As an experiment I made 6 different staples and then, using some advice from a reed maker, I tried to make 6 reeds, all about the same. I used most of his process to make the reeds. He uses a much smaller sanding block than I have used before to make good reeds. But I figured I would give it a try. I should not have been surprised when I saw that all of the reeds, after being wound on the staples, had a much larger gap at the reed lips than what i normally get. The measurements at the max gap were between 1 and 1.4 mm. When I do my reeds my normal way the gap is about .4mm. And in many cases they play well and I add a bridle for changes if necessary.
So How do I deal with this big gap?
Oh, you may ask why try something different like this if I had something already working. Well it works for one chanter but not the others. I was trying to find out if a change in my process could produce a working reed for them and I felt that I would change the staples and keep the reeds more or less constant and see what happens.
If you are going for a centerline measurement, and you are using the same size tube (of cane), and now use a smaller cylinder, you probably noticed your edges still to thick. To get your edges where you’re used to seeing them you’re going to have to keep scraping. Thus, your centerline thickness will be less and your aperture will end up too large.
Hmmm. Wonder if David Daye’s thermosetting trick with a hairdryer might help. Use a “training” bridle untile the thermosetting is done, then remove it. Haven’t tried this trick myself yet, but have used Dave’s reeds for years and find them extremely stable.
to close the aperture, try pushing the staple a mite further into the reed head for a more natural approach. The bridle may force it too much and should only lower the aperture only slightly after applied.
As to sanding cylinders, I use a 2" PVC (which measures actually 1 3/4") and I do fine by that.
Keep in mind you want to work with the cane, not make the cane work with your numbers.
I usually do that for my regular chanter but I had a theory that my other chanter (very flat with current reeds) needed more volume so I thought a greater arch on a slightly wider reed would do that. But the greater arch makes it difficult to play. Maybe I should stick with the current larger sanding block and just make the reed a bit wider.
So I am scrapping these reeds, keeping the staples, and making 6 more reeds for them.
Scrapping is the best idea. As you progress, you’re “Scrap-a-mometer” will become more sensitive, and you’ll bin the thing as soon as you see an element creep in that you just know will cause a f*ck up!
Forget bridling an canyon size aperture… always. A reed will not work efficiently, and usually not sound well if you are having to use massive force to close. Now, there does seem like there’s and acceptable range, and I like it if the bridle closes the reed down just a bit for a number of reasons.
a very narrow aperture that barely needs a bridle may close down after some time. Then you’ll need the bridle to open, and I have not ever had great results from a reed that needed such over any length of time.
any possibilty of leaks forming are lessened by slight downward pressure.
I like the bridle to be engaged with the cane which seems to slighly bolster back d strength.
