George Adams is Lecturer in Bassoon and Director of Chamber Music at Sam Houston State University in Huntsville, Texas. He received a B. Mus. degree in bassoon from the University of Southern California where he studied witegan to study bassoon under Frederick Moritz, who was then nearing the close of his illustrious, sixty year playing career. Both my playing and reed making were revolutionized under his tutelage. To my knowledge, no description of his methods has been undertaken and it is my aim to set forth his principles and procedures. I have added some measurements where he specified none and inserted a formula relating shaper and mandrel dimensions to gouge thickness.
Gouging
Tube cane is cut to a length of 124 mm/4.9 i dimension to those of the shaper and forming mandrel. The gouged cane should not be so thick that the forming mandrel cannot properly form the tube between the first and second wires. The narrowest part of the shaper (the waist) minus 6.2 times the gouge thickness should be greater than the diameter of the mandrel, at that same point. It is also important that the radius of the gouge conforms rather closely to that of the tube cane. Too large a gouge radius will give sides that are too thin, causing variations in hardnesis ensures easy insertion and full opening of the throat as the mandrel reaches 80_ o of its maximum diameter within 9mm/.36 in of the tip. Many forming mandrels taper gradually from base to tip. They cannot open the throat sufficiently without flaring the end of the tube beyond optimal diameter (as determined by the dimension of the bocal tip). The Moritz forming mandrel reaches its maximum diameter at the second wire and cannot, thus, over-expand the end of the tube. Also, since it is only 8 mm/.32 in. longer than the tube, it crect fit on the bocal.
The Easel
The easel diameter should closely match the gouge radius in order to adequately support the gouged blank. A plexiglass easel enables visual observation of beveled edge faces you in use. The blade, while it must not flex, must not be thicker than about 3.5 mm/.14 in. at the mid-point of the back. Also, for maximum maneuverability, the back of the knife should be curved.
The Scraping Knife
Personal tastes in this area vary. My knife was purchased from Robert D. Gilbert, Inc. and fitted with a larger handle. The blade is hollow ground and quite sturdy. The handle is long and hand filling for a firm, non-fatiguing grip.
The Plaque
I precontinuing to the shoulder mark (see illustration below). By this means the bark is removed from the cane between the shoulders. The area can then be smoothed with an "O" cut bastard file. At this point, my blanks are about .89mm/.35 inches at the center. It is not advisable to further reduce the blank in this area as this will detract from the strength of the arch created when the tube is formed. This can lead to a tendency for the blade arch to collapse after a period of playing. The greater thickness also discourages extensione shaper from the tip and tube ends. This will prevent the cut from following the grain, thus ruining the tube or blade.
The blank is now removed from the shaper and checked for alignment of the side. They MUST be a perfect, butt fit! If they do not fit exactly, square up one side against a flat surface and carefully file until it is perfectly true. Then check the other side and file until it, too, is perfectly aligned. In performing this operation, the file must be held perpendicular to the axis of the sides (see ill require starting a back cut in order to keep the bevel from following the grain and cutting off the taper.
One can smooth the bevel with a fine file if so desired. It must be a gradual taper from shoulder to end.
After slitting the cane carefully align the sides of the blades and then wrap string around the entire tube area, using moderate tension. Secure the string and insert the forming mandrel to full length. Place the first wire 2.5 mm/1/10 in. below the shoulder, measuriThe semifinished reed (cocoon) will be most stable if allowed to dry on pins for several weeks. Tighten the wires periodically using the forming mandrel for the first and second and the combination mandrel for the third. Do not tighten the first wire excessively.
When sufficiently stable, the reeds may be wrapped and the thread coated with two coats of "duco" or any similar mode cement. This will substantially reinforce the wrapping and tube.
Preliminary Finishing
Thss of cane to be cut. Mark the tip 26mm/1 1/32 in. from the shoulder (I prefer to leave a little leeway over the finished length of 25.4mm/1 in.), cut the tip and bevel the corners. Smooth the area just inside the tip with a slip of fine sandpaper. Trim the end of the tube until the tube measures 28.6mm/ 1 1/8 in. from shoulder to end. Ream the reed until it slides onto the bocal about 9mm/1/4 in. & or to the mark on the combination mandrel.
The initial finishing of the blade is begun with the slicing knife. First surface and thickness about .12mm .004-.005 inches greater than the "ideal" dimensions is reached. Next, trim the center of the blade, working toward the corner, especially as you near the tip; this begins the formation of the apron. Stay about .12mm/.004-.005 inches over the "finished" thicknesses.
Using an "O" cut file (a small pillar or flat bastard), smooth out the knife marks and continue reducing the thickness of the blade. It is vital to work the sides into the middle by filing ag reeds, one which - I feel applies to bassoon reeds as well. "The clarinet reed is a wooden spring . . . a good reed must (like a good spring) be basically in balance: That is, even on both sides . . . it must not have ridges, humps, or sharp indentations." [William Stubbins, The Art of Clarinetistry, Ann Arbor: Ann Arbor Publishers, 1965, p. 132] A bassoon reed is a set of two springs which must be individually balanced and match to each other.
Final Finishing
At this point scrape the tip down to the finished thickness. Hold the knife at a slightly less than a 90 degree angle to the axis of the blade in order to avoid making a pronounced trough just back of the tip. Leave the area, 3mm/1/8inches back from the tip slightly thicker than the d Testing
Leave the extreme sides a little thick until the very last adjustments are made. However, all other measurements should be as near to the given figures as the properties of the cane will allow. It is important to judge the quality of the cane at every step of finishing in order to determine if it is softer than average. If this is the case, the final dimensions may well be somewhat thicker than those given below. After each adjustment, play the reed to check on response (especially in the low register), to