A clarinet reed acts as an air valve, opening and closing the flow of air through the mouthpiece and instrument; the reed is the only moving part of the clarinet's tone-generating apparatus. The frequency of reed vibration is directly related to the frequency of pitch that is produced. Usually reeds are made from pieces of wood (specifically cane) that have thin tips, strapped onto mouthpieces using a metal ligature. These reeds must be wetted so that they vibrate and produce notes (dry reeds are too hard to produce tone).

Synthetic Reeds

Bari company reeds are synthetic reeds - this means that they are made of plastic instead of cane. In the Bari*'s case, this is specially formulated plastic that reflects a cane reed as closely as possible. The plastic used in Bari* reeds is produced in sheets that have individual fibres - these sheets are then cut in the same manner as cane reeds are, producing a synthetic reed that resembles a cane reed in all but its material.

Most reed players prefer cane reeds, but progress in recent years with synthetic reeds has made them a more viable option. Still, synthetic reeds are only recommended for play when tone comes completely secondary to strength of noise and durability (as in a school marching band) or for concert players who double on two or more reed instruments and have trouble with the not-in-use reeds drying out. Synthetic reeds have three main advantages: they do not need to be wetted before they make noise, they are more durable, and they do not 'blow out'¹ as cane reeds do.

Differences Between the Bari* and Cane Reeds

Many people, however, question the tone of the synthetic reed. The Bari* reed produces fuzzier throat tones (clarinet throat tones range from first space F through third line Bb) and collects moisture on its flat underside, which can result in a frying or sizzling sound. This is most obvious when playing pianissimo and piano, but as the dynamic approaches fortissimo, the note becomes louder than the fuzziness and it isn't as distinct. Condensed moisture can usually be eliminated for a short time by sucking a quick and fast breath through the mouthpiece during a rest, but this is not a sure-fire technique.

The Bari* also produces a 'reedier' sound - the notes sound more cutting and less mellow than cane-produced notes. This is somewhat like the effect of metal 'jazz' mouthpieces vs concert mouthpieces made of rubber etc, although the analogy isn't entirely correct. The 'reediness' is more pronounced on the notes that fall on the treble clef staff, and not as obvious below or above that.

When played, the Bari* feels a bit odd to one who is used to the smoother cane surface. It has rough and striated fibres on the top of the reed, as some immediately post-manufactured canes do, but doesn't wear down and become smooth after use. The reverse side is completely smooth; another change from manufactured cane. And the reed is clear. This was the biggest shock (and delight) to someone who was used to opaque yellowish cane.

It was easier with the Bari* to have a supported and strong high G (two octaves above the second-line G) than with the cane reeds that this Researcher has previously used, but once playing up in the altissimo register, the reed didn't want to play back down into the middle register. In fact, it would sometimes jump registers at extra stress from embouchure or other factors when playing non-altissimo notes.

Also, because the Bari* reed is synthetic, it will accumulate tartar and other unpleasant things from the player's mouth, just as mouthpieces will. These can, and should, be cleaned off by washing the reed with mild soap and water - something not generally recommended for a cane reed.

Adjusting the Reeds

All reeds can be adjusted to play better and offer better tone. In a synthetic reed's case, this adjustment is usually to make it sound more like its cane equivalent. Using sandpaper can produce a smoother finish (just sand the reed enough to smooth it; never take off any real material or it will weaken the reed, perhaps by a half-strength or more), and there are tip-cutters, balancing tools, metal scrapers, and other devices that allow one to adjust the reeds to one's own mouthpiece and playing needs. The tools advertised for 'clarinet reeds' should be suitable for both cane and synthetic.

A good letter was published in the International Clarinet Association's magazine, The Clarinet, in December 2001 (Volume 29 Issue 1) that explains how to adjust synthetic reeds - Bari* and Fibercell in particular. The Handbook for Making and Adjusting Single Reeds by Kalmen Opperman is also a good reference. Most of the techniques that are used on cane reeds can be applied to synthetic reeds, and there are many other books and articles on reed adjustment that have been published throughout the years - any and all of these should be useful to someone who wants to adjust his reeds.

Buying the Reeds

There are three strengths of Bari* reeds: soft, medium, and hard. Soft reeds are equivalent to about a 1-2.5 Vandoren; medium reeds are equivalent to about a 2.5-3.5 Vandoren; hard reeds are equivalent to about a 4.0-5.0 Vandoren². There is a nice reed strength comparison chart that includes many different brands of reeds (cane as well as synthetic) and their strengths.

Bari reeds and Bari* reeds are produced by the same company; Bari* are more expensive but generally considered better (think: Vandoren-V12, or Mitchell Lurie Premium). The reeds are sold individually, as each reed is guaranteed to play no matter what and to last longer than a cane reed. Bari clarinet reeds are listed from their company at $12 apiece, and a Bari* reed costs $20. (By shopping around, one can save over half of this list price.)

Look at Bari reeds before purchase, and examine their tips. These should be perfectly flat, and not at all wavy. No reed with a wavy tip can play very well, and this holds doubly true for synthetic reeds, which will not flatten out after being wetted.

Reeds, like any accompaniment to a music-making instrument, are a matter of personal choice and opinion. Both synthetic and cane reeds have good and bad points; it is only because as reed players we are indoctrinated with 'cane' as the correct sound and feel that we find a synthetic reed odd. Everything will depend on what one believes is most important in a reed and what needs one has. For players who double or would like reeds that last longer, synthetics may well be a good solution to their problem.