reedcane, I have found that they are based on unstable reasons and are not always reliable. The only test which has served me until now is (apart from my indicators mentioned above) running the nail of the thumb along the round tube on the outer part of the reedcane, through which one recognises its elasticity most surely. If, having used medium nail pressure there is no mark of it left on the cane, then one can be sure it is too hard. Even if some have the following objection against it: "The hardest and toughest reedcane is the one which is the most suitable to make the fittest reeds", so I must counter that one then, to conclude according to this, could make bassoon reeds out of much harder and tougher objects which would all have to be better than those made out of reedcane; although I trust myself to bring about a fit reed out of pinewood than out of such tough cane. As for the assumption that some make that reedcane is only allowed to be cut at a time when it is ripe: I haven't found enough evidence as yet, although I suspect that if, during a time of year where it still contains its juice it is cut and then laid in a place where no air can pass through and therefore cannot dry quickly enough, that this in any case must be harmful for the cane. I could not discover in spite of all the effort I undertook, whether this cane [is ripe] early every year and then cut, or if it is only ripe after two or three years,*) and is only then cut. It would in any case be good for reed-wind instrumentalists to know more.

§2 [sic!]
To make bassoon reeds one needs (apart from an ordinary wire pliers to secure the wire rings, a small vice one can secure to a table, a coarse file, and a good English smooth file, both of which have to be flat, and a triangular file) the following tools illustrated in Tab. III in original size: Fig. 1. A gouging bed made out of fairly hard wood that can be attached with a wooden screw tightly to a table. Fig. 2. A gouge out of good steel. Fig. 3. A steel scraper. Fig. 4. A mandrel out of brass that is as wide as the reed is when bound to it [sic?], and must be round and finely polished. Fig. 5. Pliers, where the inside surfaces have been smoothed down.

§3
From the cylinder piece which had been split into four equal parts, take one which has the length and width as indicated in Tab. IV at Fig. 1, place it for one hour in cold water, and after this gouge it on the gouging bed with the gouger evenly along its entire length until it is as thin as shown in Fig. 2.; this having been done, divide the entire length of the piece exactly into two equal halves (see Fig. 1 from a-b), then with the triangular file on the outside of the piece notch just the bark of the cane and cut in a small triangle on both sides at a-b, so that when it is now put again on the gouging bed the eye always has the middle of the piece in view. Gouge now from c with the gouger, as well as from d gradually thinner to the middle of the two halves a-b indicated in Fig. 2, so that it has become thinner by somewhat more than half. This last gouge must be done very carefully, namely in the place it should be, evenly; this is granted if one holds the worked piece up to the daylight where then, through the shadows caused, one easily notices the uneven areas. Now with the scraper, and after the worked piece of reedcane is dry, even out the uneven areas in the gouging bed, and then into water for 10 minutes. After this, completely scour the gouged side with scouring rush. As in Tab. IV. Fig. 1 cut the shape of the reed only on one half (after a shape on thin metal plate which one has made oneself for this), just as according to the measurements of the points shown here. After it has lain for further 5-6 minutes in water test through cautious pressing in the area of a-b Fig. 1 if it is flexible enough that the other, as yet unformed half, can be put together with the formed half without it getting too round at the notches, as in Fig. [3] Tab. IV, or even that the two halves separate from each other.
Both cases may occur when 1) if the reed towards the front, where the reed is taken in the mouth, is not yet thinly gouged, and 2) when the cane is too elastic. In the first case one can be helped in that one (but before beginning to fold together both halves) gouges the cane from c until a.b and from d until a-b thinner, so that both halves let themselves fold together flat as in Fig. 4, which in the second case, if the cane is too firm and elastic and thus has to be gouged too thinly, it must fold flat in an other manner. But the sound from a reed made in such a way can only rattle and not be made nice. If one notices following the aforementioned that the fold will be successful, one places the reed that has been completed thus far onto the gouging bed and, with a knife blade where the tip is broken and is therefore at a right angle, split the cane equidistantly at the lower part at e and fold together. The flatter the two halves come to rest against each other, there where the reed is notched at a-b and where it is taken into the mouth, the more hope there is in gaining a good reed. (See Fig. 4 and 7 in Tab. IV.) One lays now both halves completely flat on each other as at Fig. 7 and cuts the as yet unformed half m to the already formed half n, having done this bind both halves flat and firmly together. See Fig. 5. After it has lain in water yet again for 5 minutes one takes the brass mandrel, Tab. III. Fig 4, and coats the same with tallow and presses it between both folded halves, though not so quite so far as it [the reed] has been bound with the binding thread, following which both halves having (unless otherwise) been so far evenly and equally worked out in the appropriate places will also bulge evenly and flat. Following this one takes well annealed wire and fastens the same to the middle of the reed where the binding thread stops, bending it with the wire pliers on to the cane; after this one removes the binding thread and pushes the wire to its appropriate place (see Tab. IV. Fig. 1 at h-i) and tighten it here once again; then notch ¼ inch [6.54-6.75mm would be a ¼ rhinelandic inch] under this first wire ring with the triangular file all around the reed somewhat so that the second wire

ring which, once fastened here, cannot move any more from its place. Approximately four lines [ca 9mm] from the lower end, at the place where the reed will go on to the bocal yet another notch in the cane must be made all around the reed, so that the subsequent binding thread which will continue to stay on the reed cannot push itself from its place. After this the mandrel (which yet again is coated with tallow) is tightened fast at its key shape [handle] in the vice and, starting at the second ring using so-called driving cord which one gets at the ropemakers**) (which however has to be coated with wax beforehand), bind the reed until the very bottom as tightly as possible; on one's right hand making use of a thick leather glove so that the string can be pulled tight with force, which keeps both blades from becoming loose because of it (being able to push apart from one another) which is a great disadvantage to the reed, and is nonetheless on some often the case. Should the reed be stuck very tightly on to the mandrel use the pliers as shown in Tab. III marked Fig. 4, and applying the concave sides above the string press this way and that, until it thereby comes off the mandrel. One takes the reed which is thus far completed between the left thumb and left index finger at the string at the lower end, similar to when one wants to cut a quill feather, whereas the flat part of the reed rests on the lower soft part of the base of the thumb (on the inside of the hand), and cuts with a narrow but sharp quill knife the bark very thinly from that place onwards, marked f-g in Fig. 1; the hereby leftover unevennesses are removed with the coarse file. One now places the reed, after it has been made a little wet at the tip, on a smooth but firmly load-bearing piece of wood, places an old sharp razor on the very front part of the reed and separates both halves with a brisk and bold hammer blow. The opening at the front of the reed will now have the form as in Tab. IV. Fig. 4; should the two halves however stand further apart, approximately as in Fig. 3, press the first ring from both sides together somewhat with the wire pliers, through which both halves will lie closer to one another. The first ring is not supposed to become too oval, because in this case the inside of the reed will not be open enough. If both blades of the reeds are too close to one another press the reed apart somewhat from both sides with the pliers (see Fig. 1 at h-i). One carefully scrapes out the inside of the reed from the front, as far one can reach, using scouring rush which has been made a bit wet and then pressed flat together. One takes the reed again between the left thumb and the tip of the left index finger. One tries the reed subsequently on the bassoon and examines whether the low or high register responds the best on it. When the response in
10
the low register is difficult the fault usually lies in the reed being too strong with cane beyond the first ring; one therefore files with the smooth file more in these areas on both blades, and gradually less towards the front where the reed is taken in the mouth. If the high register speaks with difficulty, then also file towards the front on both blades. Above all the reed must be worked as thin as ordinary writing paper at the front where it is taken in the mouth, and then left gradually a bit stronger towards the ring. On both sides (see Fig. 6. at k-l) one scrapes the reed a bit thinner than in the middle, though one must always note the strength of the cane during this and act accordingly, that the stronger and harder the cane is the thinner it too must be worked. By the way, it is best when the reed is left the same thickness on both sides where the blades lie upon each other, as specified in Fig. 8. At the same time I cannot recommend enough that one leaves but plenty of cane in the area of both rings (see Fig. 8. at o-p), which gives the sound of the reed a certain power.
An easy articulation is guaranteed from the reed through sanding very carefully this way and that through the inside of the reed with scouring rush pressed flat. (See Fig. 6.) I must remark here that the reed during this and similar procedures must always be kept wet. Having followed the previous instructions precisely one will soon be able to find the reed fit for use.
The first 4, 5 to 6 days the reed changes the most, both blades sometimes press themselves too much together during this time or also too far from one another; one knows from the above what one has to observe in order to get the correct opening of the reed, which is specified in Fig. 6. The reed will usually become somewhat stronger, also when using it in the first days. One scrapes it in this case with scouring rush, but always towards the front, and on both sides somewhat gentler where both blades lie on each other, and repeats this in a few days again when it has become necessary. The dirt which develops on the inside of the reed must be carefully cleaned out of the same using a chicken feather, and after much usage it must be put in a place where air can pass through it. See Cäcilia Vol. 11, page 58.) If the reed during gouging should accidentally have been left too thick in cane in the area of the first ring, and therefore the vibrations of the same (particularly of the lower notes) are not large enough, and these then do not speak easily enough, then one pushes the first ring somewhat more towards the second. If it has been gouged too much at the above mentioned place that therefore the vibrations of the reed are too large and through this the higher notes do not speak easily enough, one must proceed in the opposite manner and the first ring must in this case be pushed more towards the front, where the reed is taken in the mouth. This moving of the rings should nevertheless only happen a little as even main errors that one was liable for during gouging cannot be improved, and it is in any case always preferable if the ring keeps to its place as in Fig. 1 at h-i.
The finished reed must have the form as in Fig. 9.

*)A trustworthy man assures me, however, that it is cut in the third year.

**)It is out of three or four strands, twisted out of hemp or flax and is therefore very strong.