I. CANE SHRINKAGE AFTER SHAPING...
from wet and dry.
A. Each and every piece of cane
is different from the next piece.
B. Cane shrinks according to its own inherent nature and to the
architectural stresses which occur during the drying process.
C. Shrinkage is most evident in the width of the reed, as the
fibers in cane run lengthwise.
1.
The tipmost shrinkage
a. no bark
b. wider, therefore more fibers
c. furthest from the bark - deeper into the wall of the tube
d. largest size of fibers
e. fibers that are the least tight and dense.
2.
The throat and tubeless shrinkage
a. bark intact
b. narrower, therefore less fibers
c. closest to the bark and outside wall of the tube
d. smallest size of fibers
e. fibers that are the most tight and dense.
II. THE FALLACY OF THE SHAPER
A. Each and every piece of cane, being different from the
next piece, must shrink, while drying, each in its own individual
and different manner according to its own inherent nature and
to the architectural stresses of the shape.
1. All outside dimensions... are changed upon the total
drying of the cane.
a. blade width... down to the
b. 1 st wire ... to the
c. 2nd wire ... to the
d. 3rd wire ... to the
e. back of the reed.
2. All inside dimensionsare changed upon the total drying
of the cane, after wiring.
a. "bore", or area inside of the blade
b. "bore", or area of the blade funneling into the tube
c. "bore" of the tube
d. "inner spaces", or configurations and "shapes"
of these inside areas.
B. "Pulls"... When any single dimension changes, it
"pulls", or affects the parts of another dimension,
or set of dimensions, as the total architecture is related and
exists as one flow of sequences - one system.
C. The shaper is "unable" to understand, and thereby,
cannot compensate for these most crucial sequential changes which
occur within the dynamics of cane in its drying process.
D. Shaping wet, to the final shape on a shaper guarantees a
new, incorrect shape upon drying and shrinking, either before
or after wiring, due to the FALLACY OF THE SHAPER.
III. EXAMPLES OF SHRINKAGE DURING THE VARIOUS STAGES
CONTRABASSOON BASSOON
1. Starting with the following shape, when dry...
| Contrabassoon | Bassoon | |
| 19mm | Tip | 14.5mm |
| 11.75 | lst wire | 10 |
| 11.25 | 2nd wire | 9.5 |
| 11.25 | Back | 9.5 |
2. After soaking 8 hours, when wet...
| Contrabassoon | Bassoon | |
| 20mm | Tip | 15.3mm |
| 12.35 | lst wire | 10.4 |
| 11.60 | 2nd wire | 9.8 |
| 11.60 | Back | 9.8 |
3. After drying 48 hours, completely
dry... return to normal
| Contrabassoon | Bassoon | |
| 19mm | Tip | 14.5mm |
| 11.75 | lst wire | 10 |
| 11.25 | 2nd wire | 9.5 |
| 11.25 | Back | 9.5 |
4. Immediately after wiring, when
wet
| Contrabassoon | Bassoon | |
| 20mm | Tip | 15.1 |
| 11.6 wire 10.75 |
lst wire | 10. wire 9.2 |
| 9.6 | 2nd wire | 8.8 |
| 8.9 | Back | 8.75 |
5. After drying 24 hours, not tightening
wires
| Contrabassoon | Bassoon | |
| 19mm | Tip | 14.5mm |
| 10.5 9.75 |
lst wire | 9.85 9. |
| 9. | 2nd wire | 8.5 |
| 8.5 | Back | 8.3 |
6. After drying 24 hours, tightening
wires
| Contrabassoon | Bassoon | |
| 19mm | Tip | 14.5mm |
| 10.5 9.6 |
lst wire | 9.7 8.9 |
| 8.7 | 2nd wire | 8.25 |
| 8.3 | Back | 8.10 |
IV. PROCEDURES FOR HAND-SHAPING OF
REEDS...
A. Rough-shape, wet... after
6-8 hours soaking of profiled cane (Preferably hand-profiled,
but machine is passable) leaving the shape at least 20% too wide,
to allow for shrinkage.
1.
Technique... with knife sharpened on one side only (to make
a leading edge), chip away on the shape (folded over) from tip
to rear of reed. i.e.: hold reed in left hand (palm upwards towards
the face) by the tip area between thumb and index finger with
base of reed resting on palm of thumb. Place right thumb on base
of reed and draw knife, with right hand, in chipping motions towards
you. Wrap base of reed 3 or 4 turns with very thin cotton thread,
knot, and let dry.
B. Drying... at least 48 hours in the open, not enclosed
in a drawer, or case, or box. Best is on a glass plate, or saucer.
C. Fine-shape, dry ... to finished dimensions, after total
drying of at least 48 hours.
1. Technique ... use progressively finer tools, from No.
0 files, to No. 1; to knife; back to files; to diamond file; to
finally 320 or 400 sandpaper wrapped around a file or 1/4 inch
india
stone 
,
fine (preferred over sandpaper), holding the reed as in
A-1 above. Always check dimensions with micrometer for ultra precision while you are working.
2. Technique... file from Ist wire to tip, and from 1st wire to rear holding the reed as in A- I above, but reverse the left hand hold, to file from 1st wire to rear. Blend in from both directions with india stone, or use sandpaper wrapped around a file.
3. Technique... be certain that sides are exactly at right angles to the cane and that there is no slippage or overlapping of the blades - either near the tip, on the blade, or on the tube (your hold of the reed is most crucial for stability and non- slippage... and for working of the sides evenly.)
D. Discard... any shape that is not on the measurement
100 % with the micrometer. I allow for no plus or minus.
E. Time Element for A. Rough-shape, wet 1 to 2 minutes
for B. Fine-shape, dry 3 to 5 minutes
F. Questions... for further information, please write me:
c/o Israel Philharmonic Orchestra
Mann Auditorium. P.O.B. 11292
TEL AVIV, ISRAEL
I promise an answer.
About the writer...
Bassoon and contrabassoon with the Israel Philharmonic
Orchestra, Marvin Feinsmith is a New
York City native and a graduate of the Mozarteum of Salzburg,
the Juilliard and the Manhattan
School of Music with a Masters degree. He has also done graduate
work towards a Ph.D. at New York University and at the University
of Colorado.
Feinsmith has played as Principal Bassoon with the Juilliard School and Manhattan School orchestras, the Indianapolis Symphony Orchestra, the Mozarteum of Salzburg, the Brooklyn Philharmonia, the Symphony of The Air, the Little Orchestra Society, and Co-Principal Bassoon with the Israel Philharmonic Orchestra under Leonard Bernstein and Zubin Mehta. He was Solo Bassoon in 1972 for the "Mass" under the direction of Leonard Bernstein, the same year he joined the Denver Symphony Orchestra, as Assistant Principal Bassoon, where he has played for 13 years.
As a composer, Mr. Feinsmith has written No'ach, a commissioned work by the Piccolo Society for mezzo soprano voice, piccolo and alto flute, harp and percussion. No'ach was premiered in Carnegie Recital Hall on December 5, 1984, to a fine review by the New York Times, and several notices in the Denver newspapers. He has also written two Hebraic studies for bassoon alone, published by Music for Wind Instruments.
Mr. Feinsmith is presently playing contrabassoon and bassoon with the Israel Philharmonic Orchestra at the invitation of Maestro Zubin Mehta.