The message of Forestone

The message of Forestone is repeated playability…..almost

After playing these new synthetics for several months, the message is very simple and is unique concerning any reed whether it be cane, plastic or a combination of the two, plastic covered, or any.

Forestone mostly play equally,near clones of each other. They emulate the characteristics of the finest cane reed exactly, and then they repeat it. Almost. Of late, I have found discrepancies, though they still lead the others.
How, I think can be answered by their refinement of the technic of injection molding the entire reed including the tip to exacting thinness. So we are never dealing with a machine that cuts each reed, making them each a trifle different. This molding technic was originated by Forestone and has not been experienced within the industry.

To express the shortcuts given to me as a clarinetist is to express a much easier setting up each time I play or practice.

We try in all phases of reed making, passage executing in the orchestra or in chamber music; our attempt is consistency. If we buy the reed machine for 225 bucks, it essentially copies the reed. In all boxes of ten or 5 or even in the old days of 25, when we get one that plays, we tried to get two, or even five, or more, and if we “scored”, so-to-speak, we considered it a great day indeed.

Once, at a Christmas Concert, I had to play Peter and the Wolf three times in an a two hour period. That meant the cadenza three times in a row. A good opportunity. What do I try for? Play it the same each time? Play it differently each time? I was happy to have played it at all three times in a row.

When I studied with Gino Cioffi, that great and unique clarinetist, he tried to sell me his crystal mouthpiece. I played his, then asked him if the one I got would be similar? He said, “Hey! Dey alla play da same”

All of the above relates to the Forestone synthetic. They have found the way to make each and every reed play almost the same as every other of the same strength.

The CEO of Legere sent me two “signature” reeds, their finest. Nice reeds. Each played differently. It was a no-brainer, he should have sent only one. As soon as inconsistency is a factor, little sense is to be gained from making a bunch of different playing synthetics, no matter how wonderful the new cutting machine may be.

I can list  the many synthetics out there, the covered plastic, the fibre babies, all of them. They do share qualities with cane: they are all different.Presently, they are only making reeds for Bb clarinet, though they sems to have plans for saxophone. I think  that for those who double on several clarinets and/or saxophone, or double reeds Legere may be a better choice,though they are not able to  produce any double reeds. My experience has only to do with reeds for Bb clarinet and reflects my attitude and experience of a lifelong career of playing the clarinet, mostly in chamber music and trained to play in Symphony Orchestras. Yes, I do play both bass and Eb and have had much experience in performing on these clarinets as well, including those little-known works of Hindemith, Opus 30 for Bb and, Eb clarinet,and string quartet. That’s is the one that has the Eb in only the second movement, (but a gigantic part), and is also the one where the last movement is the exact opposite of the first, yes exactly, not for note, backwards. (I have a live recording of the work, which I am willing to share, however until I get my works on the site at will, send me a disc and will send you a copy) And the other Hindemith , Bass clarinet and woodwind quintet. Also Pierrot Lunaire,Bb and Bass doubling.

But basically, I’m a clarinetist, and not a doubler. My experience with Legere has been unsatisfactory, the reason being they share with cane the attribute of each playing differently.My heart is into a substitute for cane, and the Forestone reed works unusually well.

Stay well, and keep practicing.

Sherman