Best Synthetic Clarinet Reeds? Top 42 Best Answers

auditions

To unpack the reed, carefully remove it from its case or box, avoiding contact with the tip. Légère reeds, while durable, are easily damaged if mishandled or dropped. It is best to always hold your blade by the heel.

To play

A Légère reed does not need to be moistened, it plays like a pre-moistened reed straight out of the box.

Place the reed on the mouthpiece in the same position you would place a reed and secure with a ligature. Test the reed response either on the instrument or alone. You should feel a quick attack that speaks immediately. If you don’t feel a fast attack, the hand position or strength is incorrect. Move the reed back and forth trying different positions and keep testing. If you can’t find a position that works well and you feel like the strength isn’t right, please use the Légère strength exchange program.

Once the touch feels right, play the reed for a few minutes to warm it up. At this point the hand is in playable condition. Depending on how you play, the tide has to be turned after about 60 minutes. This is to extend the life of the reed, not improve your short-term tone. With proper rotation and care, your leaves should last for many months.

Rigotti reed

Rigotti Reeds are among the best in the business. How many times have you bought a box of reeds and thought damn these things are really expensive…

i know i do!

In the summer of 2019 I visited the Rigotti Reeds Factory in southern France near St. Tropez. After putting this video together, I finally understand why reeds are so expensive.

When we arrived our host got in the car and we went straight to lunch because… France.

After a delicious lunch, the tour began.

Growing Sugar Cane

The reed is very heavy in summer because of the many leaves. It weighs down the stick, causing it to tilt quite a bit and block the paths. With all the leaves it now looks more like a jungle than a farm. In autumn the leaves fall off and the cane stands upright again.

This cane is 1 year old and Rigotti will harvest it next winter.

Jay with Daniel Rigotti and 1 year old cane

This type of cane grows very quickly. You can see that this young cane is only 2 weeks old and already very big.

When it comes out of the ground it has a final diameter. While it gets much bigger, the thickness itself doesn’t change. Just by looking at it, we know that reeds for alto saxophone are made from this stick. Just by looking at the diameter we know this cane will be for clarinet or alto reeds.

Jay marvels at the 2 week old cane in his hands

Today is a very windy day and that is the advantage we have here in the Var, as the mistral is blowing very strongly. This type of stick works so well for musicians because the wind mimics our airflow when we play the saxophone. The wind pushes the reed back and forth as our airflow makes the reed vibrate. When the leaves fall and the wind stops, the stick stands upright again and returns to its original position. Just like when you stop playing, the reed returns to its straight position against the mouthpiece.

Cane blows very hard with the mistral winds

Production steps at Rigotti

I go around with Daniel Rigotti. He took over the factory from his father, who worked for Prestini and later bought the company.

He will take us on a tour of all the different steps involved in making quality reeds.

Storage facility where tube bundles are stored in the dark

Next we drive to another camp. Here, large bundles of canes are stored in the dark and matured for about a year.

Dylan Rigotti is in the warehouse.

Daniel’s son Dylan throws these bundles into the container. The bundles of sugar cane are then transported to another workshop.

Bundles of cane prepare for transport

The workshop

First the cane is trimmed to its usable parts.

Sugar cane is trimmed

Then the unusable parts are thrown into a black bin and what is left goes into a white sack to be sorted. It’s amazing how much of the excess sugar cane is sent to the compost.

The excess cane is pushed off the workstation into a black bin for composting

In the same workshop, a woman does the same for reeds, which later become reeds for oboe and bassoon.

This woman cuts reeds for oboes and bassoons

At this point, the cut cane canes are loaded into a custom-built machine fit for a Victorian science fiction novel.

The diameter and thickness of each tube are accurately measured and then sorted by instrument.

The diameter and thickness of the sheet are measured

Now that the tube has aged, we know exactly what type of reed each tube will yield. A machine cuts them to the exact length required and then divides them into quarters.

Jay looks like a kid in a candy store

At this point the white bags are sealed and taken upstairs to a very dark and dry place.

Bundles of reeds are stored here in the dark for about a year before finally being pruned and formed into playable reeds

Now we have arrived at the last station of our reed journey. In this workshop, the aged, cut and split pieces of reed become playable, music-making reeds!

The final workshop where reeds are sculpted to become playable

The process is highly mechanized. It requires constant monitoring and maintenance by a team of technicians who keep the process running 19 hours a day. Temperature and humidity must be kept cool and dry at all times.

reed test

Eric Fillou is a local instrument repair technician who also works for Rigotti and tests their reeds for quality and consistency.

He will guide us through each station of this workshop.

We’ll start with these bins of sorted blanks brought over from the other workshop.

Jay stands next to Eric Fillou as he shows us the bins of sorted green reeds

Then another container takes the reed blanks in the same direction and then feeds them along a conveyor belt into the cutting and grinding machine.

This machine helps bring the sheets in the same direction

First the table is cut and then sanded down.

Machine that cuts the table

Machine that grinds the table

Next, the rails of the reeds are trimmed very precisely. Then comes the first diagonal cut.

You can see the initial bevel cut on the blades at the back of the machine

The prepared blanks can now be turned into the various cuts. Rigotti makes a variety of cuts under their own name as well as for other brands.

Jay studies the machine that cuts the reed vamp

This machine cuts the sheet of paper and works the same as a key cutting machine.

It cuts the blank to the exact shape of the model. At this point in the process, the blade is given its individual profile.

Here the reed gets its individual profile

Almost finished…

The next machine takes the profiled blade and cuts the tip first in much the same way as a blade cutter you might have. The sheet is then tested for flexibility to determine how strong it is and what is printed on the label.

This is the machine that trims the reeds

All finished reeds are carefully checked individually by hand.

About 30% of this finished reed goes straight back to the compost heap due to minor imperfections.

Reeds are hand inspected

Daniel’s wife, Florence, stands behind a desk and puts sheets of paper into their plastic sleeves and then into the boxes that will be shrink-wrapped. This whole process is done by hand to ensure you receive a box of 10 high quality sheets.

Florence Rigotti sits behind the desk and puts sheets of paper in their plastic sleeves

Final Thoughts

So yes, reeds are expensive to purchase. But of course they are also very expensive to produce.

The process takes years AND requires large amounts of land in a very expensive part of the world.

It’s labor intensive and it actually costs a fortune to employ staff in France.

So if it’s ever crossed your mind that saxophone reeds are too expensive, just remember that the Rigotti family do the handwork themselves to produce these reeds for us to the highest quality.

So I take my hat off to them! Thank you Daniel for taking the time to give us this insight into the reed making process.

If you’ve never tried Rigotti Leaves, I recommend picking up a box to try them. They are fantastic, very consistent and made with pride.

If you’ve ever visited the Rigotti Reed Factory or used Rigotti Reeds, let me know in the comments below!

Would you like to buy your own Rigotti sheets? Here are links to the Rigotti Gold Jazz Reeds for alto and tenor.

Interested in more content about reeds? Check out my comparison of Cane Reeds vs. Synthetic Reeds.

Also, follow BetterSax on Facebook, Instagram, LinkedIn, and YouTube for the latest news, giveaways, and other sax tips and tricks.

synthetic sheets

What do you think of synthetic blades? This is a question I get asked almost every day…

I think saxophonists are really frustrated with the inconsistencies of reeds and are looking for an alternative.

In my video on the subject below, you can see and hear me play both reeds and Legere synthetic saxophone reeds on alto and tenor, and you can listen and vote on which reeds sound best.

This will be a blind test. They won’t know what reed I’m playing. I will play the same thing twice on different reeds by randomly mixing cane and plastic. I want you to listen carefully and then vote for the tube you like best in the on-screen poll. Don’t try to guess which is synthetic or cane, just vote on the sound you prefer.

Poll results are displayed on screen immediately after voting.

Go ahead and listen with your headphones or speakers for the best results.

Make a note of your choice for each poll because I’ll tell you later which reed was which.

I’ll save my thoughts on these Legere Signature Saxophone Reeds for the end of the video.

On alto I play an old Selmer Scroll Shank mouthpiece reworked by Phil Engleman and opened up to a 6 and a Yanagisawa 991 alto sax.

As a tenor, I play a Phil-tone Intrepid 7* on a Yanagisawa WO2 tenor saxophone

Use the comments section below to share your thoughts on what you heard.

Two important elements to consider.

sound and comfort.

Honestly, listening to these recordings, it’s not very easy to tell the difference between the Legere leaves and the Cane leaves. The poll results show this as they are quite mixed.

To me the Legere reeds sound good, they sound natural and they don’t sound synthetic.

I also find them enjoyable to play. Anything I can do on a reed, I can play on a Legere Signature reed.

strength counts

It is very important that you get the right gauge of reeds before determining if these Legere Signature reeds are a good fit for you.

I found the 2.75 gauge to be the best for me. It gives me a good balance of resistance and playability.

However, the Legere reed strength table is disabled for me.

Notes on Legere Reed Strength Chart

I usually play Rico Select Jazz 3M on alto, according to the Legere table I should play on a Legere Signature 3.25. I have one too and it’s way too strong for me.

According to the Legere chart, the 2.75 reed I played in the video should correspond to a 2H or 3S Rico Select Jazz.

The Vandoren Java 3 Filed Reed I played on alto was a little softer than the 2.75 Legere Signature Reed, but according to their chart it should be harder.

To me the Legere 2.75 is more like a Rico Select Jazz 3H and the 3 would be like a Rico Select Jazz 4S.

I also have a 3, 3.25 and 3.5 Legere Signature, all of which are too hard for me to play comfortably.

I found the same thing with the tenor. The 2.75 Legere was my best strength but feels like a Rico Select Jazz 3H. The 3 Legere feels more like a Rico Select Jazz 4S and the heavier reeds are way too hard for my setup.

How to find the right strength Legere Signature Reed

I would look at the Legere reed chart and choose a .25 or .5 gauge, which is lower than what it suggests for both alto and tenor saxophone mouthpieces.

Use Legere replacement policy

Legere offers to exchange the sheets within 30 days of purchase to help you find the right size. You have to fill out a form that you can find on their website and send a photo of your receipt. They will get back to you with instructions on where to send your tube and then send you a replacement.

I would buy 3 different gauges a quarter size apart and then once you’ve determined the right gauge for you, send in the other 2 to swap out for your preferred gauge. That way you still have a sheet to use while you make the exchange.

Per their policy, you can swap out up to 5 sheets a year this way. But you’ll probably only need to do that at the very beginning.

I’ve swapped sax reeds with Legere in the past and it was fairly quick and easy.

Now of course if you don’t want to lay out the cost of 3 reeds you can just take 1 and hope for the best.

Give synthetic leaves a fair shot

I feel like a lot of people try Legere reeds for the first time but don’t have the right strength and then decide they don’t like synthetics and move on.

To give these a fair shot you really need to experiment with different strengths and see what works best for your setup.

Also remember that Legere reeds, like reeds, respond differently on different mouthpieces. For example, I get a completely different response with the same reed on metal mouthpieces.

Who are synthetic reeds suitable for?

When you find your strength, you have a reed that sounds like a reed but doesn’t need to be kept wet, doesn’t warp, doesn’t change much from day to day, and will last for several months.

There are many benefits. Especially for dopplers, but also for occasional players who play their instrument less often.

There are also many professional musicians who use these and I can certainly understand why.

Consistency is very important when performing. When you’re a touring musician, you don’t always have time to prepare the reeds before a show. In any case, it’s nice to be able to pull out your horn after a whole day’s travel and not have to worry about whether your reed will play.

Will I switch to Legere Signature Reeds?

When I originally made this video, my answer was definitely no. However, after playing these Legere Signature hands for a few months, my reaction has evolved into a maybe.

I still feel like the Legere reed lacks a certain warmth and graininess that cane can achieve. It’s very subtle, but important to me.

Since using the ReedGeek, I’ve always had a case full of reeds that play well, so consistency is no longer an issue for me.

Now I know that some of you out there who play Legere hands have a staunch loyalty to them and feel compelled to try to get everyone on your side.

So before you start with me, listen to me…

I think the Legere Signature reeds are great and every saxophone and clarinet player should try them.

I think they suit a lot of people very well. Just as reeds work well for some other people.

I know many great players who are very happy with their Legere hands and will never go back to the cane.

So if you want to try them, here are some links to buy them on Amazon:

Legere Signature Alto Saxophone Reed

Legere Signature Tenor Sax Reed

Go ahead and let everyone know your thoughts on synthetics vs cane in the comments below.

Answers to the blind reed comparison test

★Answers:

Example A

➝Sheet #1 – Vandoren Red Java 3

➝Reed #2 – Casual Signature 2.75

Example B

➝Reed #1 – Leger Signature 2.75

➝Reed #2 – Rico Select Jazz 3H

Example C

➝Reed #1 – Leger Signature 2.75

➝Reed #2 – Rico Select Jazz 3H

Example D

➝Reed #1—Rico Select Jazz 3H

➝Reed #2 – Casual Signature 2.75

Example E

➝Reed #1 – Leger Signature 2.75

➝Reed #2 – Rico Select Jazz 3H

Interested in more content about saxophone reeds? Check out The Best Box of Reeds I’ve Ever Played.

Also, follow BetterSax on Facebook, Instagram, LinkedIn, and YouTube for the latest news, giveaways, and other sax tips and tricks.

materials

Cane is a unique material. It has a low density but is very stiff in the longitudinal direction. Bringing these properties together in a synthetic material is difficult, but essential to making a good blade.

Légère uses polypropylene to make both single and double sheets. Polypropylene is a common, non-toxic polymer with applications in food containers, packaging, carpeting, and many other products. Unfortunately, ordinary polypropylene is nowhere near stiff enough to make saxophone and clarinet reeds. They just wouldn’t vibrate. To make the plastic much stiffer, Légère subjects it to a process called orientation. This is the secret behind the production of Légère leaves.

Polypropylene does not need to be pre-conditioned before playing, nor does it absorb water. It is completely non-toxic, very durable and can be easily disinfected with warm water and a mild detergent.

We talk a lot about pipes needing to be changed regularly when played. However, what we don’t usually think about is whether you can keep a reed indefinitely if you’re not using it. Do reeds become stale or not and does it depend on the conditions in which they are kept? I was curious so I took a look and posted what I found here.

In fact, in general, if kept in the right conditions, a reed can actually improve with age due to the aging of the reed. This assumes the sheets are blank and preferably in sealed packaging. It is even better if humidity and temperature are controlled.

Reeds are quite temperamental at the best of times, so if you have them really long you might think they won’t play at all. In fact, that depends a lot on how they’ve been stored. If you have reeds that you’ve played once or twice and then put them in the bottom of your suitcase for years, that’s very different than never opening a box of reeds, storing them in a temperature-controlled environment, and using them to the fullest sealed a few years later.

I will talk about the different conditions the reed may have been stored in and how this affects its aging. I will discuss things like whether the leaves have been used, whether they have been in sealed packaging, whether they have been in a humid environment, etc. All of these things affect the quality of the leaf.

Does reed age over time?

An interesting point is that everything ages with time. For example, if you are thinking about cooking, you can cook a little faster by increasing the temperature. This is a form of aging – it burns faster when it’s at a higher temperature. So everything is constantly being aged with temperature, just very slowly.

From this analogy we can conclude that reeds definitely age over time. However, not all things deteriorate with age. A good example of this is wine – we know that most wines get better with age and become more expensive the longer they are aged. So we need to find out which category a reed falls into – does it get worse or better with age?

Do unused sheets get better with age?

In reality, not much research has been done on whether or not reeds actually get better with age. However, there are many instances where people find old boxes of reeds they forgot and claim they play much better than new ones they bought. These are usually unused box sheets that have been kept in one place for a long time. You will likely have experienced some variations in temperature and humidity due to the weather, but this will not have been extreme provided the box has been kept indoors.

Cane himself will certainly develop with age. If the cane used is particularly young, it can benefit significantly from aging as it “matures” and becomes more solid. However, it is debatable whether the quality of sugarcane continues to improve with age or whether it reaches a point where it begins to deteriorate. The more common opinion is that unplayed reeds get better and better with age, but some believe that there comes a point when the reed’s fibers begin to break down and the reed begins to soften.

Whatever you believe, it is generally accepted that there is a significant difference between reeds that are new and reeds that are a few years old. However, it is worth noting that there are some people who believe that the quality of the cane used to make reeds was simply better in the past. This is certainly a possibility, but impossible to prove. We can be sure that the reed will change over time, so this seems the more likely reason for old reeds playing differently than new reeds.

Do used reeds get better with age?

If unused reeds get better with age due to tube aging, does the same apply to used reeds? It seems like the effect that happens with the stick should be the same whether the reed was played or not. However, other things could come into play if the reeds were used.

Some of the things that affect whether or not the hand gets better with age are:

Where you kept the reed after playing

Whether the sheet dried up after playing

How much the reed was played

When you play a reed, you naturally transfer bacteria to it. If you carefully clean the reed after playing, you may be able to remove many of these bacteria, but it is unlikely that you will remove all of them. If you’ve only played the reed once or twice and the bacteria levels are low, leaving the reed in a suitable environment where it doesn’t harbor other bacteria is likely to simply kill it. It’s worth noting that brushing your teeth before playing can minimize the amount of bacteria transferred to the sheet.

Something that may have the biggest impact on how well the reed ages after use is whether it has completely dried out in storage. If you take it straight off the mouthpiece and put it in a case without drying it out, you’ll have a lot of moisture in the case with the reed. This could warp or even mold the blade, causing the blade to age prematurely.

If you play the reed once or twice, then dry it and place it in a humidity-controlled case, it’s likely to age like an unused reed. However, if the reed has been played quite a bit before being placed in the case, even with good care, quite a lot of bacteria can get in or the reed may already have started to wear out.

Can you extend the life of a reed?

There are a few things you can do to extend the life of a reed. Probably the most important thing is to dry the reed after playing. This has to be done carefully – you can wipe away the excess moisture with your fingers and then leave it out of the case for a while, keeping the part you put in your mouth not touching any surfaces.

Next you can get a humidity controlled case. This helps keep the reeds in consistent conditions and keeps moisture out. It’s also a good tactic to cycle through a bunch of different hands – this way you can make hands you particularly like work longer and you can have different hands for different situations.

summary

To wrap up this article, it appears that reeds get better rather than worse over time. The cane from which reeds are made benefits from being allowed to age. However, you must take good care of the reeds to prevent moisture and bacteria from attacking them. This is particularly difficult if the reeds have been taken out of their packaging or played with, as this gives the reed an opportunity to harbor bacteria.

Légère is proud to offer a gauge exchange program for single reed purchases with receipt within 30 days of purchase. The Exchange of Strength program is open worldwide, regardless of where you purchased your reed.

Exchanges are limited to once per Reed purchase and a maximum of five exchanges per year per customer. Exchanges are limited to purchases made in the last thirty days.

For your health and safety, Légère never reuses or resells exchanged reeds.

If you are unsatisfied with your Reed for any reason at any time, please contact us.

This post may contain affiliate links. Info here.

The saxophone reed can have a surprisingly large impact on your sound and style, especially if you plan to play jazz or other modern genres like blues, soul, funk, and pop music.

In this article, we’ve rounded up the best choices today and walked you through the key considerations for choosing the best gauge and brand of blade for your personal situation.

As a young saxophonist studying at one of the top music schools, you might be surprised at how often the topic of reeds dominates the conversation.

Exciting times, I know!

Because while we cannot afford to change the saxophone and sometimes also the mouthpiece too often, the saxophone reed is ripe for experiments in search of the perfect tone.

So while the question of what is the “best” jazz saxophone reed is personal to each individual player, there are a few industry leaders and we will walk you through 5 of them in this guide.

To demonstrate this, we’ve included some examples of pipes chosen by jazz greats – both modern and historical – so keep an eye out for the pipes endorsed by everyone from Charlie Parker to Chris Potter .

If you’re looking to prolong the life of your reeds, you should also consider a reed cutter, which we’ve included in this list of top 10 saxophone accessories.

Five of the best jazz reeds

If you want to understand some of the basics of what makes a great reed (and how to keep it working for as long as possible), you’ll find that at the bottom of this article.

In the meantime, here are our top 5 choices…

Royal by D’Addario

Formerly known as Rico Royal, these are a higher quality alternative to the classic ‘orange box’ Rico leaves.

While not specifically made for jazz playing, these are extremely versatile reeds used by many advanced and professional players in both jazz and classical music.

They are priced slightly lower than competing brands such as Vandoren Jazz Reeds and offer good value for money.

Unlike the unfiled ‘orange box’ Rico reeds, these have a traditional French filed cut that offers a clear tone and quick response.

They are a good option for players of all skill levels and come in strengths from 1.0 to 5.0.

D’Addario Jazz Select

With a thicker back and longer reed, these are designed to help the player produce a fatter sound with greater projection and flexibility, making them ideal for jazz.

Most reeds offer half-strength gradients (1, 1.5, 2, 2.5, etc.), but D’Addario Jazz reeds allow the player to be more selective in this regard by offering increasing strength gradients in thirds: Each strength number has a soft, medium and hard option (2S, 2M, 2H, 3S, 3M, 3H…)

They are available in both discarded and non- discarded versions. The exact effects of these options are somewhat mysterious and open to interpretation, but reports suggest that while the difference isn’t massive, the filed version delivers a brighter sound with faster vibration, while the unfiled cut offers slightly more resistance due to the bark from the shoulders of the reeds, which remain intact.

These are known for their quality control and consistency and are endorsed by big names in the jazz world such as Chris Potter, Camille Thurman and Miguel Zenon.

Vandoren Java Green

Introduced in 1983, these are the original jazz reeds from Vandoren, the famous French specialist in clarinet and saxophone equipment.

They have a thicker tip with a thinner core (the middle of the “active” part of the blade, in the middle of the vamp), allowing vibration over a larger surface area and a more flexible range.

This usually gives the player a brighter sound that may be better suited to jazz or big band playing.

Like all Vandoren reeds, they are sealed in foil flowpacks to protect them from temperature and humidity fluctuations. A newer Java “Filed – Red Cut” offers even more flexibility and power and is therefore particularly suitable for rock and funk.

Vandoren V16

This offering from Vandoren is another of their four reeds specifically designed for jazz playing (the others being Java Green, Java Red and ZZ).

Compared to the Java, this is said to offer a richer, darker sound while still providing the projection and “zip” required for the style; This is marketed as the perfect all round jazz reed, ideal for both small group playing and section work.

Endorsers for the various Vandoren jazz papers include Steve Coleman, Walter Smith III and Tia Fuller.

Image Product Features Price Vandoren V16 Reeds Medium thick heart that is more than JAVA but less than Traditional

Thicker tip than traditional Vandoren reeds and a longer palette

Produces a more brilliant and percussive sound. Check price on Amazon

La Voz

Crafted from high quality cane with an unfiled cut, La Voz is played by many top jazz, funk and R&B players and was the reed of choice for the late, great jazz saxophonist Michael Brecker.

Abandoning the usual numbering system, they have an exceptional gradation of firmness: “soft”, “medium soft”, “medium”, “medium hard” and “hard”.

They tend to be a little soft which means they blow freely right out of the box, although the downside to this is that some users have found their lifespan to be shorter than other brands.

The saxophone reed – what you need to know

They may seem like an insignificant part of the instrument compared to the saxophone itself – or even the mouthpiece and ligature – but reeds can play an important role in achieving the jazzy sound you want.

Your reed could be making your instrument feel easy to blow, or it could be the reason it’s difficult to produce a tone. In fact, it might even have a bigger impact on your sound than the sax itself, at least initially.

And so some reeds are better than others when it comes to playing jazz.

With a reed costing about the same as a cup of coffee and a fraction of the price of a saxophone or mouthpiece, it pays to take the time and think carefully about choosing the right reed—both in terms of model and gauge – to you.

Traditionally made from arundo donax cane, there are now various synthetic (also known as plastic) alternatives.

Reeds have a limited lifespan and must be replaced when they no longer feel responsive. A reed can last anywhere from one to two weeks, although this depends on various factors, including the frequency with which it is played.

How to choose a jazz reed for saxophone?

The best way to find the perfect reed for you is to experiment with different products and gauges: find out what feels and sounds best based on your skill level and level of experience, the type of music you play play, and the mouthpiece you are using.

What do the saxophone reed numbers mean?

Caliper is a measure of a blade’s stiffness and is usually quantified numerically, with a higher number meaning a ‘harder’ blade.

A harder reed offers more resistance and requires a more developed embouchure, so beginner sax players generally play on a softer reed (maybe a 1.5 or 2).

Advanced players can enjoy a darker sound, perhaps with more depth, when playing on a harder hand, but there are no definitive rules.

What feels good in a reed is a very personal matter: Cannonball Adderley played a fairly soft hand (around a 2), while Charlie Parker reportedly used a hard hand (possibly even a 5!).

The tip opening of your mouthpiece will also affect which reed is right for you, but more on that another time…

It pays to go with one of the big brands of jazz reeds: while they’re a bit more expensive, their products tend to last longer and are more consistent.

Value: The best jazz saxophone reeds

Most manufacturers offer boxes of 10 sheets for a better price per sheet than buying them individually, so this is a good option once you’ve found one that works for you.

Up to this point, however, it can be worth buying smaller quantities (some brands offer boxes of five sheets, or you could buy a few individual sheets), although sheets can vary noticeably even within a box, so give it a try some of each type before making a decision either way.

It is also important to remember that it can take time to “break in” a new reed. It might feel unruly at first, so take your time and play it a little each day.

Strengths can vary from brand to brand – for example a Vandoren Traditional 2.5 is harder than a D’Addario Royal 2.5 – but these can easily be checked on a Reed comparison chart.

Final Thoughts

In summary, my personal recommendation for jazz saxophonists is the Vandoren V16 reed.

If you are a new beginner, choose the lowest possible strength until you are more comfortable with your fingers.

However, given the relatively low price of a box of sax reeds, our best advice once you start making progress is to buy a selection of different brands and compare them for yourself.

Thank you for reading.

Here is our selection of 5 of the best jazz saxophone reeds as used by some of the greatest musicians around the world.

As mentioned, it pays to do your homework and try a few options.

Also, consider experimenting with your ligature; it can have a surprisingly large impact on the sound.

Looking for more sax? Find everything about our saxophone homepage here.

You can buy the most expensive, hand-made clarinet at the best music store in the country, but if the reed is subpar, the clarinet will sound like a cheap, defective instrument you bought at a pawn shop. While each part of a clarinet serves its own purpose in delivering that distinctive “clarinet” sound, some say the most important piece is a two-and-a-half inch, wafer-thin piece of reed, also known as a reed. Although clarinet reeds come in a variety of gauges and cuts, choosing a good reed is critical to producing quality sounds and tones. If you are in the market for a clarinet reed, here are some tips for choosing a quality reed that will complement your clarinet perfectly.

trademark matters

Although there are many clarinet reed brands on the market, beginners and intermediate players alike only trust a handful, including Vandoren, Rico and D’Addario. Rico is a US brand preferred by beginners as the reeds are easy to use for someone who is still learning mouth and power positioning. Vandoren, which also specializes in mouthpieces, is a French brand known for its craftsmanship and attention to detail, while D’Addario specializes in making strings for a variety of instruments. If you are relatively new to playing the clarinet, both Rico and Vandoren are highly recommended brands.

The D’Addario Reserve Classic is a thick blank reed that offers a rich, warm tone, a heavy backbone that promotes dynamic flexibility and exceptional tonal quality in all registers, a narrow rail rise for even response, and traditional tip strength with ease of articulation . Learn more.

Choose a strength

Clarinet reeds come in a variety of gauges and use a number system. The system ranges from 1 to 5 and uses half numbers to rate hardness. The higher the number, the harder the hand. The goal of every clarinetist is to play the hardest reed they can handle, as the sound improves with each increase. Although this should be the ultimate goal, a clarinetist should never use a reed that is too hard for them, as this will make it difficult for the player to produce a sound. Beginners should start at 1.5 or 2 and gradually work their way up to a harder hand. In some cases, clarinet reed manufacturers use “soft,” “medium,” and “hard” to denote the hardness of their reeds.

Decide on a cut

Typically, reeds come in two different cuts: a regular cut or a French file cut. Although the cut doesn’t matter to a beginner, French file cuts usually have a faster response time. One way to decide on a grind is to match it to the type of mouthpiece your clarinet has. If your clarinet has a darker sounding mouthpiece, French file cuts are usually preferred. Alternatively, regular cut reeds are ideal for brighter sounding mouthpieces. If you’re still unsure about the cut, you can’t go wrong with choosing a Vandoren clarinet reed – most clarinet teachers recommend them over other brands.

Vandoren created the clarinet reed for the 21st century. By incorporating the shape and thickness of the 56 Rue Lepic in combination with the profile of the V12, the result is a reed with tremendous clarity, warmth and depth. Boxes of 10, strengths 2.5 – 5. Find out more.

Buy in bulk

When it comes to buying reeds it’s always best to buy in bulk – this way you won’t be visiting the music store and have the opportunity to select and select only the best reeds in the batch. A box of ten clarinet reeds should last the average player a couple of weeks, but you can always decide to buy more just in case. Once you open the box, examine each sheet individually and discard any that have visible tears or cracks. In most cases, a clarinetist discards 3-4 reeds from each box of 10. In addition to cracks or cracks, look for uneven grain, knots, or discolored leaves. Discard the duds and always keep at least 3 reeds to play with.

Take care of your reeds

In addition to buying the right reeds for your skill level, caring for and maintaining your clarinet reeds is just as important. Store clarinet reeds in a case that protects them from moisture and extreme temperatures. New reeds, like a new pair of shoes, need to be broken in over time – don’t play new reeds for more than ten minutes at a time and watch out for soaked reeds or reeds that look wet, streaky and almost see through. Remember to change your reeds often and avoid playing the same clarinet reed for more than two days in a row.

The Rico Reed Case – the only case designed for use with the Reed Vitalizer Automatic Humidity Control System (HCS). Fits all sizes of clarinet and saxophone reeds. Learn more.

Other tips

To avoid accidentally playing the same hand over and over again, write the date on the back of a hand you just started playing. Keep an eye on the date and swap out the reeds if necessary. Some clarinettists prefer tick marks as a monitoring system. When the reed dries out, it warps. To allow your reed to dry properly, do not leave it on the mouthpiece after you have finished playing. Instead, keep them in the plastic or paper sleeves they came in. Also, intermediate and advanced players should learn how to smooth and polish their reeds, store their reeds properly, and experiment with using sandpaper or leaf knives to adjust their reeds accordingly.

Need to rent a clarinet? Check out our clarinet guide.

Would you like more information about the clarinet? Check out this video:

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Whether you’re buying a new box of reeds for your saxophone or clarinet, you face the same dilemma. Should you buy reeds or synthetic reeds? You may have heard good things about both of them. While most musicians use plain reeds, synthetic reeds are becoming a popular alternative. Synthetic sheets can have a longer shelf life and offer greater consistency. Finally, there are synthetic mouthpieces, so why not synthetic reeds? From sound quality to durability, we cover the pros and cons of reeds and synthetic reeds so you can choose the type that’s right for you.

consistency

Because cane reed is made from natural products (specifically, a grassy plant that grows in moist soil), it’s harder for manufacturers to control things like quality and consistency. To be fair, it’s not always easy to spot bad leaves visually, so even boxes that are visually inspected before they’re sent to stores can still contain a handful of “bad” leaves.

If you want consistency from box to box and reed to reed, but don’t want to spend a lot of time testing reeds and discarding the inferior ones, give synthetic reeds a shot. Synthetic reeds are popular with beginner musicians for this reason. At least in the beginning, until they learn to tell the good hands from the bad.

sound quality

Synthetic reeds are made from composite materials designed and manufactured to mimic the quality and tone of reeds. But many players still prefer the sound, response and playability of reeds. For decades, manufacturers of synthetic reeds have experimented with various synthetic materials, from everyday plastics to advanced aerospace materials, to create a reed that is comparable to cane. But for some musicians, nothing quite compares to the “real” thing.

With that in mind, differences in sound and playability vary from musician to musician. Some notice a difference right away, while others don’t notice much of a difference at all. When it comes to sound quality and playability, try experimenting with both reeds and synthetic reeds to see if you notice a difference.

durability

Finally, synthetic reeds are more durable than cane. Some musicians are even switching from reed to synthetic reeds because they are tired of dealing with the “fragile” nature of reed. From cracking and warping to deterioration from the digestive enzymes found in saliva, there’s a lot to worry about when it comes to cane reeds. They may sound and play a little better, but they’re more prone to damage from temperature and humidity changes.

Because synthetic reeds are made with durability in mind, they won’t warp or dry out when you’re not playing your saxophone or clarinet. Also, they don’t sound bad when you step off a plane and enter an environment where the humidity is different than your hometown. Because they are more durable than traditional reeds, synthetic reeds are often preferred by marching bands or for use at other outdoor events.

break-in period

Whether or not reeds need to be incorporated is up for debate, but cane reeds tend to have a longer break-in period than synthetic reeds. If you decide to buy reeds and want to break them in, the following methods have been recommended by experts:

Rub/buff the sheet with your thumb

Rub with VERY fine sandpaper

Wet the reeds for about five minutes—just avoid saliva if you can

Play for a short time and let the hand “rest” before playing again

Do not play loudly during the early stages of play

If you need tips on blowing your reeds, contact your clarinet or saxophone teacher for more information.

A matter of personal preference

The decision between pipe and plastic pipe is a matter of personal taste. Like so much in music, you should experiment with both and decide for yourself. Play your clarinet or saxophone with both types of reeds and decide which one you like best. Your music teacher should be able to make a recommendation, but even their recommendation may not be right for you.

So go to your local Music & Arts or browse our shop online, buy both types of reeds and test them until something feels right.

Shop for reeds at Music & Arts

Buy synthetic reeds now >>

Buy Cane Reeds Now >>

At Music & Arts we are dedicated to bringing you one of the world’s largest selections of instruments, products and supplies for marching bands and orchestras. As a one-stop shop for students, parents and music educators, you’ll find reeds and synthetic reeds from some of the world’s leading manufacturers including Vandoren and Rico. Remember that when choosing reeds you should consider the above points and remember that it is ultimately a matter of personal preference. If your child is a high school student, speaking to their music teacher or band teacher for personal advice is a good place to start.

Have a question or need more guidance? Visit your local music and art store or contact us directly for more information.

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materials

Cane is a unique material. It has a low density but is very stiff in the longitudinal direction. Bringing these properties together in a synthetic material is difficult, but essential to making a good blade.

Légère uses polypropylene to make both single and double sheets. Polypropylene is a common, non-toxic polymer with applications in food containers, packaging, carpeting, and many other products. Unfortunately, ordinary polypropylene is nowhere near stiff enough to make saxophone and clarinet reeds. They just wouldn’t vibrate. To make the plastic much stiffer, Légère subjects it to a process called orientation. This is the secret behind the production of Légère leaves.

Polypropylene does not need to be pre-conditioned before playing, nor does it absorb water. It is completely non-toxic, very durable and can be easily disinfected with warm water and a mild detergent.

Rigotti reed

Rigotti Reeds are among the best in the business. How many times have you bought a box of reeds and thought damn these things are really expensive…

i know i do!

In the summer of 2019 I visited the Rigotti Reeds Factory in southern France near St. Tropez. After putting this video together, I finally understand why reeds are so expensive.

When we arrived our host got in the car and we went straight to lunch because… France.

After a delicious lunch, the tour began.

Growing Sugar Cane

The reed is very heavy in summer because of the many leaves. It weighs down the stick, causing it to tilt quite a bit and block the paths. With all the leaves it now looks more like a jungle than a farm. In autumn the leaves fall off and the cane stands upright again.

This cane is 1 year old and Rigotti will harvest it next winter.

Jay with Daniel Rigotti and 1 year old cane

This type of cane grows very quickly. You can see that this young cane is only 2 weeks old and already very big.

When it comes out of the ground it has a final diameter. While it gets much bigger, the thickness itself doesn’t change. Just by looking at it, we know that reeds for alto saxophone are made from this stick. Just by looking at the diameter we know this cane will be for clarinet or alto reeds.

Jay marvels at the 2 week old cane in his hands

Today is a very windy day and that is the advantage we have here in the Var, as the mistral is blowing very strongly. This type of stick works so well for musicians because the wind mimics our airflow when we play the saxophone. The wind pushes the reed back and forth as our airflow makes the reed vibrate. When the leaves fall and the wind stops, the stick stands upright again and returns to its original position. Just like when you stop playing, the reed returns to its straight position against the mouthpiece.

Cane blows very hard with the mistral winds

Production steps at Rigotti

I go around with Daniel Rigotti. He took over the factory from his father, who worked for Prestini and later bought the company.

He will take us on a tour of all the different steps involved in making quality reeds.

Storage facility where tube bundles are stored in the dark

Next we drive to another camp. Here, large bundles of canes are stored in the dark and matured for about a year.

Dylan Rigotti is in the warehouse.

Daniel’s son Dylan throws these bundles into the container. The bundles of sugar cane are then transported to another workshop.

Bundles of cane prepare for transport

The workshop

First the cane is trimmed to its usable parts.

Sugar cane is trimmed

Then the unusable parts are thrown into a black bin and what is left goes into a white sack to be sorted. It’s amazing how much of the excess sugar cane is sent to the compost.

The excess cane is pushed off the workstation into a black bin for composting

In the same workshop, a woman does the same for reeds, which later become reeds for oboe and bassoon.

This woman cuts reeds for oboes and bassoons

At this point, the cut cane canes are loaded into a custom-built machine fit for a Victorian science fiction novel.

The diameter and thickness of each tube are accurately measured and then sorted by instrument.

The diameter and thickness of the sheet are measured

Now that the tube has aged, we know exactly what type of reed each tube will yield. A machine cuts them to the exact length required and then divides them into quarters.

Jay looks like a kid in a candy store

At this point the white bags are sealed and taken upstairs to a very dark and dry place.

Bundles of reeds are stored here in the dark for about a year before finally being pruned and formed into playable reeds

Now we have arrived at the last station of our reed journey. In this workshop, the aged, cut and split pieces of reed become playable, music-making reeds!

The final workshop where reeds are sculpted to become playable

The process is highly mechanized. It requires constant monitoring and maintenance by a team of technicians who keep the process running 19 hours a day. Temperature and humidity must be kept cool and dry at all times.

reed test

Eric Fillou is a local instrument repair technician who also works for Rigotti and tests their reeds for quality and consistency.

He will guide us through each station of this workshop.

We’ll start with these bins of sorted blanks brought over from the other workshop.

Jay stands next to Eric Fillou as he shows us the bins of sorted green reeds

Then another container takes the reed blanks in the same direction and then feeds them along a conveyor belt into the cutting and grinding machine.

This machine helps bring the sheets in the same direction

First the table is cut and then sanded down.

Machine that cuts the table

Machine that grinds the table

Next, the rails of the reeds are trimmed very precisely. Then comes the first diagonal cut.

You can see the initial bevel cut on the blades at the back of the machine

The prepared blanks can now be turned into the various cuts. Rigotti makes a variety of cuts under their own name as well as for other brands.

Jay studies the machine that cuts the reed vamp

This machine cuts the sheet of paper and works the same as a key cutting machine.

It cuts the blank to the exact shape of the model. At this point in the process, the blade is given its individual profile.

Here the reed gets its individual profile

Almost finished…

The next machine takes the profiled blade and cuts the tip first in much the same way as a blade cutter you might have. The sheet is then tested for flexibility to determine how strong it is and what is printed on the label.

This is the machine that trims the reeds

All finished reeds are carefully checked individually by hand.

About 30% of this finished reed goes straight back to the compost heap due to minor imperfections.

Reeds are hand inspected

Daniel’s wife, Florence, stands behind a desk and puts sheets of paper into their plastic sleeves and then into the boxes that will be shrink-wrapped. This whole process is done by hand to ensure you receive a box of 10 high quality sheets.

Florence Rigotti sits behind the desk and puts sheets of paper in their plastic sleeves

Final Thoughts

So yes, reeds are expensive to purchase. But of course they are also very expensive to produce.

The process takes years AND requires large amounts of land in a very expensive part of the world.

It’s labor intensive and it actually costs a fortune to employ staff in France.

So if it’s ever crossed your mind that saxophone reeds are too expensive, just remember that the Rigotti family do the handwork themselves to produce these reeds for us to the highest quality.

So I take my hat off to them! Thank you Daniel for taking the time to give us this insight into the reed making process.

If you’ve never tried Rigotti Leaves, I recommend picking up a box to try them. They are fantastic, very consistent and made with pride.

If you’ve ever visited the Rigotti Reed Factory or used Rigotti Reeds, let me know in the comments below!

Would you like to buy your own Rigotti sheets? Here are links to the Rigotti Gold Jazz Reeds for alto and tenor.

Interested in more content about reeds? Check out my comparison of Cane Reeds vs. Synthetic Reeds.

Also, follow BetterSax on Facebook, Instagram, LinkedIn, and YouTube for the latest news, giveaways, and other sax tips and tricks.

So you want to venture into the world of synthetic reeds, right? Well, having spent the last four months reviewing five of the leading synthetic blade brands, we have some advice to make your adventure that little bit more enjoyable.

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ASK YOURSELF QUESTIONS AND MAKE A PLAN

It’s important to define your goals and set goals for yourself when trying synthetic reeds. For example, how much are you willing to spend during your probationary period? It is not uncommon for a few hundred euros to be spent during the test phase. Look for other players who may be interested in joining you in a purchase to reduce costs. I know a group of tenor players who shared the cost of a large order of synthetic reeds and then used each other as judges during the testing phase. Since synthetic reeds can usually be cleaned and disinfected, the prospect of dividing reeds isn’t nearly as terrifying as with caning.

Next, ask yourself, “What is the purpose of getting away from reeds?” Are you looking for better sound, smoother play or cost minimization? Would you be willing to sacrifice a little of your sound for longevity? Are you willing to spend more money in the trial phase to save money once you’ve found the right hand? In the end you have to be realistic. As with any major purchase, it takes time, effort, and education to make an informed purchase.

SYNTHETIC BLADES COST MORE PER BLADE

Many people are taken back by the initial cost of a synthetic reed. Depending on the instrument and brand, a typical synthetic saxophone reed can range from $20 to $30 per reed. Because they are built to last, a single piece of plastic can be the equivalent of a box of reeds. Given that the typical player will rarely find every reed in a box of reeds playable, it can actually be more cost-effective to play a synthetic reed. However, the initial investment can be more expensive. Therefore, it is important to educate yourself about the different products on the market and budget accordingly.

IT’S ALL ABOUT TRIAL AND ERROR

With any saxophone gear, there is a period of trial and error before finding the right one for you. So plan both financially and time to try different products. Remember, just because it doesn’t work today doesn’t mean it won’t work tomorrow. Just like the cane, it takes the player time to adjust. Test your reed in a variety of rooms and in as many “real” performance situations as possible. What sounds good in the rehearsal room can sound terrible in the music pavilion.

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NOT ALL REEDS ARE CREATED EQUAL

Of course you will find differences between different brands of synthetic reeds, but you may be surprised to know that no two synthetic reeds are the same. Yes, the consistency from one sheet to the next is often better than cane. But there are differences, often subtle ones, between two reeds. So it’s wise to buy a few of your chosen size and brand to find the ones that are most similar.

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Synthetic leaves are not indestructible

The use of plastics has many advantages. They don’t have to be wet and can be played with little or no break-in time. Also, they are not affected by temperature, altitude or barometric pressure like their cousins ​​in Cane. However, they are not indestructible. As with the cane, the delicate tip of the reed is susceptible to damage. So don’t plan on throwing away that reed case just yet. Synthetic reeds work well when stored in a reed container that has an even, flat surface that protects the tip from damage. Additionally, some plastics can be cut, cropped, or altered where others cannot. Before you grab a pipe trimmer, remember that like a stick, you can remove it, but you can’t put it back on. To prolong the life of your plastics, we recommend buying 3-5 sheets and rotating them each game. We have found that this can extend the life and playability of your reeds. We know quite a few people who have used this for a year or more on average. In the long run, it makes for a more solid investment and a more consistent gaming experience.

THERE IS AN ADJUSTMENT TIME…OR NOT

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As with any reed, there is an acclimatization period. For most people, this involves getting used to the physical feel of the reed in their mouth. Synthetic sheets are generally much smoother than cane. After years of stick playing, a plastic will feel alien to the player. The smoothness of the reed can also affect how your ligature works. With some reed brands we have found that the profile does not work well with some specialty ligatures. Because there is no structured service to work with, some ligatures slip when adjusting the mouthpiece. No matter how long you play them you will find that you will try to wet your synthetic reed. Even after four months of testing, I’ve found myself sucking on the reeds. I guess after thirty-five years of caning, old habits die hard. All in all, you will be surprised how well the modern synthetic reeds play. We found little to no customization with some brands.

TEST REED WITH A VARIETY OF MOUTHPIECES

If you can, try out your synthetic reeds with a variety of mouthpieces. We realize that for some of you this may not be your desire or an option. If you can, it’s to your advantage since every hand will react differently. In our testing, we generally found that plastics performed better on mouthpieces, with some confusion. That being said, we found a wonderful combination of synthetic reed with a popular classic saxophone mouthpiece. As with everything, it depends on the player and the product. The more options you have, the more choices you will discover.

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THE SMALLEST MOVEMENT MAKES A DIFFERENCE

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Most players know that moving the reed up or down on the mouthpiece changes the response. Usually this only results in an 8th or 16th change. However, the sensitivity to movement is dramatically greater with plastic pipes. So much so that the slightest movement can affect the hand’s playability by as much as half a size. Before releasing a reed, make sure you try it in different positions.

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DON’T LOOK AT NUMBERS

You will discover many things when you start playing synthetic hands. Mainly that some companies measure their sheets accurately and others don’t. If possible, try to consult reputable music stores and professionals who have used the products. Also note that synthetic reeds behave differently than cane. You may need to use a much softer synthetic tubing than cane. So don’t get bogged down in the strength number. If it works, don’t.

RECORD YOURSELF

Did we mention that synthetic reeds behave a little differently than reeds? Therefore, the feedback the player gets from a synthetic blade may not be what they are used to. It’s important to record yourself to get a real feel for the tone you’re making. We often found that reeds that felt too bright from the player’s perspective sounded good from the audience’s perspective.

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We hope these tips will help you navigate the synthetic reed waters. If you are patient and do your homework, you may find that they are just workable, if not more than what you are used to.

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