THE PETER PONZOL ProReed:
“I have been playing synthetic tenor reeds since 1969. Out of all of the time I have been playing synthetic reeds on my tenor, I find Peter Ponzol’s new synthetic tenor reed to be far and away the best one I have ever played. The sound is even and consistent in all registers, including the altissimo. The pitch is great throughout the instrument, and the durability is quite amazing; it shows no stress lines. The first thing that struck me was I could play the reed immediately, without any break-in time, which is unique in my experience. I would recommend Peter’s synthetic reed to anyone seeking a superior, low-maintenance, high-performing choice in tenor reeds. His great design has made me a true believer, and this reed is now the only one I use on my tenor.” ~ Ernie Watts
The first synthetic reed that out performs a cane reed.
I began working on a synthetic reed while living in Germany in 1990. At that time the technology needed wasn’t available. Six years ago I worked on the idea again, and while the technology was there I hadn’t found the right material. Everything fell into place late last year and my ProReed is now on the market. I have always believed that a synthetic reed was the future of the reed business. In fact I even wrote this in my Saxophone Workshop book, published by Jamey Aebersold in 2009.
How would you like to have a reed that plays like the best cane reed, plays right away, and plays the same every day for a very long time? How long you ask? Ernie Watts has been playing one every day for over two hours since January and it still plays like the first day. There have been many attempts to make a synthetic reed and some have been quite good.. The problem is that most of these reeds are made from liquid material and are very often not perfectly flat. My reed is machined to very exact tolerances and lies perfectly flat on your mouthpiece table.
The material is very flexible and remains easy to play regardless of how stiff a reed you play. You can alter the response by where you place the reed, so don’t be afraid to move it below the tip, even with the tip, or above the tip. I find that for me very slightly above the tip gives the best response. There is no break in period or need to keep the reed moist. It does not feel like a synthetic material and has the same feel as a good cane reed.
The Ponzol ProReed is available for Alto and Tenor in strengths: 2.0 / 2.5 / 3.0 / 3.5.
Please contact the distributors and dealers on my Web Site, Where To Buy.
PREMIUM SAXOPHONE AND CLARINET REEDS
Peter Ponzol handcrafted reeds are made from the best, aged, wild cane that the Var Valley in southern France has to offer. This properly aged, mature cane produces reeds that last and play for a long time while providing consistency and responsiveness not available from reeds manufactured from immature cane.
The unique cut, designed by Peter Ponzol, combines the best attributes of both the French and American cuts to enhance the playability of the cane, producing a consistent, responsive reed.
Players from around the world report the same results from Ponzol reeds. On average at least 7 or 8 out of 10 play. While my reeds might cost a few dollars more per box they are cheaper in the long run as so many more play and they play for a long time!
Tenor and baritone reeds are now packed 5 per box while clarinet, soprano and alto are packaged 10 per box. All reeds are in our new secure packaging.
Your local dealer can order Ponzol reeds from my distributor. I do not sell them nor do I have samples.
In the U.S. Ponzol Reeds are distributed exclusively by American Way Marketing LLC.