Lou’s analysis of reeds considered a number of factors, including the following:

• Shape – variations in width, flare, and hybrid configurations in tube and blade regions;

• Gouge – variations in thickness, side-to-side taper, and hand-scraped enhancements, including internal linear taper;

• Tube – variations in forming-mandrel configurations, wire placement, “throat” height, and other factors; and

• Trim – variations in linear and lateral profile.

Based on a functional analysis of how these various factors interacted with each other, Lou developed dozens of basic reed models, and countless variations on each. Some of these he gave names. Often the names merely described simple lateral gouge variations, such as the Short Gouge, the Long Gouge, or the Inverted Gouge, or more complex fanciful internal gouge enhancements, such as the Flat Flute (also known as the Opera Model) or the Concentric Flute. Others were named for places, such as the Windsor Mill, named after the road in suburban Maryland where Lou lived while he was playing in the Baltimore Symphony; or for music that Lou thought was particularly suited to the model, such as the Vivaldi. Still others were named for the techniques used to make them, such as the Around-the-Bahn and the Full- and Half-Sandboard Models. Others were named for the makers who developed them, such as the Knochenhauer. And some were named for the cities where the makers lived, such as the Darmstadt (Karl Mechler) or the Munich (Wieschert, later Ludwig).

More information about famous makers is listed at the History page. Click on the buttons to see more about Lou’s concepts.