by Tedley » Sun Dec 15, 2013 6:28 pm
I agree that the bridle is best used to set the tone and air demand of the reed and weight used for tuning. However, weight can be removed from the tip of the tongue by carving it off to sharpen the pitch of a flat reed. The closer to the tip the more effective the adding or removing weight is. Sealing wax can be applied to a reed by not melting it to liquid and dripping it on. The wax can be softened in the flame then stuck onto the reed directly and the blob manipulated with your fingers while it is still warm. Once adjusted the wax can be passed over the flame to polish the surface and make it neat. An alcohol lamp or candle flame is best for this. It is good to practice using wax on a chopstick to become skilled at working with it. I use dop wax, a type of sealing wax with extra grip that is used to mount gem crystals on a dop stick for faceting. I sell dop wax and other supplies at: piperssupply.com .
I use a single edge razor blade from the hardware store to make the end cut. I use a triangular file to make a small notch on the reed and set the blade in the notch and press down for the cut. I do not manipulate the blade to "naturally" split the tongue. Instead, I use the corner of the razor blade aligned with the axis if the reed and pointing at the center of the tube at the end cut, pressing it through the wall to cut one side of the tongue. Repeat on the other side. I have a bridle tied onto the reed to prevent the cuts from going too far down the sides. This way the exact tongue width you want can be made. Most pro reed makers I have talked to prefer to cut the sides rather than trying for the "natural" split. A much higher percent of working reeds can be made by doing this. It is important that the blade be aligned properly so it cuts between the fibers rather than cutting across them. I have made thousands of reeds this way.
I never heat set the opening of a reed as it will not last as long as lifting the tongue against the bridle to 30 to 40 degrees which breaks down some fibers at the bridle. This may be repeated as needed to open the tongue. I also hold the tip of the tongue open and run my thumb nail up the top of the tongue toward the tip to form a slight curve to the tongue. Slowly opening the tongue this way makes for a long lasting reed. Lifting the tongue and releasing it, known as "snapping the tongue", may be repeated during the breaking in process until the reed settles into playing. Over time, this will be needed to be done less and less, until the reed reaches stability. This technique is normal for using cane reeds and the feeling for doing it can be developed with practice. Following this method results in stable and long lasting cane drone reeds. Those I have taught to do this become familiar with using cane reeds and are usually delighted with the superior tone that cane reeds deliver, if properly fitted and broken in. I find cane reeds easier to work with than the Tupperware or composite reeds and prefer the tone. All it takes is practice to develop the sensitivity needed to work with cane reeds.