When oboists talk about American reeds they often use the terms “Philadelphia style” or “Cleveland style” without fully understanding what those terms mean or where they came from. This is the history nobody explains clearly — and it matters when you’re choosing a reed.
It Started With Tabuteau
Marcel Tabuteau, Principal Oboist of the Philadelphia Orchestra from 1915 to 1954, is the father of the American oboe school. Before Tabuteau, American oboists played in either the French or German tradition — two fundamentally different approaches to reed construction and tone production.
Tabuteau did something nobody had done before. He synthesized both traditions into a uniquely American approach — taking the clarity and lightness of the French style and combining it with the depth and resistance of the German style. The result was a reed and a sound that became the foundation of orchestral oboe playing in the United States.
His two most influential students took his synthesis in different directions.
The de Lancie School — The French Side
John de Lancie, who succeeded Tabuteau as Principal Oboist of the Philadelphia Orchestra, developed the more French-influenced side of Tabuteau’s synthesis. The de Lancie reed emphasizes a freer, more open tip construction with a lighter, more immediate response. The integration between the heart and tip of the reed is more gradual — the reed speaks easily, responds quickly, and produces a clear, bright, flexible tone.
This style rewards players who want immediate response and tonal clarity. It sits well in chamber music and solo playing where flexibility and color are priorities.
The Mack School — The German Side
John Mack, Principal Oboist of the Cleveland Orchestra for decades and one of the most influential oboe pedagogues in American history, developed the more German-influenced side of Tabuteau’s synthesis. The Mack reed has a more pronounced integration between the heart and tip — meaning the transition from the thicker heart of the reed into the thinner tip is more deliberate and structured. This gives the reed slightly more resistance to blow against.
That resistance is not a flaw — it is a feature. It gives the player more to push against, producing a fuller, warmer, more centered tone with greater projection in a large hall. The Cleveland sound is bigger, darker, and more resistant than the Philadelphia sound. It suits orchestral playing where the oboe needs to carry over a full orchestra in a large concert hall.
Two Traditions, One Foundation
Both styles trace directly to Tabuteau. Both are legitimate expressions of the American long-scrape method. The difference is not better or worse — it is a question of what you are trying to do with the reed and what kind of sound your teacher and your orchestra expect.
In practical terms:
The de Lancie/Philadelphia style produces a freer, more flexible reed with immediate response. Better for players who want easy response, tonal flexibility, and a lighter feel.
The Mack/Cleveland style produces a fuller, warmer reed with slightly more resistance. Better for players who want projection, depth, and a bigger orchestral sound.
Which Shalita Reeds Represent Each Tradition
Joseph Shalita trained in the direct Tabuteau lineage — Tabuteau → de Lancie → Ferrillo → Shalita — and handcrafts reeds in both traditions.
Philadelphia/de Lancie tradition:
- Black Label Pro — flagship professional reed, focused dark tone, medium resistance
- Red Label Intermediate — more open response, Philadelphia style
- Mimosa 2 Intermediate — warm, centered, Philadelphia tradition
- Shalita Student — forgiving response, Philadelphia style
- Tumbleweed Student — consistent, reliable, Philadelphia tradition
- Mimosa Student — warm focused tone, Philadelphia style
Cleveland/Mack tradition:
- Chaparral Pro — full resonant tone, more body, Mack style
- Mesquite Pro — warm earthy tone, blending characteristics, Mack influence
- Mesquite Student — full warm tone, Cleveland tradition
Not sure which style is right for you? Contact us and describe your playing situation — your level, your repertoire, your teacher’s background — and Joseph Shalita will recommend the right reed personally.