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.

Amelia Fannin - A native Texan transplanted to Florida, bassoonist Amelia Fannin performs with orchestras across the Southeast. She is the contrabassoonist of the Tallahassee and Pensacola symphonies and has also performed with the Charleston, Jacksonville, and Mobile symphony orchestras.  In the fall of 2007 Amelia served as the Instructor of Bassoon at the Florida State University during Prof. Keesecker’s sabbatical.  She earned degrees in Music Performance and Music Education from the University of North Texas where she studied with Kathleen Reynolds.  While studying at the Eastman School with John Hunt, Amelia also earned the Catherine Filene Shouse Arts Leadership Certificate. This fall she is completing her doctoral degree from Florida State University, researching the works of Charles Koechlin.  In addition to performing, Amelia coaches woodwind quintets at Florida State and teaches private lessons in the Tallahassee area.

Cathy Marmolejo - Has been a freelance bassoonist as  well as private bassoon teacher for over 20 years in the Houston and  surrounding areas. All of her reeds are completely handmade from  beginning to finish, with special care taken to assure quality and  consistency. The reeds measure 54 mm long with a medium tip width of  15 mm across. They have excellent flexibility with a wide dynamic  range. Used by professionals and students alike all over the United  States as well as over seas.

 

All 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.