Introduction
Tools
The Gouging Process
About the Writer
End Notes

Probably the first question that arises concerning how to handgouge cane is, why bother? After all, there is gouged cane for sale from many different sources, in varying lengths and thicknesses and in colors ranging from white through yellow all the way to lime green. Or, if the gouged cane on the market is considered unsatisfactory, there are gouging machines available
to use to gouge one's own cane. Since in reed making the desire is usually to reduce the number of variables to be dealt with and, thus to maintain greater consistency and control over the finished product, handgouging might appear to offer significant disadvantages and no apparent benefits. My experience, however, has been that obtaining consistency in handgouging cane is not very difficult and the variety of tube sizes and gouge diameters that are available for use make hand gouging useful.

Most commercially gouged bassoon cane is similar in diameter (about I inch or 25-26mm), in length (usually 120mm) and in thickness (1.21.4mm). Those who use gouging machines instead of buying gouged cane, while not limited in how thick the cane may be gouged, are still limited to the bed length of the gouging machine and in cane tube diameter to the diameter of the gouge bed (although the latter can be finagled). Handgouging removes all such constraints. If I want longer pieces, I cut the tubes off longer, or if I want to use larger or smaller cane tube diameters, I'm free to do so (contra players take note), and I can gouge them as thick or as thin as I want.

But even if I were to remain with regular 120mm cane from regular 25mm tubes in an average thickness, handgouging offers other possibilities. For one thing, handgouging offers a type of consistency otherwise unavailable in machine gouged cane. If one is interested in maintaining a constant ratio or relationship between the cane tube diameter and the gouge diameter, handgouging is the only way. For example, suppose ones "normal" setup is 1" tubes with a 1" gouge. If one wished to try cane from larger tubes but with the same tube/gouge diameter ratio as the "normal" setup (say 1 1/4" tubes and 13/4' gouge diameter), handgouging is the only real possibility. If one wished to vary the tube diameter even by only one or two millimeters, by using a gouging tool of approximately that diameter and then finishing the cane with sandpaper and a dowel of exactly the same diameter as the tube, one could maintain that constant tube/gouge ratio for virtually any size cane tube.[1]

In my opinion however, the principal advantage of handgouging is the opportunity to use different gouge diameters. Those who use gouged cane are of course limited to the gouge diameter of the cane they buy. Those who use gouging machines are limited to the gouge diameter produced by the blade of their machines. They may obtain another blade or alter an existing one, but then the machine must, at a minimum, be set up again or, in a worstcase scenario, be altered in a manner that cannot be easily undone. It is very difficult to set up a gouging machine to produce the circular gouge I can get easily with a handgouge and the reason for that is basic geometry.

The intersection of a sphere and a plane (at other than a right angle) is an ellipse (or, put another way, a circle projected onto an angled plane produces an ellipse). Therefore (jumping directly to the finale), a gouging machine blade that has a semicircular blade will produce a parabolic gouge contour in the cane. The degree of parabolicity is determined by the angle of incline of the blade. It's very difficult to construct geometrically a curve that, when projected at an angle onto a plane, produces a segment of a circle. Gouging machines that produce circular gouges have had their blades altered or constructed essentially by hand. In some instances, the blade produces one half (one side) of the gouge, then the cane is swapped end for end in the machine and the other side of the cane is gouged to produce the semicircular gouge contour. In such an instance, the cane can only be gouged within a very narrow range of thicknesses or a ridge will be produced down the center of the cane (the dreaded "W" gouge contour).

All of this is very complicated and it would be very expensive to have a blade so altered (with no guarantee of success). I do use a gouging machine, but for anything other than "regular" stuff (that is, anything outside the parameters mentioned in paragraph 2 above), rather than make a precision machinist rich (if you can find a precision machinist), I'd rather handgouge. It's not difficult, it's not that much slower, and it's cheap. If some new bright idea doesn't work out, I'm only out a few bucks.

But back to the first question, why handgouge? The answer is that reeds made from cane with varying gouge contours sound and feel a lot different. As to how they're different, try handgouging and see for yourself.

The tools required to handgouge are not many and they aren't very expensive, especially when compared to gouging machines, profilers, etc.

1. Gouging Block

The gouging block that I use is basically similar to the one illustrated in Ozi [Ozi, Etienne: Nouvelle Methode de Basson (Paris, 1803)] and Fröhlich [Fröhlich, Joseph: Vollständige Theoretisch-Praktische Musiklehre (Bonn, 1811)]. It's a piece of wood with a groove into which the cane to be gouged is placed. It has a tongue projecting vertically downward from the fore end, allowing it to be hung on the edge of a work table. There is a wooden bar across the far end of the groove to hold the cane while it is being cut. I bought mine from Phil Levin,[2] but it would not be difficult to make one oneself. Use the paring gouge (see below) to gouge out the groove and then clean it up it with sandpaper wrapped around the convex surface (bottom) of the paring gouge or around a dowel the same size as the paring gouge.

As sold, the gouging block allows the cane to slip a little from side to side under the pressure of the cutting tool, so I've altered mine to hold the cane down more securely. [Figure 1] It's the only alteration I've made to any of the gouging tools. First, I've removed the wooden bar across the groove and instead fastened a brass bar across the far end of the bed to perform the same function of keeping the cane in the groove of the gouge bed. Second, in the slot left where the wooden bar was, I've fitted a small bar clamp that screws down lightly against the cane from above and keeps the cane from slipping from side to side.[3] Third, I've glued a 1/16" -thick strip of cork in the groove of the gouge bed on the far side of (behind) the clamp. This serves to prop up slightly the far end of the piece of cane so that the nearer end is held down onto the surface of the groove (for cane that is, alas, not exactly flat). Last, I've got a long thumbscrew through the tongue of the gouging block into a threaded insert placed into the edge of the work table. These few fairly simple modifications ensure that the gouging block and cane are held tightly.

2. Paring Gouges

The gouging tool illustrated in Fröhlich appears similar to a type of drawknife or to the modern tool that is sometimes referred to as a "scorp" [Figure 2] Such a tool in the size(s) useful for reedmaking are not common and would be difficult to control while cutting.

In my opinion, the most appropriate modern tool is a paring gouge, for the following reasons: (1) paring gouges are available in a variety of sizes;[4] (2) they are available sharpened on the concave edge (so-called "in cannel") so that the tool may be lain almost flat against the cane with the result that the gouge cut into the cane accurately reflects the radius of the tool; (3) since the tool may be lain flat it is easier to control and the results are thus more consistent; and (4) they aren't prohibitively expensive. It's not clear from the Fröhlich illustration whether the historical tool was wide enough to gouge the entire width of the piece of cane in a single pass or whether the cane was, in effect, whittled out a section at a time. In the latter case, the tool probably had a cutting diameter smaller than the diameter of the cane tube and was not as wide across as the width of the split piece of cane. That sort of freehand whittling does not foster accuracy or consistency. A paring gouge (in most sizes) is wider across than the split cane, so that the entire width of the piece of cane may be gouged a stroke at a time, producing a gouge that more closely reflects the radius of the tool.

I have in-cannel paring gouges in the following sizes 1", 1 1/4", 1 1/2" and 2". [Figure 3] Of those four sizes, 1" is the most conventional for use with normal, modern bassoon reeds. Those who wish to experiment with so-called "concentric" cane (gouged equally thick at the edges and the center of the piece of cane) using 1" cane tubes will need a 3/4" or 7/8" tool.

3. Dial Indicator

A dial indicator is used to measure the thickness of the gouge along the length of the piece of cane, although a micrometer with ball head attachment or a spring caliper will also work.

4. Cane

If you live in California you can pick your own for free. Otherwise, tube cane is readily available from a variety of sources. I have bought from Rigotti[5] and Biasotto[6] An important consideration in tubes for handgouging is length. Because handgouging is not as exact as machine gouging, it's useful to have as much extra length as possible so that the most consistent segment can be cut to be the final finished piece of cane. Also, with my own gouging block I almost always throw out the end portions of the piece of cane that were beneath the clamp. Since the length of my gouge bed is 200mm, that's the length I want the cane tubes (although not everyone will want or need tubes that long and not every grower or seller will sell in that length). For Baroque bassoon reeds, I want the finished piece of cane to be 150mm long. Since I cut off about 20-25mm from each end of the piece of cane after gouging, 200mm tubes end up about where I want. Those who are experimenting with modern reeds and only need a 120mm piece of cane may start with shorter tubes, but still would be advised to try to get at least 170180mm tubes; at the start this is trial and error and allowing as much as possible for error is the way to go.

5. Miscellaneous

Finally, one needs emery paper (medium), something-to split cane with (a stiff knife is adequate), something to use to cut split cane, both gouged and ungouged (a cane guillotine or hawk's

beak pruning shears), a ruler, wooden dowel(s) in the same diameter as the gouge(s). Nothing else in the way of specialized equipment is required.

First, if the tubes are too long, cut them to the length you want. Second, soak them in water for a long time, at least a couple days[7] (if the water gets too putrid, change it). Third, split the tubes. This is a step in which it's possible to cut yourself, so be careful. Stand the tube up straight on its flattest end and set the edge of a stiff-bladed knife across the tube's diameter. Do not hold the tube with your hand. Notice that the tube is probably not perfectly round, so place the knife such that the resulting two split sections will be as semicircular in cross-section as possible. Work the knife back and forth (in a pitch-and-yaw motion) pressing down until the tube splits. Then split each half section in two, resulting in four pieces of ungouged cane.

After splitting the tube into quarters, inspect each segment for both "straightness" and "flatness" A piece that is not flat (one that will not lie flat in the groove of the gouging block) may still be usable. One that is not straight (one that, when placed in the groove, arcs or points to one side or the other) isn't worth the time and effort.

Next, place the piece of cane in the bed of the gouging block. Take the paring gouge in your right hand (if you're righthanded) with the blade resting atop the two edges of the piece of cane at the end nearest you. With the left hand pressing down very hard on the top of the tool, push the gouge forward into the piece of cane. If the tool is properly sharp, it will be possible to keep the blade as flat as possible against the cane and still cut. The left hand pressure is used to help the blade bite into the cane and to control the depth of cut. [Figure 4] Steer the paring gouge with your right hand to direct the cut as much as possible down the center of the piece of cane. If the cut is veering a little to the left of the piece of cane (as seen from above), bring the handle of the gouge a little closer to the side of your body so that the edge of the gouge is pointed a little to the right of the center line of the piece of cane. (Nautically speaking, if you want to cut a little more to starboard, port your helm.) The first cut should be two equal strips, one from each edge of the piece of cane. (If you are using an unaltered gouging block, do not push the paring gouge so far that the two strips are cut away from the piece of cane, or you will dull the tool on the hardwood crossbar across the groove of the gouging block.) Make additional cuts, each cut producing two equal strips from the edges. The two strips will be wider with each successive cut until the paring gouge is cutting into the entire width of the piece of cane.

To check how symmetrical and accurate you are being, note the thickness of the piece of cane along each edge. Both edges should be of equal thickness and each edge should be a consistent thickness from one end to the other.

At this point, remove the cane from the block and break off the strips where they are still attached to the end of the piece of cane. Do that by grasping the strips at their base with the thumb and first couple fingers of the left hand while holding the cane in your right fist. Lever the strips up and away from the piece of cane until they split away (including cane beyond the point where the paring gouge had stopped cutting. [Figure 5] Now, while holding the cane in the left hand with the left thumb against the gouged surface, use the paring gouge to lightly strip away the remaining thickness at the upper end of the piece of cane where the strips were attached (you may want to choke up a little on the handle of the paring gouge). [Figure 6] If you do a messy job at the ends, it doesn't matter very much because this part will be cut off eventually anyway.

Put the piece of cane back into the gouging block with the ends in reversed position. Continue as before, steering the gouge like a tiller to make a straight cut down the center of the piece of cane using pressure with the left hand to control the depth of cut. After you have produced a decent amount of shavings attached to the end of the piece of cane, again remove the cane and strip away the shavings and clean up the end where the shavings were attached. Be as neat and accurate as possible throughout the gouging process. Having been sloppy at the beginning sometimes cannot be redeemed by being careful later on. On the other hand, this is trial and error...

At this point, check the thickness of the piece of cane. If it is still very thick (more than 2mm), continue gouging as before, If you're down around 2mm, do some more detailed measuring. Drag the piece of cane through a dial indicator, running the arm of the indicator down the center of the piece of cane from one end to the other. Checking the dial while dragging the piece of cane will show where the thick and thin stretches are. (One hopes the thin stretches are not already too thin.) Also, note that the final stop is sandpaper, so it isn't necessary to hit the exact desired thickness with the paring gouge.

Having noted which portions of the piece of cane are thicker than others, thin these with the gouge. This is the trickiest thing to do with the paring gouge. Try it this way: first, the gouge really has to be very sharp; set the blade at the beginning of the thicker stretch with the gouge as close to flat against the cane as possible; press down very hard with the left hand while 'wiggling the tiller' (the handle of the gouge) gently from side to side to encourage the blade to bite into the cane; when it does bite, push slowly (and straightly) while continuing to press down with the left hand with as much weight and strength as possible. If you have managed to start a paper-thin shaving, it is the pressure of the left hand that will enable that cut to continue.[8]

If you screw up irretrievably, split the piece of cane into 5 or 6 pieces, make a pitcher of martinis, and use them for swizzle sticks.

When you hit .2mm from the desired final thickness (remember to account for the difference between wet and dry measurements), stop using the paring gouge. Remove the piece of cane from the gouging block. Use the dial indicator to identify the 120mm or 150mm (or whatever your desired final length) segment of the piece of cane that has the most consistent thickness, straightness, etc. Mark that segment and cut it.

At this point, you should have a piece of cane of the correct length that is about .2mm too thick. The final .2mm or so is removed with medium grit sandpaper or emery paper. It can be done while the cane is still wet (and the profiling, shaping, reedmaking process then begun), but I prefer to let the piece of cane dry first: the floor of the piece of cane ends up smoother and the emery/sandpaper doesn't get loaded up as much.

If you wish to dry the cane before sanding, it is recommended to tie it around a dowel of the same radius as the gouge so that the diameter of the gouge is not altered by warpage during the drying process.

For the final sanding, take a wide strip of emery/sandpaper and wrap it around the convex surface (the back side) of the paring gouge. Holding it tight in the left hand with the gouge resting on your lap (do be careful which direction the sharpened end is pointing), rub the piece of cane back and forth down the length of the paring gouge until any rough spots are removed and/or until you get to the thickness you want. It helps to moisten your right hand a little so that it will stick to the bark of the cane.

Although at this point you should have produced a perfect piece of gouged cane, in all likelihood the piece of cane in question is probably flawed in one way or another. Don't get discouraged. The first few I did took perhaps 30 minutes each (although it did not seem quite that long), partly due to time spent trying to figure out a good working method and partly due to my own lack of skill. I threw away a lot of mortally wounded pieces of cane. As I mentioned earlier, I do not handgouge all of the cane I use, so my skill level deteriorates between handgouging sessions. But even so, I can use probably upwards of 80% of the cane I handgouge and the elapsed time is down to maybe 5-10 minute each (not counting drying time and final standing). I can control the tolerances to within .20-25mm or so. On the face of it, those statistics do not compare favorably with gouging machines, but when one also considers the greater flexibility in terms of different types of cane that can be produced, handgouging becomes more advantageous

and attractive. Are you thinking, "Yeah, but can I learn to do this?" Well, if you hate to make reeds and are lousy at it, you will neither enjoy handgouging nor be very good at it. On the other hand, if you're pretty good at making reeds (in terms of craftsmanship), there's no reason why you can't learn to handgouge reasonably well also.

[Charles Koster received a B.M. in Bassoon and an M.A. in Music Theory from the University of Iowa and was a doctoral candidate in Bassoon at Indiana University. He has been a member of orchestras in the United States, Mexico and West Germany. As a Baroque and Classical bassoonist, he has performed with orchestras in New York, Minneapolis, Chicago, Los Angeles and San Francisco. His translation of Carl Almenrader's Verhandlung uber die Verbesserung des Fagotts nebst zvei Tabellen was published in the Journal of the IDRS in 1986.]

1. This insight provided by Michael O'Donovan.

2. Levin Historical Instruments, 1152 Greenspond Road, P.O. Box 407, Newfoundland, New Jersey 07435-0407 (201) 697-0535, $35.

3. A piece of double sided tape in the length of the groove is another solution (suggestion of Paul White).

4. The ones I use are made by Marples (Sheffield, England) and are available from Wood Carvers Supply Co. 30567 Excelsior Boulevard, Minneapolis, Minnesota 55416
(612) 927-7491 ($25-40). They do store sales only, but will accept VISA or Mastercard orders to be sent out. The stock numbers are: 1" - 301196; 1 1/4" . 301197; 1 1/2" - 301198; 2" - 301199. Tools are sold unsharpened, so ask to have them sharpened before shipment or have
them sharpened yourself after receipt. Ross Cutlery and Sharpening Service, 306 South Broadway, Los Angeles, California 90013 (213) 626-1897, can put a deadly sharp edge on anything, including gouger and profiler blades (reed knives $4-5, gouges $7). In sharpening an in-cannel tool, note that virtually all of the sharpening is done on the bevel (the in-cannel). The only work on the convex surface (bottom) of an in-cannel tool is polishing off the bur produced in sharpening the bevel. Maintaining extremely sharp edges on the gouges is the best way to make handgouging easier, quicker and more accurate.

5. Ets Rigotti, P.O. Box 2, Rue Barbusse, F-83310 Cogolin, France. They speak English and their prices are relatively inexpensive: FF 61/kg for bassoon sizes and FF 100/kg for contra sizes last time I bought.

6. Dante Biasotto, Route de Bozon, F-83000 Frejus, France. Similarly inexpensive, bassoon sizes FF 65/kg and contra sizes FF 95/kg last time I bought.

7. Lou Skinner suggests soaking tubes in sealed jars for three days, followed by two more days damp in sealed, empty jars.

8. Fröhlich used a round scraper for this step. Jack Spratt Woodwind Shop, P.O. Box 277, Old Greenwich, Connecticut 06870 has a similar thing in its catalog, but I have not seen it. Lou Skinner uses a steel disc scraper with one side bevelled all the way around to a sharp edge (he and many of his students have a series of sizes from 2' down to 1/2"). Using a scraper competently for this step is easier to learn than using the paring gouge for this step, if one can obtain (or make) the scraper(s).

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