Wire Bridles

[Brazenkane]

As of late I've been enjoying working with wire bridles. I always thought I'd be a staunch traditionalist. Simultaneously, there is a certain flexibility and non-muting aspect I'm enjoying with the wire, especially when the wire is having to sit above the wrap (case and point, the reeds I made for the Rogge B).

I just made a reed for my Hunter B, and in that case (short head), I laid the wire just above the wrap, and wrapped 5xs around (Jim Wenham suggested that # to me).

Care must be taken when wrapping, or you'll bite into the sides of your reed when binding, effectively punching a hole in the side. I make sure I impose the angle of the edge when rounding with a thumb/forefinger pinch. You know you're doing it wrong if when you wrap, the lips open and OPEN! Stop, unwrap, and get a fresh piece, and try with a better pinch when rounding the edges.

Oh yes, I'm using .5mm/ .019 wire (it's actually .5-something on the box, can't remember, and don't have the box).

Give it a go!

[Cathy Wilde]

I really like my reed's wire bridle. I still haven't mastered winding it onto the reeds I'm trying to make yet -- , I still can't even tie slips onto the staple right yet! -- but I've discovered that, on my existing working reed from Jim, moving just one strand of the wire can open or close the reed just enough to fine-tune things. Seems like finer control, basically.

[Pipewort]

I started using wire bridles about a year ago. The copper band method was always approached with fear and trepidation. Too many reeds knackered during the process, before even finding out if they were goers, or not. It used to take an age to get full contact around the head. May be my copper was too hard or thick.

I generally use three turns, it suites me. The wire method took no time to learn, and has the advantage that is easy to remove and replace, if necesary, and more so than the traditional band. I can't see myself going back to the 'old' method.

Pwrt

[PJ]

I've been using wire bridles for the last 3 or 4 years. 24 gauge (.5 mm) copper wire. Initially I put 2 or 3 wraps just above the binding but found that, more often than not, this affected the back D. More recently I've started putting 4 to 5 wraps of wire about half-way up the scrape. This gives me a much brighter reed. It also allows me slide the bridle (or just one or two wraps of the wire) up or down to adjust the lips and internal volume.

Care should indeed be taken not to wrap the wire too tightly.

[Brazenkane]

I feel that one shouldn't approach reed making with too much trepidation. If so, this mindset becomes self-limiting state . The more bold you are (within reason) the more lessons learnt, and the better you get in a more timely manner!

If putting on copper bridles causes stress, get a reed that is not your #1, and practice putting on 50-100 bridles over the course of a month. That will help you master that part. Peronally, I think it is important to be good at using both bridles.

Andreas Rogge delivered me a reed (that orig. came with my B chanter) where the wire was nearly 1/2 way up head. I found that a longer head can function like a shorter head, complete with the back d rising in pitch, when using the wire above the wrap. In my experience, the wire seems to mute the head less than a copper bridle, when positioned above the wrap.

Simultaneoulsy, there seems to be a critical point the wire bridle has to be at for all things to be in tune e.g. having the back d in tune with the rest of the scale. In otherwords, the back d will raise up, but it'll start to leave A1 "behind" (low) if positioned too high. Point in case, one can see Andreas finding just the correct position of his wire bridle for his reed, in the NPU "Heart of the Instrument" DVD.

Finally, I don't think that there's a "better way." It's easy for one to glom onto "something" after having spent mega amounts of time on trying to learn, apply, and properly execute a technique (which may include a different sort of material, as in this case). They are all ways which should be explored as fully as possible to find the best possible application!

side note: The NPU DVD is a must own item for reed makers (IMO). Too, I should add that Tim Britton has a newly revised edition of his reed making book (2010) with a great section regarding adjustments, for chanter and drone reeds. I would recommend it. He recently told me he has ordered #6 gouges, that are 14mm wide, should anyone be interested.

[ausdag]

Thanks for the informative post Brazen. On your point about raising the back D, could you clarify what you mean by " but it'll start to the A1 behind (low) if positioned too high. "?

Cheers,

DavidG

[Brazenkane]

Sorry! Hasty typing.

I meant, It'll leave A1 "behind." e.g. back d'll get sharp in relation to A.

[ausdag]

Ahh... yes, that makes sense now. Thanks Brazenkane.

DavidG

[goldy]

Wire bridles all the way!

I switched to copper wire some time ago and love it. You get a great snug fit.