Understanding the Double Reed Components

Before diving into the crafting process, it's important to familiarize yourself with the key components of a double reed. A double reed consists primarily of two thin pieces of cane bound together to form a vibrating unit. The quality and shape of the cane, the dimensions of the blades, and the way the reed is tied and scraped all impact the sound and playability.

  • Cane: Typically made from Arundo donax, a type of giant reed grown in Mediterranean climates. It is harvested, cured for at least one year, and cut into tubes of specific diameters. The age and growing conditions of the cane directly influence the reed's density and tonal potential.
  • Staple: A metal or plastic tube that serves as the base of the reed and connects it to the instrument. Staples come in different shapes and lengths, with variations in tubing bore and taper. Oboe staples are often made of nickel silver, while bassoon staples may be brass or synthetic.
  • Thread: Used to bind the cane blades securely onto the staple. Waxed polyester or linen thread is most common, providing a tight seal and minimal stretch over time.
  • Blade: The thin, scraped parts of the cane that vibrate to produce sound. The thickness distribution across the blade—from the tip to the heart and into the back—determines the reed's resistance, flexibility, and pitch stability.

Mastering these components means you can diagnose problems quickly: a reed that feels too stiff may need more cane removed from the tip; one that is too soft might need a different staple or thicker cane.

Materials and Tools Needed

Gathering the right materials and tools is essential for successful double reed making. The list below covers both essential and optional equipment, with recommendations for quality sources.

  • Reed cane tubes: Pre-gouged or full-round cane for oboe or bassoon. For beginners, pre-gouged and shaped cane saves time.
  • Staples: Oboe: choose between short (Chudnow style) or long (glotin style). Bassoon: choose between different wire gauges and tube lengths.
  • Thread: 600-800 denier waxed nylon or linen. Avoid cotton as it absorbs moisture and weakens.
  • Knife or razor blade: A dedicated double-reed knife (e.g., Landwell or Faber) or a surgical scalpel with replaceable blades.
  • Reed mandrel: Metal rod matching the staple's interior shape, used to hold the reed while scraping.
  • Flatting and profiling tools: A reed shaper (e.g., Norton or Pisoni) for oboe or a profile machine for bassoon.
  • Scissors: Small, sharp-bladed scissors for trimming thread and rough cane edges.
  • Needle or awl: For threading the binding string through the staple eye (if present) and tightening wraps.
  • Water dish: Soaking cane before each step prevents splitting.
  • Sandpaper or fine files: 400-600 grit for smoothing the back of the reed and tip edges.
  • Reed case: Humidity-controlled storage (e.g., ReedGeek or RDG Woodwinds cases).

For those serious about efficiency, consider adding a gouging machine (like the Fossati or K.G. Vergez models) and a profiling machine for bassoon. Brands such as Forrests Music and Midwest Musical Imports offer reliable starter toolkits.

Step 1: Selecting and Preparing the Cane

The first step is to select good-quality cane. Look for tubes that are straight, free from cracks, and well-seasoned (aged at least one year). Color should be a uniform golden-tan; darker spots may indicate mold, while greenish hues suggest under-curing. Cane is often sold pre-cut into tubes of appropriate length—about 70–75 mm for oboe, 100–120 mm for bassoon.

Before working with the cane, soak it in tepid water for 10–15 minutes. This softens the fibers, making it easier to split and shape without cracking. For bassoon, you may need to soak 20 minutes due to thicker walls. After soaking, pat the cane dry with a clean cloth—it should be damp, not dripping.

Evaluating Cane Grade

Suppliers grade cane by diameter and wall thickness. For oboe reeds, a tube diameter of 9–11 mm with wall thickness 3.5–4.0 mm is standard. For bassoon, diameters range 20–30 mm with walls 4–6 mm. Stick to cane from reputable growers like Var (France) or San Diego Cane (USA). Cheaper cane often has inconsistent density, leading to short-lived reeds.

Step 2: Splitting and Gouging the Cane

Once the cane is soaked, split it into smaller segments. For oboe reeds, a tube is typically split into three or four pieces using a cane splitter (a wedge-shaped tool). For bassoon, split into two halves first, then smaller sections.

After splitting, gouge each piece to reduce thickness and create a uniform profile. Gouging removes the inner pith and ensures even vibration. Hand gougers (for oboe) or gouging machines (for bassoon) are used. Target thickness after gouging: 3.5–4.0 mm for oboe, 4.0–5.0 mm for bassoon. The outer bark should remain intact—it provides structural integrity.

Common Gouging Mistakes

  • Gouging too deeply: removes structural cane, causing the reed to collapse.
  • Uneven gouging: leads to imbalance between the two blades.
  • Neglecting to soak sufficiently: cane cracks under pressure.

Always check your work with calipers. Many experienced makers use a gouge gauge to maintain consistency.

Step 3: Shaping and Profiling the Cane Blades

Profile the cane blades by shaping them to the desired thickness and curvature. This step is crucial for tone and response. Using a shaper or profiling knife, carefully trim the cane to a specific shape that suits your instrument and playing style.

Common profiles include standard, long scrape, or short scrape, each affecting the reed's flexibility and sound production.

  • Standard scrape: Balanced blend of flexibility and stability; most common for intermediate players.
  • Long scrape (American style): Cane removed far back from the tip, offering a darker, more focused sound—popular with oboists.
  • Short scrape (European style): Less cane removed; brighter, more piercing tone—common for French-style oboe reeds.

Shaping defines the outer outline of the reed blank. Use a pre-made shaper (available from Ligeti or Pisoni) or hand-cut with a template. For oboe, the typical shape is trapezoidal; for bassoon, a longer, tapered wedge.

Profiling creates the thickness gradient from the tip to the back. Use a profiling machine (for speed) or hand scrape. The tip should be about 0.1–0.2 mm thick, gradually thickening to about 0.4–0.5 mm at the heart. Consistency between the two halves is critical.

Step 4: Folding and Tying the Reed

After shaping, fold the cane piece in half to create the double reed's two blades. Align the fold exactly at the center of the blade. For oboe, the fold is made at the "top" (gouged side in). For bassoon, the bark side faces outward.

Next, secure the folded cane onto the staple using thread. This binding must be tight and even, as loose thread can cause air leaks and poor response. The typical wrap pattern involves 8–12 turns above the staple eye (if present) and 8–10 below, forming a "bridge" over the fold.

The tying process takes practice to master. Use a needle or awl to help thread the waxed thread smoothly, and wrap it several times around the cane and staple to ensure stability. Pull each wrap firmly; you should hear a slight "crack" as the thread seats. Some makers use a tying machine like the Glenhaven model to apply consistent tension.

Troubleshooting Tying Issues

  • Air leaks: Apply a thin bead of clear nail polish or superglue to the thread wraps after drying.
  • Uneven blade opening: Adjust the fold and retie; the blades should be parallel when viewed from the tip.
  • Thread unravelling: Use waxed thread; finish with a tight knot or sealant.

Step 5: Scraping and Final Adjustments

Scraping is the most delicate and skillful part of reed making. Using a sharp knife or razor blade, carefully remove cane from the blades to adjust thickness and balance. This affects how the reed vibrates and ultimately the sound quality.

Work slowly and test the reed frequently on your instrument. Small changes can make a big difference, so patience and careful listening are key.

Scraping Sequence

  1. Initial rough scraping: Remove cane from the tip area (first 5–7 mm) to establish a thin vibrating edge. Use consistent, light strokes toward the tip.
  2. Heart adjustment: The heart (center of the blade) controls support. If the reed is too resistant, scrape a little more from the sides of the heart. If too soft, avoid scraping the heart and focus on the tip.
  3. Back scraping: Remove cane from the back third of the blade to increase flexibility. Be careful not to scrape past the thread line.
  4. Balancing: After each scrape, wet the reed and check both blades against a light source. The light should transmit equally through both sides; if one side is darker, it's thicker.

Use a reed knife with a honed edge—dull knives tear cane, causing rough surfaces and poor tone. Sharpen frequently on a leather strop with polishing compound.

Step 6: Drying and Testing the Reed

After scraping, allow the reed to dry for several hours or overnight. This helps the cane stabilize and prevents warping. Store your reed in a reed case or drying rack that allows air circulation—avoid airtight containers until fully dry.

Once dry, test the reed on your instrument. Play long tones, scales, and dynamics to assess tone, response, and comfort. Make further scraping adjustments as needed to fine-tune the reed to your liking.

  • Testing pitch: Blow a concert A. If the reed is flat, scrape more from the tip. If sharp, add more resistance by not scraping the heart or by clipping the tip 0.5 mm.
  • Testing resistance: If too easy to blow, scrape more from the back. If too hard, scrape from the sides of the heart.
  • Testing tone color: Dark vs. bright is largely determined by staple length and scrape type. To darken, scrape the back and sides; to brighten, focus on the tip.

Keep a reed notebook noting dimensions, cane source, scrape pattern, and playing results. Over time, you will develop a formula for reliable reeds.

Advanced Tips for Consistent Results

  • Batch processing: Make four to six reeds at once, soaking all cane together and moving through steps in sequence. This reduces setup time and improves consistency.
  • Precision measurement: Invest in a digital micrometer to track thickness at the tip, heart, and back. Aim for tip thickness of 2.5–3.0 thousandths of an inch (0.064–0.076 mm) for oboe.
  • Environment control: Reed making is temperature and humidity sensitive. Work in a room at 45–55% humidity. Use a humidifier or dehumidifier as needed.
  • Tool maintenance: Clean gouger blades after each use to prevent rust. Sharpen knives every two reeds. Replace scalpel blades after ten reeds.

Common Pitfalls to Avoid

  • Scraping while the reed is too wet: The cane softens and you may remove too much. Work with a damp—not soaked—reed.
  • Over-scraping the tip: A tip thinner than 2 thousandths of an inch will collapse quickly. Check with a light.
  • Neglecting the wire (bassoon): Add a forming wire after tying but before scraping. The wire helps stabilize the reed opening.
  • Using old cane: Cane older than three years loses flexibility and becomes brittle. Buy fresh stock annually.

Exploring Different Reed Styles for Oboe and Bassoon

Double reed styles vary by tradition and personal preference. For oboe, the American long-scrape is dominant in U.S. orchestras, while the European short-scrape is common in France and Germany. Oboists often work with a "tip scrape" or "heart scrape" variant.

Bassoonists have more variables: the German-style (long, narrow blade, softer cane) produces a dark, focused sound. The French-style (shorter, wider blade, harder cane) yields a brighter, more projective tone. Many professionals blend both traditions.

Experiment with different staples: Chudnow staples produce a slightly sharper pitch, while Ligeti staples offer a softer response. Always test one variable at a time.

Resources for Continued Learning

To deepen your craft, explore these external resources:

Mastering the art of crafting your own double reeds opens a new dimension to your playing experience. Not only do you gain control over your instrument's sound, but you also connect more deeply with your music. Follow these step-by-step tutorials to build your skills, and enjoy the satisfaction of playing on reeds you've created with your own hands. Consistent practice and careful documentation will elevate your craftsmanship from trial-and-error to a repeatable, artistic process.