One cannot overstate the obvious when it comes to reeds.  Volumes of books and articles abound with information and equipment that will cure every reed problem known to the modern clarinetist.  In my opinion, when all is said and done, a bad player will never consistently find a good reed and a good player will always agonize over trying to find the perfect reed.  Guy Légère has provided us with some new weapons in the hunt for this mythic beast and I, for one, am glad to be armed with them.

     Dr. Guy Légère and Dr. Mark Kortschot founded Légère Reeds, Ltd. in 1998 for the sole purpose of producing state of the art woodwind reeds.  Guy was an amateur player and was frustrated by cane reeds, and not satisfied with existing synthetic reeds.  After a lot of detective work, Guy found a synthetic material (which he then patented) that seemed to have the same stiffness and density as damp cane.  He approached Mark, a specialist in plastics and composite materials, and they ran some trials of the new material.  To their astonishment, it worked much better than they had hoped.  Now they feel that their reeds work because the material matches all of the important properties of cane (in playing condition, slightly damp).  They make their own raw material, and control its strength precisely, so as to reproduce the natural variation found in cane.  As a result they can make a much more consistent product than the cane manufacturers.  The Légère reeds for clarinet have evolved into basically two different cuts.  The cut refers primarily to the shape of the vamp and this is what gives the reed its particular playing characteristics.  For a particular cut, all reeds have the same dimensions.  They vary strength by varying the stiffness of the material itself, mimicking the variations found in natural cane.  Mr. Légère calls these cuts, the regular (original) cut and the Quebec cut (one dot).  Quebec cut reeds produce a slightly darker sound than the regular.  There is also a 3 -dot prototype that is currently under evaluation by selected players but not yet in full production.

      It seems to me that many clarinetists in the U.S. are very conservative when it comes to changes in their equipment.  I know I have felt this way.  We are loathe to change unless something or someone really can convince us that it is not only better but won’t let us sound bad!  So often it is attitude that affects our actions and I must admit to having had more than my share of skepticism about these reeds. Eddie Daniels introduced me to them in October of 1998 while he was playing in our area and he graciously gave me a few to try. It took me a good 6 -8 months of playing around with the few Eddie had given me before I really took them "out in public".  During that period I thought they felt funny on my mouth, I wasn’t sure about the sound or the strength, but there was something extremely compelling about the way they played.  The response was uniformly good and I started to really love practicing. After these 6 -8 months and much practicing on them but not using them for serious concerts, I needed to find a cane reed for an important recital. I simply couldn't find one that was close to being as responsive as the Légères. So I asked Guy to send me a few and they were all great. I used one on the recital and have been using them since. In some ways I can't believe that I am using them for everything, but I am and I have been very happy. My friends and colleagues do not notice anything different in my playing other than I have much more breath to play long phrases and I feel much more uninhibited to express myself musically. Tonally I feel there is virtually no change.  I still sound like me.  My own preference in the Légère reeds is for #4’s in the Quebec cut.  They seem to go well with my current mouthpiece, made by Richard Hawkins from a Zinner blank.

     In contacting the following clarinetists I decided to ask them a series of questions about their own experiences with the Légère reeds. Perhaps their comments will help to convince you they are worth a look and perhaps not.  It has always helped me to know that while we are all individuals and some are better and more experienced than others, we are all trying our best to make the most of what we have and that many of our problems are shared.  Larry Combs is the long -time principal clarinet with the Chicago Symphony, James Campbell is a well -known recording artist soloist and is professor of clarinet at Indiana University , and David Bourque plays Bass Clarinet and Clarinet with the Toronto Symphony Orchestra.  David is Canada 's leading basset horn player.  Richard Hawkins is clarinet professor at the Oberlin Conservatory of Music and well -known mouthpiece maker; Ted Lane is principal clarinetist with the American Sinfonietta and on the faculty of the University of Texas , Brownsville .  Cathy Ogram is a member of the U.S. Army Field Band and has been a soloist with the band as well as frequent performer on their chamber music series.  Ian Haysted is a London freelance orchestral session player and professor of clarinet at Brunel University .  Hime Voxman, legendary clarinet pedagogue, is still teaching and playing and has just recently discovered the Légères as well.

S.C. - How were you introduced to the Légère reeds?

Larry Combs - I first encountered the Légère reed at one of the ICA conferences and met Guy at that time. I was immediately impressed with the potential and hearing Richard Hawkins play a recital - and sound great - on a Légère made me even more curious.
James Campbell  - Abe Galper, my teacher, told me about them and introduced me to Guy the same day.  It was after a master class I gave in Toronto for the Glenn Gould School .
David Bourque - I first encountered the Légère at the Toronto Symphony about 4 years ago.  My colleague, Joaquin Valdepenas, was trying them out and was quite impressed. Later, I was playing with Jim Campbell, also a Légère user.  I use Vandoren alto sax reeds for the basset horn, and since I play the basset horn less frequently than clarinet or bass clarinet, I thought having a long term & stable reed would be great.
Richard Hawkins - I was fortunate enough to work with Guy Légère at his first Clarinet Conference in Ohio , and since have played the reeds. I have not once played a concert. recital or lesson on cane since that summer in Ohio . I would say we are very fortunate to have such a brilliant mind in the field of sciences helping us with such a disease of the past...cane reeds.
Ted Lane - I was first introduced to the Légère reeds in 1999 through Tom Ridenour at Brook Mays Music in Dallas Texas .  When I heard him play this newly developed reed I was absolutely amazed. Tom had several Légères for me to try and from the very start, they played beautifully.
Cathy Ogram - I first tried Légère reeds after they were introduced at Clarfest ’98. I next tried them in fall of ’99 when they were all the rage with some of my colleagues.  This time I had a mouthpiece they worked well with. During the first practice session on the Légère, I kept going from one thing to the next. They were so much more efficient and I was also much less fatigued.
Ian Haysted - I saw them advertised and decided to try them.
Hime Voxman - At an ICA meeting I met Mr. Légère, received a couple of his reeds and heard him lecture about how he arrived at the contour he was using.  I was happy to learn that someone had taken on the task of developing a possible alternative to the cane reed.  In a metallurgy course I took I was asked to fashion a metal reed on which I could “play” the first strain of Stars and Stripes.  After trying several metals I managed to do that with a very thin reed of stainless steel.

S.C. - Were you comfortable playing on them from the beginning or does it take some special kind of getting used to, i.e. different voicing, etc?

Larry Combs - I couldn't say that I have come to a point where I prefer the sound and feel of the synthetic to a really good cane reed but M. Légère is coming very close and he is constantly working to improve the product.
James Campbell - I was comfortable but it does take some adjustment -biting absolutely does not work -the reed will not correct a bad embouchure.  It may take time for a player to find their comfort zone with them, but I feel the effort is worth it.
David Bourque - It took me a few months working with them to become comfortable in how they feel and play, but I have never looked back since I grew accustomed to them.
Richard Hawkins -. I would say that from the beginning I noticed a different pattern of voicing. I would say that the most important value here is the mouthpiece curve. The more open the mouthpiece that you use, the fewer reeds you find to hold the sound and articulate with accuracy. As far as the voicing, I do find that I have to have more upper lip control and corners in towards the mouthpiece.  This helps clear the sound and make the response faster.
Ted Lane - Proper reed placement on the mouthpiece is crucial for the best
possible response. With cane reeds it doesn’t seem to be quite as important.
Cane reeds seem to adjust to a mouthpieces particular cut.  Synthetic reeds
usually will not.
Cathy Ogram - I wasn’t sold on the sound immediately, so I began countless blind tests with colleagues.  When people didn’t know what they were picking they always chose the Légère reeds. I definitely found I had to voice high on them and be constantly aware of that!  For me, one good practice session did it. The comfort once you get used to it is wonderful.
Ian Haysted - I took to the reeds immediately after finding the correct strength.
Hime Voxman - Not wholly.  They didn’t seem to produce as resonant a quality as I was used to.  I had to voice them differently to achieve that.  However, when I found the right strength reed that fitted my mouthpiece, it was better.  I could get a resonant low register and a better high one.  I immediately learned that exact placement was quite necessary, which was not true of my cane reeds.

S.C. - What strength(s) do you use or have you tried and/or what cut do you use?

Larry Combs -   Since my initial encounter I've had the opportunity to try many more reeds and have been particularly impressed with what Guy refers to as the 3 dot model, as far as suitability to my mouthpiece (a Richard Hawkins on a Zinner blank) and tonal solidity and focus. I have been able to focus onto a particular one that more or less works for me.... #3 3/4  with the three dots on the butt of the reed.  I recently had the opportunity to try the German model, made specifically for the German system and this too is quite successful.
James Campbell - #4 Quebec cut, but Guy has designed one to fit my mouthpiece.
David Bourque - I am using 4.25’s with the one dot on the clarinets, 3's (alto sax) on the basset horn, and the bass varies from 3 to 3.5.   All of them I work in the swoop.  
Richard Hawkins - For me, I don't have a preference of cut. I do seem to gravitate towards the harder 4.0, which sometimes is 4.0 and sometimes 4.75. There was a period of time that I found 4.5 appropriate, but since have found that I work less on the softer strengths.
Ted Lane - the strengths I prefer range from #4, #4 1/4,and #4 1/2...depending on the mouthpiece I use.  I have tried the different Légère cuts and cannot say there is any particular one that I prefer over the other.
Cathy Ogram - After my first attempts I realized that the 3.5’s that I started with were too soft. I quickly switched to 3.75, then 4’s as I got used to the reeds and wanted to make sure I sounded good. Finding the correct strength and cut is imperative.  Too many people give up simply because they tried the wrong strength.  My preference these days is 3.75 three -dot style.
Ian Haysted - On the Bb clarinet I use 3.5  - 3.75 and on the Eb clarinet I use 3  - 3.5
Hime Voxman - The last reeds Mr. Légère sent me he called 3 dot.  The 3 1/2 strength seems to be the most comfortable for me.  I’m not happy with my mouthpiece.  I hope to find one I’d like and would then check on reed strengths.

S.C. - How much do you use them, i.e. practice, teaching, performance (under what conditions)?

Larry Combs - I enjoy being able to pick up the instrument after a long period of not playing, for example when teaching, and being relatively certain of the result. It is also comforting to know that you have a reed that will work even when sudden atmospheric condition changes render all of your cane reeds unplayable!
James Campbell - I use them in conjunction with cane reeds -mostly as a back up
for concerts.  They work very well in lessons, no more dried out reeds and embarrassing moments for demonstrations.  Allows me to save my good cane reeds.  I use them for practice; I like the consistency, allowing a free mind to concentrate on musical or technical problems. I still make my students use cane in lessons and learn reed adjusting but they do have one Légère in the case as a back up.  They are much less stressed as a result and can concentrate better on musical matters.
David Bourque - I now use the Légères all the time on all instruments.  They are fabulous for bass clarinet and they solve my doubling issues with basset horn.  They are also ideal for bass clarinet/clarinet doubling. I still sound like me, which I guess is a good thing.  I have been getting some really nice compliments on my bass clarinet playing and sound from my TSO colleagues of late, but that could be the beer I am bribing them with. 
Richard Hawkins - 100% of the time. I do find that they do lighten slightly the longer I play them in succession. I have played them in the Cleveland Orchestra, solo recitals, and everyday teaching.
Ted Lane - Shortly after my introduction to the Légère Reed I was invited to perform with the American Sinfonietta on a European tour. The tour was during the winter months where temperatures could be below freezing and as high as the upper 70's not to mention the many altitude changes. It turned out that the best reeds on the tour were the Légères. I ended up performing on the same reed throughout the three -week tour.  I use Légères in all my performance aspects; practicing, teaching and of course, formal concerts.
Cathy Ogram - I use Légère reeds almost exclusively, but keep some cane reeds worked up in case I am going to be around or playing with musicians I know to be biased.  In that case, I will use cane for that time frame, and go back to Légère when I am able to.
Ian Haysted - I use the reeds all the time and have done so for the last fourteen months.  I performed a world premier of Paul Harvey's "Salt Lake Symbiosis" (Paul Harvey conducting) at the ClarinetFest in Utah , 5000ft above sea level.  Colleagues and myself agreed that we found the atmosphere very dry whilst performing at the festival, but the Légère reed maintained its consistency throughout my performances.
Hime Voxman - If I’m away from the clarinet a few days, I always use them until I feel my lips and breath support seem normal.  At lessons I alternate with what the student has prepared and with duets.  While this can, of course, be done with a cane reed, I’m always sure of what the Légère will play.  I have mostly young students who come to me at the end of the school day.  All too frequently they arrive with a cane reed in their mouth that is not ready to be used.  I encourage them to have a Légère ready to go while I put their reed in water.  They are at liberty to change as they see fit.

S.C. - How long do they last for you typically?

James Campbell - 5 -6 months in rotation
David Bourque - The Légères last me a long time   - - more than 6 months is not unusual at all.  As I rotate the reeds based on how my chops and air feel on a given day, I have a couple of reeds that I have been using for well over a year.
Richard Hawkins - it is hard to say  - -as I do have many of them and rotate them. I believe my preferences change from month to month depending on weather conditions and repertoire.
Ted Lane - If properly taken care of, they can last two, three even seven months,
Depending on the amount of playing time.  I will typically rotate four reeds
And it’s now been close to seven months on those same four reeds.
Cathy Ogram - they last different lengths of time.  If used properly, and by that I mean rotated, they should last 3 or 4 months.  I find I usually need to change a reed every hour of heavy playing, so I generally use 3 reeds a day…one for rehearsal or concert, and 2 for practice session. 
Ian Haysted - For a couple of months.
Hime Voxman - I don’t really know.  I alternate them some so that I can’t be sure.  I’ve used some three or four months in this way so far.

S.C. - Have you tried working on them?

James Campbell - not really
David Bourque - I do find I have to scrape them near the back of the vamp, to make the deepest part of the "swoop" closer to the start of vamp.  That takes the tubbiness out of them and really helps quickness in the reed without sacrificing the weight I need in the sound for orchestral playing. A working knowledge of reed techniques would definitely be an asset in adjusting the reeds, and for my needs, I must adjust them.   They are also extremely fussy as to where they are placed on the mouthpiece.  Half a millimetre left, right, up or down can make all the difference in the response of the reed, especially the side-to-side adjustment.
Richard Hawkins - As I am very much a tinkerer of mouthpieces and reeds over the years. I have worked on them a lot over time. I find my best ones are ones that started out a bit hard and I worked down with Tom Ridenour’s ATG reed
System. However, my very best performances in the past have been on reeds that were untouched as well.
Ted Lane - Using Tom Ridenour's new "Universal ATG Single Reed Finishing System", I have had great success adjusting the tips.  While I rarely need to do this with the Légères, I have even had positive results adjusting some of my older Légères when they begin to “play out.”
Cathy Ogram - I work on them as little as possible, trying to rely on correct strength. The better strategy for these reeds is to shift them from side to side each playing to a position that feels balanced.  If I really feel a reed needs to be balanced a bit, I use the New Reed Wizard. It cuts this material cleanly and beautifully.
Ian Haysted - No.
Hime Voxman - Very little.  I have scraped the back side of one or two of my students’ reeds on very fine abrasive.  It worked out ok.

S.C. - What are the strengths/weaknesses of these reeds?

Larry Combs - I personally intend keeping an open mind as this develops - quite possibly in a few years we could all be playing these reeds.  About the only negative is that I have not been totally comfortable with the feel of the articulation, especially in the upper register.
James Campbell - Advantages are a release of reed related stress and the above -mentioned thoughts.  Disadvantages can include playing on one reed too long and then being unable to adjust to a new reed (much like cane)
David Bourque - The ease of use of the Légère is unsurpassable. I do find that, unlike cane reeds, the Légère will not 'shut down' or close up, at least on my setup.  I do think a great cane reed may be better than the Légère however it is always about choices.  Sometimes I find that instead of closing up these reeds can get louder and harsh, but you really have to push them to make that happen.
Richard Hawkins - too many to list.. But the most important thing is being consistent.  Students do tend to choose reeds that are too soft, and then get softer over time.  These actually will not help them in the development of the proper embouchure control.  When I have chosen reeds for them, generally they think they are too hard at first, but after time they discover that the reeds last longer and they get stronger with sound concepts.
Ted Lane - I can pick up my instrument and have a great sound from the start.
The reed will play consistently from day to day. I enjoy the dark and consistent quality of sound. Perhaps the most important advantage for me is, less performance stress, knowing I can count on the reed to help me achieve my musical results.
Cathy Ogram - the efficiency and consistency of one’s practice session is a whole world apart from using cane. I travel a lot with my job, and no more stress going into mountains or different climates. I am always ready to go at concerts.  For me they sound better; mellow, in tune, no buzzy low notes. They articulate like crazy, they play ppp like a dream. And they are so consistent!!   I’m not sure they play FFF as well as I would like. 
Ian Haysted -They always feel the same every time I come to play them. (Unless they are wearing with use).  Reduces warm -up time, which could benefit doublers.
Hime Voxman - I believe they are a blessing for students with little reed knowledge.  For maximum results for any user, careful choice of a compatible mouthpiece is important, how important I can’t say. A minor suggestion - I hope Mr. Légère can put reed strength indications in a more permanent manner than is now the case.  He has done a great favor for the woodwind community, and I have every confidence that his product will be of even more value to us as time goes on.

     I would like to gratefully acknowledge the help I’ve received from my colleagues as well as the valuable information that Guy Légère provided about his reeds through his website and informational handbook. Their comments are insightful and full of practical first hand experiences.  I hope they help to give you the incentive to try these reeds.  Good luck!