https://rdgwoodwinds.com/blogs/tips-tricks-and-helpful-hints.atomRDG Woodwinds, Inc. - Blog: Tips, tricks, and helpful hints2020-05-05T09:06:00-07:00RDG Woodwinds, Inc.https://rdgwoodwinds.com/blogs/tips-tricks-and-helpful-hints/how-to-use-additional-laker-precision-products-for-cane-processing2020-05-05T09:06:00-07:002020-05-05T09:19:03-07:00How to Use Additional Laker Precision Products for Cane ProcessingSarah Beck
By Sarah Beck, RDG Gouging Machine Specialist
Today I'd like to tell you about a couple of products from Laker Precision that I use for gouging. They are the splitter, guillotine and pre-gouger. They are all very easy to use. Let’s start with the splitter.
The splitter has a ball handle, a long rod with blades attached, and a brass cover to protect the blades.
I have taken the brass part off of mine. I felt that it got in the way a little bit.
To use it, you line it up inside the piece of tube cane, and then use downward force to split the cane. You need to move your bottom hand out of the way when you do this. I think that still applies even if the little brass part is still on there.
Next up is the guillotine. The guillotine has a flat base, a handle and a blade. I prefer to use this if I can. Even though the gouging machines have a guillotine attached, this is much easier to use because there is more room for your left hand to push down the lever. Once you have the area you want to cut selected, simply push down using the handle. Our oboe and bassoon guillotines are available in adjustable cutting lengths to accommodate different gouging machine bed lengths.
Lastly we have the pre-gouger. It also has a basic, quick function. It is available with many different bed sizes, which you would want to match to the bed size of your machine. (The standard size matches the standard size of each instrument’s machine.) It has a small blade at the end that cuts off the top of the guillotined piece. This blade can be removed and sharpened on a stone.
I usually pre-gouge with wet cane. I suppose you could use dry, but to me it sounds and feels like nails on a chalkboard, so I don’t use dry cane. :) The other problem that can occur when pre-gouging dry is that the ends of the cane can get stuck under the blade and be difficult to pull out. I have sliced my finger tugging on dry pieces trying to get them out. This problem occurs more frequently with thick walled cane.
Those are the three basic accessories made by Laker Precision that we sell to use in conjunction with the Laker “USA” gouging machines. They are available for oboe, oboe d’amore, English horn, and bassoon. You can find them by searching undergouging machines and accessories here, or by clicking on the photo below.
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https://rdgwoodwinds.com/blogs/tips-tricks-and-helpful-hints/a-brief-guide-to-shipping-your-instrument2020-05-01T14:49:00-07:002022-08-03T13:26:56-07:00A Brief Guide to Shipping Your InstrumentJustin Paguio
If you have questions about how to ship your instrument to our store, have no fear! We have put together this brief guide for best shipping practices for most oboes, clarinets, and bassoons.
Send your instrument in its case.
Make sure that your instrument is secured when it is in its case. If you hear movement when gentle force is applied to it, add material to areas of the case that help keep your instrument securely held in place.
Secure loose items, such as cork grease, screwdrivers, humidifiers, tuners, etc, if you will be including these items in your case.
Pack your instrument case in a corrugated cardboard box. A good rule of thumb is to allow at least 1 to 2 inches of packing material between your case and the box on all sides. Most boxes with a burst test rate of 200 pounds is sufficient. Just be sure not to use a thin or flimsy box. It will be tested during transit!
Use packing materialto fill the void between your case and the box. Packing peanuts, air cushion “pockets”, bubble wrap, densely crumpled paper, and items similar to these are good choices. Dense foam that is custom fitted to your case and the box can be considered as it is a very effective and efficient packing method (and won’t require additional packing material).
Use enough packing material to completely fill the box and eliminate as much movement of your case as possible when the box is closed.
Include a note! It helps us forward the instrument to the proper person for repair or for processing. Be sure to include your name, phone number, email address, and any notes for the recipient.
Seal the box with a quality packing tape. We don’t recommend using Scotch tape, even if you plan to use the whole roll!
Use FedEx or UPS services to ship your package. Be sure to use an appropriate service speed and plan to have the instrument arrive in the afternoon. Most “morning” or “AM” deliveries are delayed because they are scheduled for delivery before we open, so we don’t recommend using this option.
Consider using shipping insurance through FedEx or UPS if transit is not covered by your current insurance policy. Some customers like to declare a value that matches their insurance deductible, some like to declare anywhere from 25% to 100% of the value of their instrument. Your total shipping cost will increase as your declared value increases.
Select the “signature required” option. It provides proof that your package was delivered to RDG when one of us signs for it.
Address the package to our store at:
RDG Woodwinds Attn: _________ 535 E Walnut St, Unit 101 Pasadena, CA 91101 (888) 734-7333
If you have a repair appointment, please include the name of the repair technician that will be working on your instrument. For consignments, please include "Consignment" on the shipping label.
Request tracking information by email to keep an eye on your shipment.
When your repair appointment is completed, we will give you a call to arrange your return shipment via FedEx and take your payment information. You’ll just need to let us know how soon you’d like to have your instrument delivered and to what address. That’s it!
If you have any questions about shipping your instrument, please don't hesitate to contact us or leave a comment below.]]>
https://rdgwoodwinds.com/blogs/tips-tricks-and-helpful-hints/cleaning-a-tenon-cork2020-04-28T06:00:00-07:002020-04-28T06:00:00-07:00Cleaning A Tenon CorkSarah Beck
By Sarah Beck, RDG Gouging Machine Specialist
It’s happened to all of us. You go to take your instrument apart. It’s grippy and tight. You twist and feel something give way… Oh no! The tenon cork has come off! There’s not a lot you can do to fix it besides having it professionally repaired. You could wrap dental floss around it, hoping it will stay in place just long enough to finish your gig. But really, it’s a major stressor that nobody wants to deal with. Luckily, there’s a super easy way to help prevent this scenario.
Clean your tenon joints! Cork grease can build up over time and can actually cause the tenons to get gummy and feel tight. Eventually, there can be enough friction to tear the cork.
What I normally do is take a paper towel and put a little bit of rubbing alcohol on it. Then, I then clean both parts of the tenon joint, cork and metal. You want to avoid getting the rubbing alcohol on any wooden parts of the instrument.
Once you have cleaned off the old cork grease, you should be able to see the cork looking new again.
After it’s been cleaned off, put a fresh coat of cork grease on to help it move smoothly.
*** I know paper towels and rubbing alcohol are both in short supply now, so use your best judgement as to when to attempt this. I would say that if you feel you need to, do so sparingly. As always, if you have a repair emergency, please contact a technician to set up a time for repair.
Bonade ligatures are among the most widely used ligatures for both professional and amateur clarinetists. These ligatures are available in both a "regular" style (screws on the same side as the reed) and an "inverted" style (screws on the opposite side from the reed). Generally, the regular (non-inverted) style has a brighter, clearer, more responsive sound while the inverted tends to be more covered, with a more stable core. These two styles allow players a range of flexibility and sound options at an amazing price point.
What are our options and why?
The purpose of the plating on Bonade ligatures is first and foremost to protect the base brass metal from oxidizing, and also to maintain a nice aesthetic finish. However, this plating has an added effect of slightly changing the sound. Some players are looking for a sound that is difficult to produce with silver or nickel/chrome plating as offered by the manufacturer. Thus, we set out to hunt for the perfect plating material.
After trying a number of options, we are proud to offer three different platings: Rose Gold, 24K Gold, and “Black” Platinum (PlatinumNoir). There seems to be a general trend in sound amongst all the ligatures of a similar plating. The Rose Gold plating is typically the clearest and brightest in sound. The 24K Gold is the warmest and most covered. The PlatinumNoir is a great balance of both with the most depth of sound.
Rose Gold (Inverted)
24K Gold (Inverted)
PlatinumNoir (Inverted)
Our Selection Process
Here at RDG, there is a legacy of providing the highest quality products and services to many of the great performers and teachers since our founding in 1949. For this reason, we take pride in our process for providing the best Bonade ligatures in the market today. When we receive a batch of ligatures from the manufacturer, we first individually shape them to fit the mouthpiece better. Once this is done, each ligature is test played and ligatures that show great promise are set aside for plating. We find that only through play testing the ligatures can we find the best ones. Sometimes, this may mean a ligature doesn’t fit the “textbook” definition of what a good ligature should look like, such as if the side body of the ligature touches the reed. We select the ligatures for their sound characteristics, and we have found that often these physical variations are not consequential. The ligatures chosen for premium plating are then hand finished in the interior so that they no longer slip off the mouthpiece during play or when the mouthpiece is adjusted on the instrument. After hours of selection and adjustments they are finally ready to be plated.
Our Plating Process
In order for our ligatures to be plated successfully, each ligature is first cleaned thoroughly; if there is any grease present the plating process will not work. The electroplating process can then begin.The RDG Signature Ligatures are plated using a process called electroplating, where a base metal is coated with another metal via electrolysis in order to better its corrosion resistance. Basically, an acidic liquid solution is used to dissolve and suspend a particular protective metal in a solution. An anode and cathode are then immersed into this solution creating a magnetic current that deposits the suspended particulate onto the opposite charged base material part. The metallic particles eventually coat the ligature, making a beautiful finish.
Conclusion
As you can see, we invest a lot of time into making our RDG Signature Bonade Ligatures a truly great product, taking care to attend to every detail. These ligatures have been very well received since their introduction in the spring of 2019. We invite you to try them today!
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https://rdgwoodwinds.com/blogs/tips-tricks-and-helpful-hints/how-to-operate-a-shaping-machine2020-04-15T06:00:00-07:002020-04-15T16:57:08-07:00How To Operate A Shaping MachineSarah BeckBy Sarah Beck, RDG Gouging Machine Specialist
A shaping machine is a great tool to have at your disposal. Used properly, it can produce rapid, consistent results for your reed making. RDG offers the Reeds 'n Stuff Shaping Machine for oboists. There are many different varieties of shaping forms to choose from. Reeds 'n Stuff produces forms for oboe, oboe d’amore, English horn, bass oboe, baroque oboe and Viennese oboe.
The operation of the machine is very easy. You soak the cane and shape it. That’s it!
To use this machine you will need:
C-clamp
Shaping form
Gouged cane
Knife
Small bristle brush
Needle oiler
Start by using a c-clamp to clamp the machine down to your work surface. This will hold the machine in place while you use it.
Next, select your form and install it on the machine.
Take a piece of gouged cane, which has soaked enough so that it will drop to the bottom of the container you have it in. Put the cane on top of the form. Center it front to back and side to side.
Cane correctly aligned
Cane not centered
When you have it centered, put the top of the machine down on the form and cane. (You may need to hold the cane with one hand, and put the top down with the other.)
Once the top of the form is down and the cane is in place, tighten the top. My machine is very old, and was possibly not made by Reeds 'n Stuff. It functions differently than the design they currently have. For theirs, you would need to pull the top handle up to secure the cane in place.
When everything is secure, start by making a swipe from the middle towards you. Then, take another swipe in the opposite direction.Lastly, go back and forth a few times, cutting the cane progressively closer to the form.
When you do this, try not to press too hard on the cane or the form. If you press too hard to start, you can crack the edges of the cane and not get a clean cut. If you press too hard at the end, you can damage the blades.
The next step is to loosen the top, and remove the cane. You will see that if you have aligned it correctly, the middle of the cane will have a score mark.
I like to fold the cane at this point by putting the score mark over the edge of a knife and folding it.
Here's a video of the entire process:
When you’ve finished using the machine, it’s a good idea to brush it off and oil the moving parts. Do remove the form from the machine. If you keep it on, it can get stuck and not want to come off. (Speaking from experience, unfortunately…)
Be sure to look at your work as you’re going along. Lining up the cane properly is the biggest challenge to using this machine, and it’s easy to make mistakes. You will also need to check your blades every once in a while, and make sure they’re sharp. If they’re not, they can be easily re-sharpened on a sharpening stone.
That’s it! Now you can enjoy the ease and swiftness of shaping!
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https://rdgwoodwinds.com/blogs/tips-tricks-and-helpful-hints/hiniker-english-horn-bocals2020-04-09T11:18:00-07:002020-04-09T15:45:35-07:00Hiniker English Horn BocalsNancy Huang
Hiniker English horn bocals are produced by the famous instrument maker Thomas Hiniker. These silver bocals are rolled from sterling silver sheets. Hiniker bocals are developed for Loree instruments but may also work well for other brands.
All Hiniker bocals are assigned three numbers, for example 2 B12 12. What does each number mean?
- The first number is the overall length. These bocals are available in length 1, 2, and 3, with 3 being the longest. There are different lengths to accommodate everyone. Most people play easily in tune on a 2, but some need a 3 to get low enough while others need a 1 to get high enough.
- The second number is the bore size. Hiniker bocals are available in a variety of sizes ranging from 11-13. The smaller the number, the smaller the bore. Sometimes there is a B in front of the second number, which denotes a different bore style: "brilliant", for improved projection.
- The last number is the distance from the tip of the bocal to a scored line farther down the bocal, typically 11 or 12 mm below the tip. This is the tip length. This line shows how far down the bottom of the reed should reach. A smaller bore is generally coupled with a shorter tip.
Every bocal is engraved with the letters "TH" for Thomas Hiniker. Under the letters are the first two numbers that designate the overall length and the bore size, as explained above. The final number, tip length, is not stamped on the bocal.
What's the best way to test a new bocal? Start by playing some slow scales or excerpts with the bocal you're trying. Note the sound characteristics and intonation of the bocal and instrument together. Next, you can do a simple compatibility test: play the middle C and diminuendo on that note. Assuming the reed is working well, if the middle C drops abruptly during diminuendo, the bocal is not a good match. If this is the case, go down in bore size and/or up in tip length. It's a good idea to test several bocals at a time, checking for compatibility and then ultimately choosing the one that has the best intonation and sound.
Hiniker bocals are also available for oboe d'amour and bass oboe. English horn and oboe d'amour bocals are available for trials at RDG Woodwinds, Inc. Give us a call to set up a trial!
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https://rdgwoodwinds.com/blogs/tips-tricks-and-helpful-hints/bassoon-cane-comparison-by-hardness2020-04-09T10:03:00-07:002020-04-09T10:03:27-07:00Bassoon Cane Comparison By HardnessLieza Hansen
By Lieza Hansen, RDG Bassoon Specialist
One question we get asked a lot is how the different brands of bassoon cane compare to each other. Of course a big part of that is up to personal preference, location, altitude, etc., but we do have at least one quantifiable aspect we can measure: hardness. Hardness can be measured using a hardness tester. The lower the number, the harder the cane. Hardness numbers are only one part of the equation, but these numbers can provide us with some confidence when trying a new brand of cane.
To collect my data I selected a small sample size at random of each brand and measured the hardness levels on a Reeds ‘n Stuff analog hardness tester. Because hardness testers can measure differently from each other, I was most interested in showing the range of each brand in comparison with the others. The length of each bar shows the variance within the brand; the beginning of the bar is the lowest number of the sample and the end is the highest. Hardnesses are measured in hundredths of a millimeter.
The Superieure and Danzi cane are gouged in-house with our RDG USA gouging machine. Rieger, Medir, RDG France, Glotin, and Cote D’Azur are all gouged by their respective manufacturers. The Pisoni and Lavoro cane I gouged on an RDG gouging machine from our stock of tube cane. The Pisoni cane is only available for purchase as tube cane.
These measurements were taken in February 2020, and it's important to note that cane densities can vary over time. For those interested in trying out new cane I always suggest buying a few pieces of several different types to do their own comparison and discover whether harder or softer cane works best for them.
P.S. If you’re into the numbers like me, I highly recommend the Reeds ‘n Stuff hardness tester! You can check it out here.
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https://rdgwoodwinds.com/blogs/tips-tricks-and-helpful-hints/adjusting-the-final-gouge-thickness-on-an-rdg-usa-gouging-machine2020-04-08T08:45:00-07:002020-04-08T08:45:59-07:00Adjusting the Final Gouge Thickness on an RDG "USA" Gouging MachineSarah Beck
So you have some time on your hands, and want to finally get around to gouging that bag of cane you bought four years ago. I hear you. I did exactly that yesterday.
Hello! My name is Sarah Beck and I am the “Gouging Machine Specialist” at RDG Woodwinds, Inc. Today I’ll be discussing the RDG “USA” gouging machine and how to adjust the thickness of a gouged piece of cane.
There are some things that will be helpful to have around and ready for the adjustment. They are:
Allen wrench (7/64” for oboe and 5/32” for bassoon)
Some pre-gouged cane that is not your best stuff
Micrometer
Small brush to brush cane off the machine
Small amount of oil - needle oiler with watch oil
If you’ve read my instructions for the RDG machine adjustments, you’ll know that I recommend soaking cane that has been pre-gouged with an RDG pre-gouger for about 2-4 hours. The reason I recommend this is because if the cane is not soaked long enough, the blade can dig into the cane and cause little half circle shaped marks. This may affect the sound of your reeds. Also, it’s important not to over-soak it either, because the cane can get waterlogged, and then shrink up after it dries. The cane you thought you gouged at .60 will now be .57. Yikes! You simply want to make sure that it's soaked all the way through. Our RDG pre-gougers are very easy to use, and you can find them here on our website. We offer them for oboe, oboe d'amore, English horn and bassoon.
I use a Reeds 'n Stuff crank-style pre-gouging machine to pre-gouge. I love these machines. They are beautifully made, with a simple function and smart design. Not only will they save you on soaking time, but they will also save wear and tear on your gouging machine blade. The longer you can use a blade set up that you like without making changes, the more consistent and better your reed making will get. When using this Reeds 'n Stuff pre-gouging machine, I find that I only have to soak the cane about an hour.
Before you start, it’s important to understand the names of the screws. There are two types of screws that you will work with when you make adjustments to the gouge. The screw that holds the carriage bar in place is called an “anchor screw”. The other one is an “adjustment” screw. These are the only screws you will need to use to do this adjustment.
There are four steps involved in adjusting the gouge.
Move adjustment screw to the edge of the slot
Loosen the anchor screw
Move adjustment screw slightly
Tighten anchor screw
Let me explain the “slot”. On the side of the carriage bar there is a slot the adjustment screw head fits in. The adjustment screw should move a little in this slot. NEVER FORCE THE SCREW TO MOVE. YOU CAN STRIP THE BRASS PORTION OF THE CARRIAGE BAR!!!
So let’s say you want to make the gouge thicker. You will need to first move the adjustment screw in the direction you want to go in the slot. Gently screw the adjustment screw in clockwise to the edge of the slot until it stops turning easily. DO NOT FORCE IT AT ALL!
The next step is to loosen the anchor screw. To do that, turn it counter-clockwise. It is important to note that you should not loosen the screw too much or too little. If it's loosened too much, the carriage bar will move too freely and could possibly go too far in the adjustment. If you don't loosen it enough, then you could end up forcing the adjustment screw and possibly stripping the carriage bar. There should be a little tension between the screw and the bar to hold it in place but still allow it to move. (You may notice a little lock washer under the anchor screw that helps keep the tension). An oboist could think of keeping the right tension like trying to make sure your cane is straight on the staple when you are tying a reed. If you try to move the cane in that first part of tying and the thread is really loose, your cane will move too much or the thread and the cane will come undone. By keeping a little tension on it, it's much easier to do slight movements.
Now turn the adjustment screw very slightly in a clockwise direction. (Think minutes on a clock.)
Lastly, re-tighten the anchor screw.
Gouge about 5 pieces, checking each one as you go. If you get a majority of pieces with the final thickness that you want, then you can stop. If the gouge isn't as thick as you'd like, then repeat the above steps.
To make the gouge thinner, you would use the same steps listed above, but move the adjustment screw counter clockwise.
Summarized steps:
To make the piece of gouged cane thicker:
1. Move adjustment screw clockwise in the slot. DO NOT FORCE IT! You can strip the brass part.
2. Gently loosen the anchor screw under the carriage by moving the screw to the left.
3. Turn the adjustment screw in clockwise very gently. This should make the results thicker.
4. Tighten the anchor screw to hold it in place.
To make the piece of cane thinner:
1. Move the adjustment screw counterclockwise to the outer edge of the slot.
2. Gently loosen the anchor screw by turning it to the left.
3. Move the adjustment screw out by turning counterclockwise. This should make the gouge thinner.
4. Tighten the anchor screw up to hold it in place.
When you’ve reached your desired thickness, clean the cane off the machine with a small nylon bristle brush. Take a q-tip or a small piece of cotton and oil the blade, bearing, runner bar and bed to remove build-up.