Bell ring replacement

Almost a year ago I started on the process of replacing my cracked/chipped bell ring. I had selected a piece of exotic Olivewood to replace the original plastic. Unfortunately, the wood decided to warp pretty significantly after the rough cut, so we let the ring age for the better part of a year and stabilize. In the meantime I had a Delrin material ring replacement. It looked OK, but was a bit translucent, and was weird in some kinds of light.

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My repair tech Eric Anderson finally was able to finish the wood ring, which took a week for the lacquering process. Here is the final result:

P1010299 P1010305 P1010304 P1010302 P1010301 P1010300

There was a little hole from a worm or something in the part that we selected, impossible to predict it would be there when we started cutting. A little fill was added to make sure it didn’t have a rough edge to snag. It’s a pretty cool selection of wood, with nice character, and the lacquer Eric used really helped the grain pop!

Electric bassoon concerto commission grant

Today we got some wonderful news that a grant from the Minnesota State Arts Board was awarded to my dear friend Adam Conrad to write a concerto for me. The concerto will be for electric bassoon and chamber orchestra and will be a large scale work featuring extensive improvisation sections, including full group improvisation in the tradition of the group IMPROVESTRA. The grant is substantial enough that Adam will be able to dedicate some significant time into the writing and production, including some live performances and a professional studio recording. Exact details will follow in the coming months.

Bassoon Reed Styles

While my reeds have been very well received, I know that no single reed style is appropriate for everyone.

The standard Weasel reed is made on my shape design, profiled with no spine. The shape is fairly wide, especially in the throat, and offers excellent response everywhere including extreme registers, with a vibrant and solid “core” to the sound. This is the style of reed I personally play on, and it is what I would suggest you try first from me. This is the reed made using the method in the video linked to on my reeds page.

[Pictures Coming Soon]

My new style is a Popkin style reed. These are made with a Popkin shaper and profiler and made using a different construction method than my standard reed. The Popkin shape is more narrow over all, with straight sides to the blade, and the profile has a spine. The length and wire measurements are made to Mark Popkin’s specs, which are pretty close to my standard reed, except the scrape pattern is totally different. For me these reeds respond better in the lower register than the extreme high register, but they react very well on more resistant bassoons or bocals (so Fox bassoons and Heckels between 11,000 and 13,000 for example). The tonal character is complex and flexible, but just a bit different than my standard reed.

[Pictures Coming Soon]

If this is your first time buying a reed from me, stick with the standard reed first, and if you like the quality but maybe want something different, try the Popkin style reeds.

“Lecturer”

Two announcements:

I am very happy to announce that I have accepted a position as bassoon professor at the University of Wisconsin Eau Claire. (My official title is “Lecturer” because that’s what part-time faculty are called.) This fall semester I am also teaching two sessions of Aural Theory, a course I haven’t really thought much of since my days at Lawrence, but Donna DiBella drilled us in solfege so much that I still think in it most of the time I hear music. I’m very excited to teach my first collegiate bassoon studio, although I’m not so excited about an hour and a half commute. It’ll be worth it.

Second, I have purchased a Popkin profiler and shaper and have just completed the first three prototypes of a new reed design that I will make along side my “Weasel” reed. Probably available before the end of September, these are the “Pop Goes The Weasel” reed. These reeds have a completely different profile, shape, length dimension, and constructed differently. The result is a different sound and response (mostly sound). So far the results are extremely promising.

Reed Adjustment Suggestions

My reeds generally play very well for most players right out of the box. However, I recognize that everyone likes a little something different, so here are a few “If, then” scenarios for adjusting my reeds. These tips are likely applicable to any reed style.

First: soak my reeds. I play my reeds soaked in warm or room temp water for at least a minute, preferably two. As they break in they need more or less soaking depending on the particular piece of cane.

Adjusting the tip opening for tone color and resistance. The tip opening is your first point of adjustment. Often the tip of a new reed will flare open and collapse a bit as it’s played in. If this happens the first time you try my reed, gently flex the tip closed with your fingers to relax the cane. At this point the reed should play. You shouldn’t have to do this much or at all after a day or two.

If the reed requires too much air pressure to play: The tip and throat area is probably too open for you. First try adjusting the first wire by flattening it with a pliers. A tiny movement will make a big difference in how the reed responds, so make small adjustments. You can add some zing to the sound by flattening both wires. If you want to remove some zing or buzz from the sound, round both wires by squeezing from the sides. The second wire should probably be somewhat less than perfectly round, but a completely round wire is acceptable. My reeds have a fairly dramatic fulcrum effect, so a small adjustment to the wires is likely all you need.

Scraping tips (if wire adjustments aren’t enough):

A) Reduce resistance and increase vibrancy at the expense of stability by scraping a bit out of the middle of the heart/tip area. Basically you want to take the fingernail shape pattern in the scrape and pull it back a bit, making a longer tip area. I use a knife here.

B) Make the sound a bit less zingy and add some resistance to the reed by removing material from the “rails” – the very side edges of the reeds. For the 10mm from the tip back use a bit of fine sand paper, for the back 16-18mm of the blade use a file.

International Customers

Thank you for your interest in my reeds or in the Little-Jake pickup. Reliable international shipping is a fair bit more expensive than my shipping costs within the US. I only charge the actual shipping costs, no handling fees or mark-ups on shipping. For customers outside of the US and Canada I prefer to ship USPS Priority Mail International to make sure you get your product in a timely manner. Click the appropriate button to add the costs to your cart, then if you need, use the back button on your browser to return here to add the product if you haven’t already done so.

For reeds, click this paypal link to add an additional $27 for Priority Mail International shipping costs.
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For the Little-Jake pickup, please be aware that the threading used for the Little-Jake is an SAE measurement of 10-32. The tool used to make the adapter must conform to this measurement but can be difficult to find outside of the US. If you know you have access to this tool, great! Otherwise I can purchase the necessary bit and tap pair for your repair person to make the adapter. Combine this cost with the additional international shipping costs by adding this to your shopping cart.
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Extended low register fingerings

Using some mulitiphonic based fingerings, you can play to an F (or even E) below the lowest B-flat on the bassoon. Here’s a demonstration:

The fingerings are basically normal notes with a node left open.

Low A: play low F but leave off the third finger of left hand.
Low G#: Play low E but leave off third finger left hand
Low G: Play low Eb but leave off first finger right hand
Low F#: Play low D but leave off first finger right hand
Low F: Play low Db. Slide the second finger of the right hand so that is only pressing the ring key alone, but not actually covering the tone hole.

On notes where it is possible and doesn’t disturb the basic fingering, you can add either the low B-flat key, pinky C-sharp or pinky D-sharp (i.e. low D-flat and E-flat keys) to stabilize the fundamental on some of these pitches. I’ve found them to be quite variable on different makes and models of bassoon, so you might have to experiment a bit to find stable fingerings for your setup. A solid reed that isn’t too soft is also really helpful.

Adding more keys to my bassoon

After careful consideration, I decided I wanted to add a right hand Eb trill and offset the C# trill on my bassoon. I had Eric Anderson at Midwest Musical Imports again do the work. We used Fox key castings and posts and had the plating done at Brinkman’s Silver Plating in St. Paul. Some components, as always had to be made specifically for these keys. Here’s a gallery of the entire process! Read the full post »

Two new (?) trill fingerings for bassoon

Alternate title: additional uses for those extra trill keys. You need a left hand Eb trill key for the first one to work and a standard thumb Ab-Bb trill key for the second one to work.

High C to high D is a plague for many players. I found a trill fingering that works very well. Requires some pretty good air support to keep the D from cracking but you know, it’s a high D, so there’s that. Trill the keys in blue.

C5-D5

C5-D5 trill

And another one that I couldn’t find a trill fingering I was particularly happy with anywhere, but this seems to work really well.

F4-Gb4

F4-Gb4

The Japanese Beetles

Sat in with this pretty killer band a couple weeks ago. Laying some electric bassoon goodness on top of their great sound. Check it out.

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