A frequent question we get at Rico from players relates to what type of reed to use on C Melody Sax. As many of you know, the C Melody sax is pitched in C instead of Bb for Tenor or Eb for Alto. While there is limited ensemble use for C Melody Sax (wind and military band), the fact that it doesn't transpose makes it a versitle horn for reading music written for C instruments.
The C Melody sax is larger than the alto sax and smaller than the tenor sax. With regards to mouthpieces, a true C Melody mouthpiece is similar to a tenor sax mouthpiece. With this type of C Melody Sax mouthpiece, bass clarinet like Rico Royal or Grand Concert Select reeds work well.
However many people simply use an alto sax mouthpiece on C Melody Sax. If you are using an alto sax mouthpiece then alto sax reeds should be used such as Rico Royal or Rico reeds. You can also try the Reserve Alto or Reserve Tenor reeds.
Monday, April 27, 2009
Monday, April 20, 2009
Special Reed Boxes I have Known...
Special Reed Boxes I Have Known…
By Mike Zucek-North Central Regional Sales Manager
Last month, I left you with a teaser…regarding the old brown Rico “wood grain” boxes. Well, would you believe that the original Rico boxes were actually constructed of real California redwood! They were beautifully made, with dovetailed corners and a paper “cigarette pack” seal. They had a full length fabric hinge and to top it all off, were wrapped in orange/yellow cellophane. (These are now real “finds” for the collector!) After WWII, redwood was getting expensive and a change was in order to help keep down the cost of the reeds. Why not eliminate the wood, but keep the wood appearance! The “wood-grain” box was the logical result. This package continued in use until the early 1980’s, when the now ubiquitous “orange box” came on the scene.
In 1983, the Rico Company decided to produce a new package that eliminated all the layers of tissue that were used to separate the reeds. The Dispensapak was the result and was an immediate…….FAILURE! We knew right away that something was wrong as many customers promptly spilled the reeds on the floor while trying to figure out how to operate this new “trick” package! We immediately performed a costly re-design based on the time proven “Novapak reed holder” and learned a valuable lesson about the “KISS” principal in the process. Our quick about face, while not totally avoiding some embarrassment, allowed us to finally arrive at the right package and, more importantly, avoid forcing our mistake on the customer.
In 1987, Rico produced a special “sampler pack” for its line of Mitchell Lurie and Frederick L. Hemke Premium reeds. These packages held 8 reeds in Novapaks with an assortment of strengths from 2 ½ through 4 ½. They were in attractive, three inch square, “shrink-wrapped” boxes that were clearly marked S A M P L E R on one end flap.
Likewise, a few years later, when Rico introduced the ground-breaking Grand Concert clarinet reeds in ¼ strengths, another sampler pack was made available. These were based on the same package that the GC reeds were normally available in, but with the addition of a gold band seal that covered three sides of the box. On this seal was printed “Compliments of Rico International” and “Reed Strengths 3, 3 ¼, 3 ½, 3 ¾, 4” and finally “Complimentary Sample”. The white box held “standard blank” models and the dark blue box held “thick blank”.
Finally, perhaps the most unique reed package ever produced by Rico….the “Inaugural Reed Sampler”… “In Commemoration of President Bill Clinton, Music Enthusiast January 20, 1993”. These reeds were actually presented to president Clinton at the White House, but also made available in limited numbers to attendees at the 1993 Winter NAMM show. Each sampler consisted of an assortment of 4 reeds (2 Rico Plasticover, 1 La Voz and 1 Rico Royal in a Reedgard IV) for soprano, alto, tenor or baritone sax. The box was white with a blue banded overwrap, and had a picture of the White House at the top front. The Rico logo was in red and each reed, rather than being stamped with a brand name, was instead marked “1993 Inaugural Reed”. The Plasticover reeds had white lettering and one each of the remaining reeds was in red and blue.
In some future postings, I’ll get into the packaging history of Rico family brands that for many years never bore the Rico name!!!
By Mike Zucek-North Central Regional Sales Manager
Last month, I left you with a teaser…regarding the old brown Rico “wood grain” boxes. Well, would you believe that the original Rico boxes were actually constructed of real California redwood! They were beautifully made, with dovetailed corners and a paper “cigarette pack” seal. They had a full length fabric hinge and to top it all off, were wrapped in orange/yellow cellophane. (These are now real “finds” for the collector!) After WWII, redwood was getting expensive and a change was in order to help keep down the cost of the reeds. Why not eliminate the wood, but keep the wood appearance! The “wood-grain” box was the logical result. This package continued in use until the early 1980’s, when the now ubiquitous “orange box” came on the scene.
In 1983, the Rico Company decided to produce a new package that eliminated all the layers of tissue that were used to separate the reeds. The Dispensapak was the result and was an immediate…….FAILURE! We knew right away that something was wrong as many customers promptly spilled the reeds on the floor while trying to figure out how to operate this new “trick” package! We immediately performed a costly re-design based on the time proven “Novapak reed holder” and learned a valuable lesson about the “KISS” principal in the process. Our quick about face, while not totally avoiding some embarrassment, allowed us to finally arrive at the right package and, more importantly, avoid forcing our mistake on the customer.
In 1987, Rico produced a special “sampler pack” for its line of Mitchell Lurie and Frederick L. Hemke Premium reeds. These packages held 8 reeds in Novapaks with an assortment of strengths from 2 ½ through 4 ½. They were in attractive, three inch square, “shrink-wrapped” boxes that were clearly marked S A M P L E R on one end flap.
Likewise, a few years later, when Rico introduced the ground-breaking Grand Concert clarinet reeds in ¼ strengths, another sampler pack was made available. These were based on the same package that the GC reeds were normally available in, but with the addition of a gold band seal that covered three sides of the box. On this seal was printed “Compliments of Rico International” and “Reed Strengths 3, 3 ¼, 3 ½, 3 ¾, 4” and finally “Complimentary Sample”. The white box held “standard blank” models and the dark blue box held “thick blank”.
Finally, perhaps the most unique reed package ever produced by Rico….the “Inaugural Reed Sampler”… “In Commemoration of President Bill Clinton, Music Enthusiast January 20, 1993”. These reeds were actually presented to president Clinton at the White House, but also made available in limited numbers to attendees at the 1993 Winter NAMM show. Each sampler consisted of an assortment of 4 reeds (2 Rico Plasticover, 1 La Voz and 1 Rico Royal in a Reedgard IV) for soprano, alto, tenor or baritone sax. The box was white with a blue banded overwrap, and had a picture of the White House at the top front. The Rico logo was in red and each reed, rather than being stamped with a brand name, was instead marked “1993 Inaugural Reed”. The Plasticover reeds had white lettering and one each of the remaining reeds was in red and blue.
In some future postings, I’ll get into the packaging history of Rico family brands that for many years never bore the Rico name!!!
Monday, April 13, 2009
Filed vs. Unfiled?
A lot of people ask about the difference between filed and unfiled reeds. Here's a brief explanation:
An option to fine-tune the sound, the file is often preferred by players who use traditional, moderately resistant, dark-sounding mouthpieces– the file helps such mouthpieces blow more freely.
For those who play relatively easy-blowing, moderate-to-bright mouthpieces (especially jazz or pop sax mouthpieces with a high baffle), an unfiled reed is usually preferred.
The French File (or “file”) is the area behind the vamp (or cut portion) where the bark is sanded
off in a straight line.
The File-
- Provides ease of response, especially in the low register… …making soft attacks easier.
- Also makes the tone slightly brighter… …for use with resistant mouthpieces.
An unfiled reed provides a darker tone and more resistance; a filed reed provides a brighter tone and is more free-blowing.
Recommended use of filed or unfiled reeds for common sax mouthpieces:
Filed
• Meyer
• Otto Link
• Selmer rubber
Unfiled
• Dukoff
• Beechler
• Selmer metal
• Guardala
• Berg Larsen
Rico offers the following filed reeds: Rico Royal, Reserve (saxophone) Rico Select Jazz, Hemke, and Grand Concert Select
The following reeds are unfiled: La Voz, Rico, Rico Rico Select Jazz
Monday, April 6, 2009
The Changing Seasons and Reeds
As we approach summer it is important to remember how the seasons and humidity affect our reeds.
Depending on your specific location summer can mean many different things in relation to reeds and RH (Relative Humidity). But, the most important point to remember is that the less change that happens to the reed, the better!
In other words, when the reed is not in use it is best to have it stored in a humidity-controlled case. The new Rico Reed case is ideal for keeping the reeds in a constant state of humidification. What this means to players is that the reeds will not be as prone to warpage on the table and at the tip.
Depending on your specific location summer can mean many different things in relation to reeds and RH (Relative Humidity). But, the most important point to remember is that the less change that happens to the reed, the better!
In other words, when the reed is not in use it is best to have it stored in a humidity-controlled case. The new Rico Reed case is ideal for keeping the reeds in a constant state of humidification. What this means to players is that the reeds will not be as prone to warpage on the table and at the tip.
When you wet the reed and get those wavy tips, it can be due to the reed drying out un-evenly. This not only makes it take longer to warm-up the reed, but it also decreases the longevity or life of the reed as it is going through more changes.
The Rico Reedvitalizer system utilizes a Two-Way humidity control system that can both add moisture to the reed or take moisture out of the reed if it is too wet.
The Rico Reedvitalizer system utilizes a Two-Way humidity control system that can both add moisture to the reed or take moisture out of the reed if it is too wet.
The system comes in three different RH levels:
58% - Stable, long-term storage
73% - Requires minimal wetting
84% - Ready to play
In my next installment, we will explore how different people use the different Humidity levels for the break-in process... Stay Tuned.....
Monday, March 30, 2009
A Chance to See the World
As I boarded my flight from JFK to Frankfurt last night to attend my 10th Frankfurt Music Messe, I couldn't help but reflect on the international travel I've done over the past 10 years. Compared to many, 10-years of international, or Frankfurt Music Messe attendance is not so much, but for me it is a bit of a milestone.
Over the past 10 years, I've had the chance to visit the following countries (listed somewhat geographically as to not tax my memory too much):
New Zealand, Australia, Indonesia, Singapore, Thailand, Philippines, Taiwan, China, South Korean, Japan, Russia, India, U.A.E., U.K., Ireland, France, Netherlands, Belgium, Spain, Portugal, Germany, Austria, Switzerland, Italy, Poland, Finland, Sweden, Norway, Denmark, Canada, Mexico, Guatemala, Chile, Argentina, Brazil, Uruguay.
I've been slipped a "mickey" in Bangkok, Thailand; abandoned at the airport in Jakarta, Indonesia, and most recently I was in Siberia, Russia in November! I've also seen so many beautiful cities, met fantastic artists, outstanding businessmen, and great people! While the cultures of the world are fascinatingly different, the love and joy of music is universal.
As a young drummer (aspiring to be a percussionist) growing up in the corn field of Central Illinois (Sullivan, Illinois to be specific), I had aspirations of playing professionally and teaching at the university level. And, while that didn't work out as planned after graduating from Millikin University with a music business degree, and Northwestern with a masters in percussion, I couldn't have had a more wonderful and enriching professional life! After working for the Percussive Arts Society and Yamaha Corporation of America, my opportunity to do business internationally started in 1999 when I was at SABIAN. Since then with SABIAN, SKB, and now with D'Addario I continue to travel internationally.
As the wheels touched down last this morning, I couldn't help but reflect. There are more countries I'd love to travel too. What ones have I missed that you'd recommend?
Over the past 10 years, I've had the chance to visit the following countries (listed somewhat geographically as to not tax my memory too much):
New Zealand, Australia, Indonesia, Singapore, Thailand, Philippines, Taiwan, China, South Korean, Japan, Russia, India, U.A.E., U.K., Ireland, France, Netherlands, Belgium, Spain, Portugal, Germany, Austria, Switzerland, Italy, Poland, Finland, Sweden, Norway, Denmark, Canada, Mexico, Guatemala, Chile, Argentina, Brazil, Uruguay.
I've been slipped a "mickey" in Bangkok, Thailand; abandoned at the airport in Jakarta, Indonesia, and most recently I was in Siberia, Russia in November! I've also seen so many beautiful cities, met fantastic artists, outstanding businessmen, and great people! While the cultures of the world are fascinatingly different, the love and joy of music is universal.
As a young drummer (aspiring to be a percussionist) growing up in the corn field of Central Illinois (Sullivan, Illinois to be specific), I had aspirations of playing professionally and teaching at the university level. And, while that didn't work out as planned after graduating from Millikin University with a music business degree, and Northwestern with a masters in percussion, I couldn't have had a more wonderful and enriching professional life! After working for the Percussive Arts Society and Yamaha Corporation of America, my opportunity to do business internationally started in 1999 when I was at SABIAN. Since then with SABIAN, SKB, and now with D'Addario I continue to travel internationally.
As the wheels touched down last this morning, I couldn't help but reflect. There are more countries I'd love to travel too. What ones have I missed that you'd recommend?
Monday, March 23, 2009
A Rico By Any Other Name....
A Rico by Any Other Name…..
By Mike Zucek-North Central Regional Sales Manager
If you’ve been playing a clarinet or saxophone for any length of time, you’re likely already familiar with the current line-up of Rico reed products. There’s the famous Rico “Orange Box”, as well as Rico Royal, Rico Plasticover, La Voz, Mitchell Lurie, Frederick L. Hemke, Select Jazz, Grand Concert and our newest top line reed, (making many players re-think what they should be playing), Rico Reserve. But there are some names from Rico’s past that are not commonly recognized as Rico reeds. Let me explain….
The term “private label” is often applied to products manufactured by one company under another company’s name, or a name that is loaned or licensed to another company. Although Rico no longer produces “private label” reeds, it did so at one time (in the 60’s 70’s and 80’s) for a small group of band instrument manufacturers. (If you’re into collecting reed boxes, you’ll find this interesting!)
The most common Rico “PL” reeds were the “Diamond Cut” brand for the old C.G.Conn Company and the “Roy J. Maier” brand for the H & A Selmer Company. You’ll find Diamond Cuts in a black and silver box with a diamond graphic in the middle of the lid and the legend “made by La Voz” in the lid’s corner (La Voz , of course, being Rico!) “Roy J. Maier” reeds were branded in honor of one of Rico’s principal owners, and the mechanical genius behind Rico’s manufacturing machines. You’ll find these reeds in a textured silver box with the maroon colored “Roy J. Maier “signature in the center of the lid.
Another “PL” reed, called “Symmetricut” was produced for the Chicago Musical Instrument Co. (or CMI) during the 70’s. These were packaged in an all green box with white borders and the Symmetricut name in white on the lid. You may come across earlier Symmetricut reeds in yellow and dark maroon boxes as well. These, however, will be marked “Ciccone Symmetricut” and were made by Tony Ciccone before Rico purchased his company. Later Symmetricut reeds, from the late 80’s and early 90’s were actually marketed by Rico as a “house” brand and were in an all green box with the reeds in separate “Novapak” reed holders.
Although not actually private label reeds, you may still come across the rare “Andre” brand (primarily for Tenor Sax). These were made by Rico for limited distribution (and sometimes for export) for a short time in the seventies. They mostly came in an all yellow box with “Andre” in maroon on top. Another reed, primarily exported to Japan was the “Nova” brand, which was packaged in a gold foil box with ‘Nova” in block letters on top.
Other than being manufactured by Rico, what else do these brands have in common? You guessed it; they’re all actually Rico reeds; the same ones you can still get in the ubiquitous orange box!
If you’re interested in building a collection of colorful reed boxes, I suggest you ask around whenever you’re in a music store, as you never know what the dealer has hidden away in the back storeroom! (Or right out front in the “bargain bin”). They may be #4 alto clarinet reeds, but what’s that matter if you can add that colorful package to your collection!
In my blog posting for next month, I’ll delve into some of the historic packaging for Rico branded reeds. Do you know why the box that preceded the “orange box” had a simulated wood appearance? Tune in next month…
By Mike Zucek-North Central Regional Sales Manager
If you’ve been playing a clarinet or saxophone for any length of time, you’re likely already familiar with the current line-up of Rico reed products. There’s the famous Rico “Orange Box”, as well as Rico Royal, Rico Plasticover, La Voz, Mitchell Lurie, Frederick L. Hemke, Select Jazz, Grand Concert and our newest top line reed, (making many players re-think what they should be playing), Rico Reserve. But there are some names from Rico’s past that are not commonly recognized as Rico reeds. Let me explain….
The term “private label” is often applied to products manufactured by one company under another company’s name, or a name that is loaned or licensed to another company. Although Rico no longer produces “private label” reeds, it did so at one time (in the 60’s 70’s and 80’s) for a small group of band instrument manufacturers. (If you’re into collecting reed boxes, you’ll find this interesting!)
The most common Rico “PL” reeds were the “Diamond Cut” brand for the old C.G.Conn Company and the “Roy J. Maier” brand for the H & A Selmer Company. You’ll find Diamond Cuts in a black and silver box with a diamond graphic in the middle of the lid and the legend “made by La Voz” in the lid’s corner (La Voz , of course, being Rico!) “Roy J. Maier” reeds were branded in honor of one of Rico’s principal owners, and the mechanical genius behind Rico’s manufacturing machines. You’ll find these reeds in a textured silver box with the maroon colored “Roy J. Maier “signature in the center of the lid.
Another “PL” reed, called “Symmetricut” was produced for the Chicago Musical Instrument Co. (or CMI) during the 70’s. These were packaged in an all green box with white borders and the Symmetricut name in white on the lid. You may come across earlier Symmetricut reeds in yellow and dark maroon boxes as well. These, however, will be marked “Ciccone Symmetricut” and were made by Tony Ciccone before Rico purchased his company. Later Symmetricut reeds, from the late 80’s and early 90’s were actually marketed by Rico as a “house” brand and were in an all green box with the reeds in separate “Novapak” reed holders.
Although not actually private label reeds, you may still come across the rare “Andre” brand (primarily for Tenor Sax). These were made by Rico for limited distribution (and sometimes for export) for a short time in the seventies. They mostly came in an all yellow box with “Andre” in maroon on top. Another reed, primarily exported to Japan was the “Nova” brand, which was packaged in a gold foil box with ‘Nova” in block letters on top.
Other than being manufactured by Rico, what else do these brands have in common? You guessed it; they’re all actually Rico reeds; the same ones you can still get in the ubiquitous orange box!
If you’re interested in building a collection of colorful reed boxes, I suggest you ask around whenever you’re in a music store, as you never know what the dealer has hidden away in the back storeroom! (Or right out front in the “bargain bin”). They may be #4 alto clarinet reeds, but what’s that matter if you can add that colorful package to your collection!
In my blog posting for next month, I’ll delve into some of the historic packaging for Rico branded reeds. Do you know why the box that preceded the “orange box” had a simulated wood appearance? Tune in next month…
Monday, March 16, 2009
Exciting Times at Rico!
Exciting Times at Rico!
With all of the great changes and improvements at the factory I am excited for the future of Rico and reeds in general.
Being a reed player myself, I am always looking for advances in playability and sound production/longevity. One of the most important features is to get the most vibrations and tone out of the reed and this plays right in to the new Rico and new Rico machinery.
The machines I am speaking of are called “blanking machines”. These machines take the raw tubes and create an almost ready reed. For me, the most exciting portion of the machine is regarding the flatness of the reeds.
These new machines create the flattest tables on reeds that I have ever seen and, in addition the smoothest that I have ever felt. Even if your mouthpiece table is not completely flat (which does happen!), all of the new Rico reeds will help create better contact between the reed and the mouthpiece.
Most players understand the importance of the contact between the reed and the lay of the mouthpiece. Essentially, the more contact between the two parts equals more vibration and tone. One thing that I have found over the years in playing situations is that you can work to stifle some of the vibrations (if necessary), but if they aren’t there to begin with you can’t create them from thin air.
Regardless of which Rico reed you try, they all benefit from these new machines and a new level of consistency unheard of in the single reed world.
With all of the great changes and improvements at the factory I am excited for the future of Rico and reeds in general.
Being a reed player myself, I am always looking for advances in playability and sound production/longevity. One of the most important features is to get the most vibrations and tone out of the reed and this plays right in to the new Rico and new Rico machinery.
The machines I am speaking of are called “blanking machines”. These machines take the raw tubes and create an almost ready reed. For me, the most exciting portion of the machine is regarding the flatness of the reeds.
These new machines create the flattest tables on reeds that I have ever seen and, in addition the smoothest that I have ever felt. Even if your mouthpiece table is not completely flat (which does happen!), all of the new Rico reeds will help create better contact between the reed and the mouthpiece.
Most players understand the importance of the contact between the reed and the lay of the mouthpiece. Essentially, the more contact between the two parts equals more vibration and tone. One thing that I have found over the years in playing situations is that you can work to stifle some of the vibrations (if necessary), but if they aren’t there to begin with you can’t create them from thin air.
Regardless of which Rico reed you try, they all benefit from these new machines and a new level of consistency unheard of in the single reed world.
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