I've been very pleased with the reeds I've had from
Nick Winfield - If you have a teacher, ask their advice about reeds, but otherwise I think soft reeds with a british scrape is a good place to start. (The continental scrape that he does is somewhat harder to blow - "more resistance", but has a much nicer tone once you can control it - to my ears anyway).
If you're forming the embouchure correctly, nothing but practice will help with the lip endurance. Embouchure should be relaxed, at least in the lower registers. It's all about breath support. I read a quote somewhere "you can either force the reed to vibrate, or you can just
let it vibrate." It was once I understood what that meant that it all got better :-)
I would suggest that you stop once you're too tired to control the embouchure; practice after that does more harm than good.
There's a good oboe forum
here, lots of guys & girls from the states but a fair number who really know their stuff.
Oboe's such a specialist instrument, it can be hard to find a music store that has any idea about it. Howarths (
http://www.howarth.uk.com) are *the* oboe shop in the UK, it's well worth popping in if you're in London (they're by Baker St tube) but there are other good shops around; John Myatt (
http://www.myatt.co.uk/) are friendly, and
Crowthers look useful but I've no experience of them myself.
Martin Shuring put the thing about reeds well:
QUOTE
And, there is hope and light at the end of the tunnel. Reed making is not the oboist's curse; it is the oboist's secret weapon. Eventually, you will be able to adjust a reed to suit your situation exactly. You will be able to make different reeds for different halls, different repertoire, different size ensembles, etc. Other instrumentalists need expensive additional equipment to make these changes; you can make them in a few seconds with your reed knife. Get to work.
Edit: typo