Shapers Compared

SHAPERS COMPARED

In the development of this shaper/profiler combination it is necessary to consider and compare the foldover shaper and the flat shaper. In order to maintain symmetry and accuracy, the advantages of the flat shaper became obvious. I used a foldover shaper for more than thirty years. During that period in my reedmaking I was constantly aware that consistent shapes and symmetry were elusive. It is difficult to match the curves of the two sides of a foldover shaper. Even with matching of the two sides, further difficulty lies in the fact that the contours of the faces of the foldover shaper must also be identical because the spreading of the cane over the faces of the shaper has a direct influence over the shape that results. There is the problem of clamping the gouged piece of cane so that its natural curve is forced into contact with the faces of the foldover shaper even if the faces match each other. There is a third difficulty. When you shape the clamped piece of cane it is imperative that your knife is absolutely perpendicular to the tip of the shaper. If you cut the cane with the knife at an angle, you will get shapes that vary with each shaping. This creates problems because of unequal reed blades and throats, slippage in the blanks, and reeds with various widths.

The problems mentioned in the foregoing paragraphs are eliminated with the flat shaper. The different arcs that are present in gouged cane and the difficulties in getting them to adhere to the face of the flat shaper while it is being shaped are not of any consequence in the flat shaper. The cane is forced into the same arc when it is placed in between the halves of the flat shaper while those shaper halves are tightened by means of the knurled screws. In addition, there is no possibility of the knife going toward one side or the other. You will recall that possibility is present in the foldover shaper when cutting the shape.

The precision of the curves on this flat shaper are within .002” of symmetry since the mill that produces the curve is computer controlled and the curves are programmed to produce precise symmetry within .002”.

I have some words about the shape I incorporated in my shaper. I am well aware that there are a variety of preferences. I decided to devise a shape that would appeal to a large number of bassoonists. My shaper has certain dimensions that would help bassoonists in the category of intonation. With the wire placement I use and the cam pattern placement (which is adjustable) a narrower reed blade can be produced that will provide intonation support in the middle register from middle C to the F above.

Wide shapers do well in the lower half of the bassoon, from middle Bb (top of the staff) down. Even then, one has to be very careful in trimming that the E (third space) does not go flat, and the C# in the staff does not collapse. However, wide shapers carry burdens above the aforementioned Bb. The middle C is often too low as are the notes going higher. The middle D, the Eb, the E and the F have a tendency to be low. Those notes can be helped with the wire adjustment and my bevel procedures. Another factor enters the equation. The more you pinch the second and first wire, the more the tendency to produce a higher arc in the blade. The higher arc produces pressure on the sides of the blade and, with a wide shaper, you have to employ a short bevel to keep the sides from collapsing.

While I have stated my preferences in reeds that help intonation in the middle register, the arcs that constitute the contours of my shape, in combination with cam pattern placements, can provide a variety of blade widths. By moving the cam towards the tip of the blank, you are able to get a wider blade. The farther back you move the cam from the blade tip, you get a narrower blade. Therefore each reed maker is able to construct a reed blank that meets specific requirements. It is a simple matter to experiment with different blade widths and keep a record of those that provide the least amount of problems.