Oboe Reed Case

The Rico Reed Case for double reeds holds eight of any combining of oboe, english horn, oboe d’amore, and bassoon reeds. Each case includes one Reed Vitalizer refill pack in 73% Relative Humidity.

Rico’s reed cases implement the Reed Vitalizer Humidipak engineering science for reed storage. The patented Humidipak technology uses two-way humidity control helps prevent cracking and warping. Reed Vitalizer control packs self regulate to the idealisti relative humidity inside your reed case and will last 45-60 days. When the pack becomes hard, discard and replace with a new pack.

From modest beginnings, Rico has grown to become a leader in single-reed manufacturing. Since the acquisition of Rico by D’Addario & Co., Rico has further strengthened it is position as the leader in woodwind reeds and accessories. At it is San Fernando Valley facility, Rico has a state-of-the-art reed exploration center, which employs the collaboration of agronomists, scientists, and musicians to give rise to top-quality reeds, including Rico Reserve premium reeds for clarinet and saxophone. Rico reeds are designed to gain all levels of musicians, from the beginner to the seasoned professional. Many of the world’s finest clarinetists and saxophonists use Rico brand reeds, such as Mark Nuccio, Jerry Bergonzi, Chris Potter, Benny Golson, Ernie Watts, Bob Sheppard, Henri Bok, Richie Hawley, Eric Alexander, and a good deal of more.

Oboe Reed Case

Introducing the new rico reed case for double reeds – the only case designed to work with the reed vitalizer automatic humidity control scheme (hcs). each case holds 5 oboe or bassoon reeds on mandrels. merely insert the enclosed reed vitalizer pack into the lid, and your reeds are guaranteed to be stored at the proper humidity level. the rico reed case is the only scheme that offers 2-way humidity control. each reed case comes with one reed vitalizer 73% control pack.

I begun playing the clarinet when I was 11 years old, back in 1984, after galore months of pestering my parents. Although I wasn’t in particular good when I started, I loved the look and feel of the instrument and I persevered, and I at long last ended up as a music student at Leeds University with the clarinet as my basi instrument. I didn’t find the notes that hard when I was a kid; I could construct a tune without too some tears, but my tunes just didn’t sound very nice until I’d got to when it comes to grade 6. A lot of young players experience the same problem, and the problem is genuinely twofold- 1) devising a gorgeous sound takes a large total of practice, and 2) manufacturing a genuinely finelooking sound depends on your reed.

What a Reed is All About

If you don’t play a reed instrument you may well be marveling what I’m talking about, so I’ll explain a little bit here. (For the already initiated, feel free to skip this bit!)

A clarinet is fundamentally a tube which is approximately 2 feet long; in fact it’s the same length as a flute or an oboe. The flute has a little hole which you blow across. This makes the air inside the tube start out vibrating, (like if you blow all over the top of a bottle and listen a note). The oboe and the clarinet, however, use reeds. These are little bits of cane, (or most times plastic), which are attached to the top of the instrument. The cane goes in your mouth and you make it vibrate with your lips and jaw; this sets the column of air vibrating, and hey presto a note sounds. (It’s very hard to describe how you genuinely do this because it all happens inside your closed mouth!) You can’t play the clarinet (or the oboe or bassoon) unless you have a reed attached to the top, and these necessary bits of kit have, unfortunately, rather a short life span. How long a reed lasts depends on lots of things, like how oftentimes you play, what brand you’re using, and even what the weather’s like. (It’s a natural material so it’s affected by the humidity of the atmosphere).

The Reed you genuinely Need

So now you recognise you need a reed, off you pop down to your local music shop, or find one online. The initial question they’ll ask you is what kind of reed do you need? Narrowing it down to just “a clarinet reed” won’t get you very far. You have to specify the strength of your reed. And choose a brand. And choose one of a range of reeds within that brand. And how some do you need to buy?

So how may a little bit of cane be so diverse and complicated? How may you perchance choose?! Let’s take a look at the original dilemma: Strength.

Reeds are categorised by their thickness, and given a grading from 1 to 5, including half grades. Basically speaking, the thicker the reed, the more difficult it is to develop a note, but the nicer the note will sound. So, if you are a beginner, (and consequently in possession of comparatively weak jaw muscles equated to a veteran), you will have to choose a low number, known as a “soft” reed. Around 1.5 would be good, but go for a 1 if the 1.5 is too difficult to blow on. As you get better, you’ll gradually be capable to progress to thicker reeds (known as “hard”). To get a decent sound, you need to be playing on a minimum 3.5, and most masters will be playing on 4.5 to 5s. Personally, I play on a 3.5. OK, let’s move on to brand and product:

In the UK there are mainly 2 companies battling it out in the clarinet reed field, and they are Vandoren and Rico. I’ll try to make a comparison amid them, since your basic purchasing decision will be amidst these two brands. Here’s what Vandoren say when it comes to their usual B flat clarinet reeds:

“The most widely played reeds in the professional world.”

And here’s what Rico assert in regards to their most similar product:

“The world’s most standard reed.” One thing you may be competent to deduce from this is that Vandoren reeds are better and likewise more expensive. They give rise to a better tone for professionals, who are more picky with regards to these things than amateurs. However, there are some more amateurs piping away in their bedrooms on a Sunday afternoon than there are professionals, and they tend to choose Rico, so they can’t be all bad.

Here’s how the prices compare from 2 reputable online firms, for a box of 10, (the normal number you get in a box).

From http://www.myatt.co.uk Rico Reeds cost £8.50 and Vandoren cost £11.00

From http://www.dawkes.co.uk Rico cost £6.25 and Vandoren cost £10.25

Rico are well in front in the tasty price league, so why is it that all these pros are choosing Vandoren? It in truth boils down to the sound that comes out when you blow, which to the professional is the only major issue. For us mere mortals though, there are another couple of points to consider- how a great deal of of these 10 newly purchased reeds genuinely work properly, and how long will one last before I have to change it? I’ve played on both these brands of reeds over the 20 and a bit years I’ve been playing this instrument, and I believe that Rico are more consistent in the strength grades they put in the box, and they last for the same length of time as Vandoren’s, but whereas a box of Vandoren on occasion formulates a actually stunning beauteous reed, a box of Rico never does.

When you buy a box of reeds, it is rather normal to find that some of them just won’t work. This is rather annoying, (especially if you’re paying more than a pound a piece), but it’s a fact of life. The cane is strictly tested by both companies, and left to mature for a substantial time, but not one thing may stop the cane from getting somewhat altered once it’s been packaged up in it is box. My personal intermediate from Vandoren is 50% usable reeds per box, while Rico ordinarily gives me 7 or 8 that are playable. So, in effect, they work out even for less than you’d bargained for. I think that Rico’s testing technology is perchance superior to Vandoren’s, to formulate these results. They are more effective at eliminating inferior cane earlier in the process, before it in truth gets in the box. In my mind there is no doubt that Vandoren Reeds sound better, but the big divergence in price is not justified by the little divergence in sound. Going back to my earlier point regarding the quality of my early attempts at the clarinet, I must point out that playing on the rectify strength of reed, (and one that isn’t too old), will see to it an adequate for the purpose sound from anyone. So how to find the rectify strength? Read on!

How Strong is your Jaw?

Rico Reeds come in intensities 1-5 (not all brands do). If you’re a finish beginner, buy a 1, a 1.5 and a 2. (You may buy reeds singly, both online and in shops. Some shops let you undertake the reed out before you buy it just in case it’s a duffer (see above), but not all of them.) Try the 2 first. If you invent a sound rather effortlessly and without pain, congratulations! You’ve found the right strength. If you find it takes a large total of breath to get a note and you may listen air escaping from the side of your mouth as you blow, the reed is too hard. Try the 1.5, and repeat the process. Remember that with clarinet reeds, the only way is up! When you have been playing on your 1.5 for a lot of time, undertake the 2 from time to time. Don’t play for too long, as your jaw will tire effortlessly and you may bite into your bottom lip. If this happens, your mouth will be too sore to play until it’s healed, and you’ll have to begin with a softer reed again. Gradually increase your playing time, until you may play on the 2 with no problems. Then move on to the 2.5, and repeat the process.

If you stick with a softer reed once your jaw muscles have become stronger, your sound will deteriorate. Playing on a soft reed gives rise to a buzzy kind of tone and may sound flat. Higher notes on the instrument are more difficult to reach with a softer reed, which is another reason why you need to climb that reed ladder! Sometimes reeds are a little bit too hard or a little bit too soft, without being out of the question to play on. You don’t have to chuck them away in cases like this, you may “doctor” them more or less to make them more playable: if the reed is too soft, trim a VERY narrow (hair’s breadth) strip from the tip of the reed with a sharp knife. Or push another reed amongst it and the mouthpiece of the instrument, pushing it away from the rectangular hole in the mouthpiece slightly. If the reed is too hard, you may sand it a little. Use a piece of 220-grain sandpaper. Rub just a little, then test the reed- a tiny rub may fabricate a huge divergence (which is why they don’t always get it right in the factory- it’s a precision art!)

Breaking in Reeds

All new reeds need to be “broken in”. They won’t give rise to a consistent sound until they’ve been employed a few times. Rico reeds are quicker to break in than Vandoren. You need to wet the reed (in your mouth or with water- I prefer my mouth, but Rico advise water, as galore people have very acidic saliva apparently, eeww), then play on it for just a few minutes each day, until the sound becomes consistent. It’s good to have a few reeds “breaking” as you never know when you’ll need a new one.

Replacing Reeds

It’s easy to tell when your reed needs replacing- after serving you well for a week or 3 (depends how much you play), one day it’ll just sound rubbish, wholly dissimilar to the last time you applied it. Every time it goes in your mouth the reed is getting attacked by respective germs and other organisms, and your saliva begins the routine of breaking down organic matter ready for your tummy, so it’s no wonder that they don’t last forever! Another evident sign that you need a new reed is when you in an unintentional manner slice it in half while attaching it to the instrument, a tragically mutual event. (It’s kept onto your plastic mouthpiece by metal band called a ligature. This has rather sharp sides and if you’re not careful it’ll cut right through in one go. Don’t worry though, I’ve never heard of any person cutting their finger on one!)

Arundo Donax

This is the technical name for the reed plant which Rico and Vandoren use to make their reeds. It grows in India and the Mediterranean, and may get as high as 6 metres tall. If you live in the right climate you may grow it in your garden, but I wouldn’t suggest attempting to grow and make reeds yourself from scratch, even though a heap of fanatics do…..

Other Types of Reed

For the popular clarinet, you will be buying Bm clarinet reeds. It’s improbable that you would buy the wrong reed size, as this is what 99% of humans play on, but just for the record, there are likewise Em and bass clarinet reeds. Em reeds are for a littler instrument, and bass clarinet reeds for a beast of an instrument, so neither will fit. The A clarinet takes the Bm reed, as it is only very fractionally more prominent than the Bm instrument. (Orchestral players need two instruments, an “A” and a “Bm”; see see [http://www.mymusictheory.com/lessons-html/8-transposinginstruments/8-transpint.html] for more on transposing instruments).

Final Verdict

The Rico clarinet reed is a great choice for the novice player. They are reasonably priced, somewhat consistent within the box, and construct a nice sound. They are easy to get hold of and magnificent value for money, peculiarly if you often times slice them in half! If you want to get severe on the instrument, you ought to in all likelihood move on to more costly reeds from Vandoren.

Oboe Reed Case Photo

Oboe Reed Case Image

Oboe Reed Case Pic

Oboe Reed Case Pic

Most helpful client reviews

8 of 8 humans found the following review helpful.
Does what it’s supposed to
By dudealacarte
After studying in California where the weather is comparatively constant, I moved to Germany where one’s reeds are exposed to the humidity, temperature, and air pressure changes that come with the gamut of weather in a years’ cycle. Most discouraging and hindering for me was having the heater arid out my house in winter so that each morning all of my reeds would be bone-dry and warped wide-open. I’d have to pinch the wires shut to be capable to play on them, but after regarding 20 minutes of warm-up, I would have to pinch the wires open again and perpetually adjust while I played. A reed that had great response and flexibleness one day would break my heart the next. I also found that reeds which treated me great in Germany weren’t almost as playable in California. Tired of having my practicing marred by the inconsistency of my reeds from day to day, I purchased this reed case. I assumed it was a gimmick, but seeing as it was so inexpensive I figured I’d give it a try. So far I am very happy with it. A reed left in the case during one night will have the same calibers the next morning.
I am still somewhat apprehensive when it comes to leaving my reeds in any airtight environment, but I think the humidity packet will have to be doing it is occupation of absorption because even after having played on all 5 reeds in the case before putting them away for the night, there does not seem to be excess moisture built up inside the case or on the reeds. Still, I make sure brush my teeth before I play and to clean my reeds out with pipe cleaners and arid them off after I play on them to stay clear from any sort of gnarly bacteria situation.
Last weekend I traveled abroad for an audition. When I arrived, all 5 of the reeds in the case had the same tone and response that they did at my house in Germany. (Not that I brought any reeds in a dissimilar case in order to compare… I was a little more preoccupied with the audition than with the scientific process.) Unfortunately, the case did not one thing for my double-tonguing or finger technique and I ended up wholly screwing up the Beethoven 4 excerption (crap!)

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