What Makes an Oboe Reed Good?
FINDING A GOOD REED
For oboe players in particular, and even for beginners, the quality of the reed makes a big difference to the ease of playing, pitch (particularly in the high register), dynamic variation and tone. The reed must be at least good enough that the student does not develop bad habits right from the very beginning!
The best way to have good reeds is to buy reeds from a local professional oboe player or a double reed store. Handmade reeds are generally the best, but also the most expensive. Hand-finished reeds from an oboe store may be the best route for young players (for a list of oboe stores see: Oboe Reeds, Repair, and Supplies). Sometimes machine-made reeds, the cheapest option, can work.Your students may need to try several different types of reeds to find the style that suits them best. Having your student take at least a few lessons with an oboe teacher can also help them get started with good and appropriate reeds, and to know how to get them.
Detailed information follows on reed characteristics, identifying reed problems, and relatively easy ways to fix reeds.
GENERAL PRINCIPLES (TENDENCIES) OF REEDS
Balance is best!
More Opening -------------------------------------- Less Opening
more air needed------------------------------------- less air needed
better in low register-------------------------------- better in high register
flatter------------------------------------------------- sharper
louder------------------------------------------------- softer
harder------------------------------------------------- easier
More Vibration------------------------------------- Less Vibration
better low register----------------------------------- better high register
better response -------------------------------------- tends to have better focus, stability
More detail on the above chart: If the reed is too open, response, stability ( it will likely be flat) and endurance will be difficult in the high register. If the reed is too closed, the response, stability (it will likely be sharp) and dynamic range (will likely be limited) will be problematic, particularly in the low register.
REED PRIORITIES
These priorities are ranked in terms of what are the most important things a reed needs to be able to do, and what characteristics are crucial so that good embouchure development is possible.
1) Response/ease
A reed must respond in all registers easily, and must be easy enough that it can be played for some time without your student getting dizzy, or their embouchure getting too tired.
2) Stability/pitch
A reed must be stable enough that the embouchure is not used too much to hold it in tune. Having to do this is tiring, and usually creates a pinched sound. Ideally, the reed should play in tune with very little lip pressure, and only minor lip and air support adjustments.
3) Dynamics
The reed needs to be able to play the musical directions, and so have a wide dynamic range in all registers. It needs to be played in all registers easily loud enough to be heard, and soft enough to blend in the section.
4) Tone
Lastly, and definitely least, the reed needs good tone. It is much more important to the audience that the reed can be played musically than it sound good. "Good" tone is subjective anyway.