I have noticed that NPU is selling Ashley Iles gouges,#3 to #6.What is the difference between the #3 and # 6 and what are they like for reedmaking?Thanks.
I have made some outstanding reeds w/ a #3, but i’m careful…most of the time.That said, I’ve wrecked my fair share w/it as well. Indeedy, you have to mind your work with the #3 since the width/sweep ratio can brings the edges thin in relation to the amount gouged. However, if the implement is sharp and is “reasonable” in construction, an experienced reed maker should have no problem.
BTW-Both Dave Heagarty and Jim Weymann felt (at Miltown '07) the #3 was too shallow, and said we should have at least a #4. If I could do it over, I’d have the #4 to start with.
I _really_like the fit, finish, feel, and weight of the Iles gouge.They’re very well balanced and feel like a quality implement. If I didn’t already have 2 #4s, I’d purchase an Iles #4, 5, and 6!
I have to say, I think the #3 (formerly stamped as “CS1”) is perfect for concert pitch, but it does take a bit of practice to master it. At first it seemed shallow to me but I changed my opinion after working with it for awhile.
The larger sweeps can lead to excessive elevation in the gouged bed. Once you get the hang of the #3 you can nearly complete the gouging of the reed blades with a single pass (I use one main pass down the center and then usually two ‘touch-up’ passes and the gouge is done). I agree that it needs to be very sharp, but that’s good advice for any gouge.
I use a narrower sweep (#5 I think) for the tails sometimes.
Best regards,
Bill
Indeedy Bill, I’m wondering now…when I use my #4 (which I haven’t in a while) will I be founderous majorous?! I totally agree with you. The bed, which’ll be the elevation, or dip, and ultimatley the apeture of the 2 blades, is of course paramount. A deep thrashing of the cane can equally cause things to go a wry.
Good call, as usual!
i’ll use a #6 for the tails, only because 3,4,&6 is all I have!
These days I finish up the inside of the slip with scrapers, adapted from Benedict’s technique (although I use conventional gouges for the main slip bed). I only use sandpaper for evening slip sides and making a “flat” initial slip prior to gouging (again, adapted from BK’s method). I certainly agree about the importance of the ‘dip’ and final elevation of the reed blades.
for the most recent reed I made (a reg reed) I adopted Tim Britton’s method for that endeavor and it was lovely. Step by step to the “T” (or “V” -hardde har har) and I had a perfect responsive lovely sounding reed. I was going to try that for a bass reg reed, just to see how things turn out w/some added slip length and width.