I was first introduced to the concept of making bassoon reeds on staples about two years ago. The idea of using staples, though, is not a new one. Indeed, Bassoonists have been toying with the idea for years. But now as performance standards dictate, we are being required to look for longer lasting and more consistent reeds, and many have begun to more seriously consider the possibilities of this idea. Some have even taken it on themselves to depart from the established traditions of reed making and experiment for themselves. Of those who have done this, I know of none who has found the results unsatisfactory. In fact most have found great success with staples. I am one who has.
When I first started my experiment I was merely looking for a way to prolong the life of my reeds. It seemed to me that the staples could do this by preventing the annoying shrinkage of the throat in older reeds. I have since found that the staples do accomplish this r and much more!
I have found that almost invariably the tone of the reed on a staple is more "full" and has more carrying power than usual. The dynamic range is quite good, with the louder dynamics being more controllable. In most cases the extremely high register speaks more easily, although the tone of this register is made somewhat less "bright" by the presence of the staple. One particularly good feature of these reeds is that the low notes (from about Low F on down) are more solid and "woody" sounding.
Despite all of these advantages, I have found that the reeds on staples require some getting used to. Intonation tends to change somewhat; certain notes which are usually bad improve, and a few which are usually "fight on" pitch become somewhat altered. But overall the intonation remains as good and in most cases better and more predictable than with cane tubes. Another characteristic of the stapled reed which requires some adjustment is the response. I have found that the response is initially not quite as good, the reed being somewhat harder to blow. But after a little experimentation and adjustment the response is improved and quite acceptable.
The only real problem with this system of reed making is obtaining the brass staples. They would be extremely costly if made to order in small quantities by a machinist. Ready-made Heckelphone staples have been used with some alteration, but, alas, where does one find Heckelphone staples? I have concluded that the only way around this problem, until some firm begins the manufacture of staples on a large commercial basis, is to make them by hand. This process is not all as complicated as one might think. For those bassoonists interested in trying it, I have included my instructions below. (Ed. Note. Mr. Michel follows this introductory description with a very detailed and lengthy method of construction of stapled reeds - interesting, but too long for the newsletter. I am paraphrasing the basic material for brevity, which should be enough for many reedmakers. Mr. Michel may be able to mail his specific directions on request: Dennis Michel, W. 2222 Providence St., Spokane, Washington 99205)
1. Brass sheeting for making the staples - annealed sheet brass between .010" and .015" thickness (machine shop, hobby shop or hobby supply house).
2. Special mandrel for forming - should be turned from Y4" steel rod with a rate of taper of about .030" per inch; at small end diameter should not exceed one-eighth inch.
3. Other tools needed - small vice, plies, long-nosed pliers, sharp knife, a small hammer and strong nylon thread.
4. Make a template or pattern for the staple material needed for each reed - dimensions: 1 inch long, 9/16ths inch wide at front of staple, 11/16ths inch wide at back of staple. When cut out of sheet brass the patterns should be alternated front to back for economy of material.
5. The brass pattern is worked around the special mandrel which is held in the vice (use pliers and hammer to assist) then removed, the edges brought flush together and silver soldered at the seam (not electrical acid-core soldered).
6. Finished staple - in Michel's method - is inserted into the back of a reed blank which has been first formed with an all cane tube (normal reed-making procedure), then over-reamed to Wire I (closest the blades), wires removed and the reed cut shorter at back of the tube (final cane tube length is 1 inch).
7. Wrap reed tube and staple with nylon thread for airtight seal (Turks-head ball as usual). 8. End of bocal is wrapped in thread to prevent leaks another suggestion from an English Horn player is to slip a piece of surgeons' rubber glove material - which is very thin over the end of the bocal and the staple over this for an airtight seal.