Fig. 18. Haskell's Clarinet Without Reed
In the last half-century the art of reed voicing has been entirely revolutionized. Prior to the advent of Willis, organ reeds were poor, thin, buzzy things, with little or no grandeur of effect, and were most unmusical in quality. Testimony to the truth of this fact is to be found in old instruction books for organ students. It is there stated that reeds should never be used alone, but that a Stopped Diapason or other rank of flue pipes must always be drawn with them to improve the tone quality.
Fig. 19. Diagram of Reed Pipe
Willis created an entirely new school of reed voicing. He was the first to show that reeds could be made really beautiful and fit for use without help from flue stops. When he wanted power he obtained it by raising the pressure, in order that he might be able to afford still to restrain the tone and to consider only beauty of musical quality.
He was the first to show that every trace of roughness and rattle could be obviated by imparting to the reed tongue exactly the right curve.
He restrained too emphatic vibrations in the case of the larger reed tongues by affixing to them with small screws, weights made of brass. He quickly adopted the practice of using harmonic, or double-length tubes, for the treble notes, and secured a degree of power and brilliance never before dreamed possible.
Willis gave up the open eschallot in favor of the closed variety, thereby securing greater refinement of musical quality, though of course sacrificing power of tone. He designed many varieties of reed tubes, the most notable departure from existing standards being probably his Cor Anglais and Orchestral Oboe.