REEDING THE ROOM:
How One Bassoonist Turned Craft into a Business
Every bassoonist knows the love–hate relationship we have with reeds. Some days they work
great, other days… not so much. Here is a conversation between Calgary Philharmonic bassoonist Michael Hope and Jace Stearn, the founder of Rocky Mountain Reeds. Jace is turning that reed-making grind into a business. We’ll hear about his journey, why he actually enjoys making reeds, and how he’s helping other bassoonists spend less time at the workbench and more time making music.
Jace, you’re the founder of Rocky Mountain Reeds. For people who don’t know about it yet,
what is it? And when did you decide to take the leap and start the business?
I have started a small business for Canadian Bassoonists. I have a line of reeds from ready-to-cut-
and-personalize reed blanks through student and professional reeds. As a public school educator, I have found it challenging to find a local product that is reliable out of the package, and allow the
student bassoonist the opportunity to consistently sound good. Any time I offer workshops or lessons to new students, I usually start with fixing reeds. With this initiative, I hope to fill a gap in the Canadian industry, and make reeds for people who don’t like to make reeds, or help them learn to make better reeds.
Tell me a little about your background with the bassoon. What first drew you in, and what
keeps you passionate about it?
I grew up in Logan Lake, BC. Not a real hotspot for bassoonists…
My dad played bassoon in the military, starting at the Naden School in Victoria, and eventually ending up playing in the Military Tattoo Exhibition at Expo ‘67 in Montreal. After leaving the military, he didn’t have a bassoon to continue playing on, but he would point it out whenever he could on tv or in movies. I knew the sound long before I had ever tried the instrument. The family record collection featured many great orchestral recordings, and I fell in love with George Zukerman’s Mozart and Weber Concertos recording. As luck would have it, my first high school teacher was a bassoonist, Dr. David Overgaard, and away we went! I studied at the University of Victoria with both Nancy van Oort and Heather Chesley-Fisher. I soon discovered the contrabassoon (or it discovered me), and by the end of my second year of university, I was the regular contrabassoonist with the Victoria Symphony. I’ve continued my bassoon playing career as a guest musician with many groups in Western Canada, including the Calgary Philharmonic.
My passion in bassoon playing is related directly with my teaching. I consider myself as not only a
teacher to my students, but as a musical mentor. I demonstrate daily that I can “talk the talk” and
continue to play professionally also while running a highly successful high school band program in High River, Alberta.
Now, reed making… for some players it’s this fun, almost meditative craft, and for others it’s
just a tiresome chore. Where do you land on that spectrum?
I think that we all go through creative and quality slumps, but I generally have a very good success
rate which keeps me motivated to produce quality reeds; it’s a bit of a regenerative cycle. My aim is always creating something that looks and sounds consistent, which is hard considering that we work with a vegetable!
What’s the part of reed making you actually enjoy the most?
For me, it’s taking a reed from good to great, or the “no” pile to the “yes” pile. I strive to make every
reed that I produce effective for somebody.
Do you have a “signature” style or cut to your reeds that makes them stand out?
I guess an honest response to my reeds would be how they can do everything well. I mean, maybe
not playing in the stratosphere range – I have to make those special if required for my own playing
responsibilities. They are open, resonant and work really well with my setup and ensemble demands as a professional bassoonist. Honestly, I feel that a good reed just plays for me, and hoping that they will play well for others.
What’s the biggest challenge when you’re making a reed?
I find that the biggest challenge personally has been not doing too much to a piece of cane too
quickly. I have yet to find a way to put removed cane back on the reed, so it’s best to let them settle.
I heard you cranked out 250 reeds this summer — that’s incredible. How do you make them so
quickly?
I find that my results are most consistent when I make reeds in batches, and will work on different
steps of the process to groups of reeds at the same time. All of my reeds start as “mummies” for up to two weeks; wires and string/glue on one day; then they rest as blanks. I only tip cut and finish what I anticipate needing at any given time. It is not uncommon for me to finish up to 50 in one chunk of time, whether that is making mummies or wrapping with wires.
You’ve got both student reeds and professional reeds on offer. What’s the difference between
the two?
I find that every piece of cane is either too hard, too soft (for me) or just right. My student reeds end up slightly thicker and wider than I like for myself. Students tend to play with more embouchure support initially in playing, and it is my opinion that the slightly softer reeds work well with the
developing student embouchure. For my pro line of reeds, they are finished to the level that I would choose to perform myself with.
Do you test every reed yourself before selling it?
I do test my finished reeds. They are ready to ship after extensive testing and rest periods over a number of days.
I notice that you sell blanks too. What’s the purpose of that?
I have local school teaching colleagues ask regularly about helping their students make reeds, or
direct them to suppliers for the appropriate tools and materials in order to make their own. To me, this is akin to ordering parts to build your own car from scratch. While failure can be a great teacher, I believe that there should be guidance in developing this craft. Offering blanks that have been
prepared, formed and rested appropriately can help students achieve more immediate success than venturing out and purchasing hundreds of dollars worth of tools and equipment, and ultimately failing. Additionally, for the busy performer it might be possible to finish my product to their specific needs. I guess I am factoring in the need for some of those personal intangibles that we all bring to our
There are synthetic reeds out there that seem very advanced. To you, what’s the advantage of
good old fashioned cane vs. polypropylene?
I have tried the available polypropylene options, but for me they do not offer the ability to create the same subtle nuances that we apply to phrases and overall expression. They are extremely
predictable – they project and play loudly very well. I think that the most satisfying element of reed making is the break in and final finish phase. The fact that the synthetic reeds cannot be modified is a significant drawback to the product.
A lot of pro bassoonists make their own reeds to match their playing style and their
instrument. But for players who are tired of spending hours scraping and testing, how can
your reeds step in and help?
I know that time is the enemy of so many developing and young professional bassoonists. I believe that my reeds can be tailored to work with any player. From time to time in my career, I have used other bassoonists reeds as both a safety net when my product was ineffective or inconsistent. I’ve
studied those reeds in detail, and apply those findings to my own process. I’m hoping that my product can offer the same sort of creative inspiration.
Where do you usually source your cane?
I like to source my cane from a variety of sources, but right now my cane is a mix of Lavoro and
Donati (Silvacane). I have a batch in testing that will feature some Danzi coming soon. My greatest challenge is creating a reed that vibrates well at Calgary’s altitude and isn’t too soft or “reedy/buzzy” at lower altitudes.
What kind of impact are you hoping Rocky Mountain Reeds will have on the bassoon
community?
I’m most hopeful of developing student interest in finishing reeds for themselves. I vividly remember receiving blanks to finish as a high school student. I likely wrecked them all, but I learned valuable steps in the process. I’m hoping to build resources to assist in guiding inexperienced finishers towards success.
Who do you think your reeds are especially helpful for?
I would like to say mostly student and amateur bassoonists, but the reality is many struggle to find the time required to create a consistent product. If I can help fill that need in any player, I would consider my venture to be a success.
What advice would you give to other musicians who are thinking about starting their own
business?
Don’t rush the process in creating your product. Make time available everyday to work on your
product, and take as much feedback as you think you can process in establishing your product or
brand.
What surprised you most about turning reed making into a business?
I was most surprised with the immediate response with orders as soon as I promoted myself on my personal social media. High school teachers, local bassoonists and other professional players
purchased reeds to try right away. That was a strong affirmation for me that my product is needed in Canada!
Do you have plans to expand — like offering accessories, tools, or even lessons in reed
making?
I would love to become a one stop shop for all things bassoon reed making; cane, tools, toolkits. It
can be overwhelming for students to start the reed making process; if I can offer my 30 + years of
experience as a guide to student success, I’d be happy to mentor young reed makers.
Where do you see Rocky Mountain Reeds in five years?
I would love to see RMR reaching bassoonists across the country, at multiple levels across the reed making journey. I also see teaming up with an oboist with similar vision to support our double reed family members.
What’s the best reaction you’ve gotten so far from someone who’s played on your reeds?
I love receiving feedback along the lines of “this is exactly what I was hoping for!” or “its a beautiful open and resonant sound in all registers”. I also love interacting with players, as it helps inform my level of finish on the reeds.
Last question, Jace – If you could hand one of your reeds to any bassoonist in the world, who
would it be?
I’m touched that any colleague or bassoonist would want to try my reeds. It is an honour for me to
share my hard work with anyone who is aiming to create beautiful music; an honour for me to share in their music making.
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Big thanks to Michael Hope and Jace Stearn for for giving us a peek into the world of Rocky
Mountain Reeds. If you’re tired of wrestling with cane and would rather just play, you’ll
definitely want to check out his reeds. You can reach Jace rockymtnreeds@gmail.com
and his website: rockymountainreeds.com
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