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Specials
Have a look at some of our great specials including:

Clarinets  
Yamaha YCL250 $550
Buffet R13 silver plate $3350
Buffet RC Prestige $4995
Flutes  
Yamaha YFL221 $575
Trevor James 3001P $645
Pearl with split E $749
Brass  
Conn Director Trumpet $650
Yamaha YTR1335A $557
Conn French Horn $4795
Saxophones  
Yamaha YAS275 Alto $1399
Yamaha YTS475 Tenor $2375
Yamaha YAS62 Alto $2329
Jupiter 565 Alto sax $1095

For infomation about making orders click here

Have You Got the Right Mouthpiece Set-up?

Have you considered that you may not be getting the most our of your instrument? Have you outgrown your student mouthpiece? Signs to watch out for are overblowing, difficulty reaching the upper register (which can also mean you have outgrown your student instrument), and stuffiness of sound.

All of these symptoms will mean that your progress may be slower than expected, and can result in the development of bad habits such overblowing and physical tension.

The solution? We specialise in identifying the correct setup for wind and brass players, whether you've been playing for 6 months or 6 years. We can ensure that you get the very best response from your instrument. Don't be fooled by the "one size fits all" theory.

If you're not sure you're not getting the best out of your instrument, simply give us a call and book your free consultation now.

 

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Student Violins Now Available

Budget Violins for beginners
Contact us for details

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Store Location
Address:

Shop 3,
158 Parramatta Road,
Camperdown NSW
Sydney, Australia [Map]

Tel: (02) 9557 4588
Fax: (02) 9557 4722

Email:


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Single Reeds: selection, care and maintenance.

Single reeds are those used on saxophones or clarinets.
The cut and the strength are the most important aspects when choosing reeds.

Cut refers to the shape of the vibrating section of the reed, In general, a reed with a long table like La Voz and Rico gets thin close to the shoulder of the reed and has a long flat section leading to the tip, giving more flexibility in tone and dynamics, and tending to sound bright. Short table reeds like Vandoren Traditional and Marca are more wedge shaped in cross section, with only a short section at the tip which is flat. These have a darker sound ant suit the classical style, although lose some flexibility and ease of tone protuction. Most brands incorporate aspects of both styles and have various perceived strengths as a result. Lately, there are more and more specific cuts for different styles of playing, with variations in the cross sectional shape that are too detailed to enter into here. Basically, the subjective choice is always the best one - namely, play the reed that gives you the sound and the feel you are looking for. But, don't be afraid to try something new.

Strength refers to the force needed to move the tip of the reed a particular distance. This is usually measured by a machine and the reeds are sorted into their respective strengths and packed into boxes. Bear in mind that the strength indicated on a particular reed means that it fits into a range of measurements indicated on the sorting machine (e.g. 2 1/2 may mean somewhere between about 2.3 and 2,7, 3 may mean 2.8 to 3.2, etc). This helps to explain the variation of strengths experienced by most of us from time to time. Also, reeds are made from cane, whose quality is dependent on the weather conditions where it is grown. Canes can vary greatly from one harvest to the next, even when all other conditions are maintained. Some makers are only prepared to give vague descriptions of the strength (e,g.
'medium-soft'' or 'hard''), while others are prepared to go to 1/4 strengths. You will probably find that the more you pay, the more cane is rejected during the manufacturing process and the finer the sorting of strengths is, but this does not mean that a cheaper-reed may not play just as well. You should also note that the tip of the reed is not necessarily thicker in a stronger reed, so they may also break just) as easily.

Care of reeds: Reeds should he dried after playing by removing them from the mouthpiece as part of your habitual cleaning of the instrument (you DO have that habit, don't you?). They are best stored on a flat surface (e.g. a reed guard). Don't handle or adjust them by the tip (skinny end). Don't push your mouthpiece cap on too far (this might mash the end), Do use the mouthpiece cap when not playing, as this protects both mouthpiece and reed.

Maintenance: Some tips to get longer life from your reeds: Single reeds can be washed and brushed gently towards the tip with a soft toothbrush to remove any built up dirt, Sometimes, you could use a drop of hydrogen peroxide in a litre of water to help clean a particular favourite, but remember that this may weaken it. Rotate the reeds you use - have three or four in prime playing condition, and use each one for a few hours at most with plenty of recovery time between uses, If the table has become warped, you can use a reed resurfaced to return it to a flat, smooth finish (though again, too much of this will decrease the perceived strength). [Why am I telling you this? Just let 'em rot and come and buy some more!]

If a reed has become a little too soft or has a small chip in it, you can trim the tip using a reed trimmer, but try to limit this to about a third of a millimetre for each trimming. it's easy to take too much off, but impossible to put any back on. (Like hair.) Oddly enough, a split reed may continue to have some useful life, but usually won't recuperate for the next use.

Eventually, even your favourite will bit the dust. When in doubt, chuck it out.

 


To enquire about anything on this page please feel free to
contact us by clicking here or phone (02) 9557 4588

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