Double Reed players need reeds designed to play perfectly. That's why Goodtoneguild.com's custom oboe reeds, English Horn reeds and bassoon reeds are designed for your needs. All Good Tone Guild reeds are guaranteed. If our reeds don't play to your satisfaction, you may exchange any or all of them free of charge.

Click here to visit our online double reed store....

We offer custom oboe reeds for players at every skill level -- all of them high quality reeds. 

• we have "super-saver" multi-reed packs, not to mention the occasional  volume discount or online discount.


• among your choices are bassoon reeds, oboe d'amore reeds and English Horn reeds.


• reed cane, regular and custom staples "speedy sharp," and reedmaking tools for producing your own double reeds.
  

Reeds for the Professional Oboist, the Intermediate and the Beginner Oboe Player

Who Plays Our Reeds?

Well, you can read the testimonials from our many satisfied customers.  Or, you can check out our reeds at these fine retail music stores:

CANADA
British Columbia

• Northwest Music, Vancouver, BC

• Tapestry Music, White Rock, BC

Ontario

• Long & McQuade, Pickering ON
  

USA
Arizona

• Hannah's Oboes, Scottsdale, AZ

California

• Michele Forrest Woodwinds, Altadena, CA
• Anaheim Band Instruments, Anaheim, CA
• RDG Woodwinds,Los Angeles, CA
• Gottschalk Music Center, Merced, CA
• Mark Chudnow Woodwinds, Napa, CA
• The Windsmith, San Diego, CA 

• Music & Arts Center, Frederick, MD
  

Minnesota

• Advantage USA, Rochester, MN

Oregon

• Pacific Winds, Eugene, OR
  

Pennsylvania

Virginia

• Hodge Products, Inc. Roseland, VA

GTG Guarantee

Good Tone Guild™ Oboe and Bassoon Double Reeds are guaranteed. If they do not play absolutely to your satisfaction, you may exchange them free of charge within 2 weeks from the date of receipt.

Typically there are four reasons that a reed might be exchanged:

• If the reed has spontaneously cracked, as opposed to its having hit something. Spontaneous cracking can happen. It is, however, relatively rare. Remember that dry reeds are especially fragile. If the reed is dropped before getting it wet, the reed can sustain serious damage. Such damage, of course, is not covered by the guarantee.

• If the reed closes up too much or is too open. Reeds need to acclimate to their new environment. Please break in the reed over the next couple of days and then check. If it is not to your satisfaction this is a legitimate reason to exchange.
• 
  If a reed gets too heavy (resistant). This may be the most common reason for exchange. A reed can get heavy just sitting in its case. The oboist/bassoonist needs to be careful not to over soak the reed. Adjusting or re-scraping the reed is actually what is called for when the reed gets too heavy. Since that may not be an available option, please know that the reed will eventually become less resistant as it ages, especially if the weather dries out. If the student can "tough it out", the reed will become more playable as it becomes broken-in.
• 
  If the chosen (purchased) reed is not the right strength. What a medium soft reed is with us might be a medium hard with another company. If the oboist/bassoonist simply needs to try a different strength, that is a legitimate reason to exchange his or her reed.

About Good Tone Guild(.com)

Our mission at  Good Tone Guild™ Double Reeds is to provide the best reeds possible to the double reed community. We have the philosophy that we need to make reeds that will enhance the double reed player's experience with his or her instrument. Double reed instruments can be challenging and we want to make the musical experience for all players of all levels as easy and as successful as possible.

Master reed-maker Meg Cassell has been a professional oboist since 1980 and has over 25 years of reed-making experience. She has degrees in oboe performance from the University of Oregon School of Music and Yale University School of Music. Upon completion of her studies in the United States, she studied for two years at the Staatliche Hochschule fuer Musik und Theater in Hannover, Germany as a two-time recipient of a Fulbright Scholarship.

Her primary instructors have been J. Robert Moore, Ronald Roseman, and Ingo Goritzki. She has had additional instruction as a masterclass participant or privately by many renowned oboists: In the US, Robert Bloom, Ray Still, John Mack, Richard Killmer, and Richard Woodhams; in Europe, Burkhardt Glaetzner, Paul van der Merwe, Guenther Passin, Maurice Bourg, and Lajos Lences.

After her studies, Meg became principal oboe with the Hofer Symphoniker in Germany and she held that position for 12 years. She also played in numerous music festivals, the most notable being the Oregon Bach Festival and the Festival of the Future in Switzerland.

Meg returned to the US in 1997. For over four years she was a contract member of the Florida West Coast Symphony and the Venice Symphony. In July, 2002 she relocated to the Albuquerque, New Mexico area and built in earnest Good Tone Guild Double Reeds. She also played principal oboe with Opera Southwest, solo English Horn with the Roswell Symphony, and subbed with the New Mexico Symphony Orchestra and other professional ensembles. As of April, 2007, Meg now lives in Palm Springs, CA. She will continue to expand Good Tone Guild and be an active recitalist.

Master Bassoon Reed Maker Elisabeth Romano began formal studies on the bassoon when she while in high school with William Polisi, former Principal Bassoonist of the New York Philharmonic and NBC Symphony. She continued her studies in Julliard's Pre-College division with Harold Goltzer, former Associate Principal Bassoonist of the New York Philharmonic. In 1984, Elisabeth received her Bachelor's Degree and Performer's Certificate in bassoon at the Eastman School of Music, studying with K. David Van Hoesen. Upon graduation from Eastman, she joined the Rochester Philharmonic Orchestra as first-call substitute. By invitation she was asked to join the San Antonio Symphony Orchestra and for the 1985-86 season served as Assistant Principal and Second Bassoon.

From 1986-89 she was a tenured member of the Toledo Symphony Orchestra, was a member of the Toledo Symphony Woodwind Quintet and Toledo Opera Orchestra. In 1990 Elisabeth relocated 90 miles north of New York City in the Hudson Valley. She then joined the faculty of Vassar, Marist, and Bard Colleges and became Principal Bassoonist with the Woodstock Chamber Orchestra. She is currently an active orchestral and chamber music performer with the Mistral Trio, Opera of the Highlands, Greater Newburgh Symphony Orchestra as well as many other ensembles in the New York area.

Elisabeth specializes in student and professional bassoon reeds designed by her reed mentor and former teacher K. David Van Hoesen. She teaches bassoon and reed making in her private studio in Gardiner, NY and is the proud mother of her beautiful and talented daughter, Sophia.

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