 The Clarinet BBoard
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Author: Gosseyn
Date: 2013-07-16 01:43
Review of Bradford Behn’s ‘Signature -4’ superlative mouthpiece,
For the information of those who are unsatisfied with their current clarinet mouthpiece and perhaps have saved up a little more than what might normally be expected, in order to obtain something with absolutely extraordinary properties.
I originally began researching clarinet mouthpieces to replace one I was using with my professional level instrument and no longer providing satisfaction. Within a short period of time I came across an Ebay option of a high quality professional mouthpiece and managed to secure it for a reasonable price.
Along the way however, I had discovered Bradford Behn’s reasonably new website and was intrigued with his radical design concept and the idea of reinventing the rubber formulation of the best Chedeville mouthpieces. It must be said that Bradford Behn’s Signature Series mouthpieces appear, initially at least, to be impossibly angled and awkward but they allow a more upright playing position depending on the three levels of angle away from the norm. So, I kept looking and carefully evaluating the information provided, as well as one can do without access to the mouthpieces on offer.
Eventually, after some very hard saving, I contacted Bradford with a short explanation on my interest in the Signature -4 mouthpiece, my needs and the difficulties I had experienced over the 37 years I have played clarinet. I went with Bradford’s suggestion on the facing measurements and gratefully took possession of the Signature -4 mouthpiece mid June this year.
At the outset I must say that after assimilating the comprehensive website information, I didn't expect to have a lot of difficulty with the change in attitude of the instrument due to the new angle of play. I was surprised however that it was so easy and natural to take up the posture as dictated by the mouthpiece. I still occasionally think, out of habit, that I should be holding the instrument out further from the body and have to catch myself before I do it. There is certainly less strain on the arms. I have also noticed a minute change in the angles of pressure applied to the calloused area on my right thumb when playing. This is due to the more upright aspect of the instrument when played and means the static thumb-rest on my instrument is finally sitting in a more ergonomical manner.
During the initial practice session I put in using the Signature -4, I was absolutely astounded with the real BOOST in resonant sound quality. I found with ease that notes, which would previously cause me difficulty either in attack, tone or pitch were vastly improved. I had hoped for a certain amount of improvement of course but I was completely surprised at the quantum of change achieved particularly since I had been using a very high quality professional mouthpiece previously. Most unexpected was the ease at which octaves and larger intervals could be managed. I found myself more concerned about finding the correct fingering in time than with finding the note, which had always slowed me down previously. The attack on a note became so crisp I found it so much easier to perform staccato runs. I also noticed an immediate improvement in switching easily between pianissimo and forte. I did not need to struggle when starting softly in the high register notes and legato phrasing became more liquid. When I activated my tuning device while playing, I found that I was far closer to the actual note more often than ever before.
Since that first session I have been able to really relax about producing correct notes in tune and now I find I am monitoring the quality of individual notes more closely, not because of pitch problems but because I now have a whole new range of tones and resonance to play with. It is a truly remarkable difference for me after nearly forty years of playing clarinet to feel somehow that I am closer to achieving that ideal sound to which I always aspired but never reached.
I must thank Bradford for his suggestion of 1.10mm facing to suit my needs. As it turns out this facing was more closed but not too dissimilar to my other mouthpiece. I had indicated my perennial difficulties in playing, with tooth pressure against the inside lower lip causing cuts and discomfort. However, since playing the Signature -4, I have yet to encounter the same problem. The facing is obviously only a part of the solution however as I find the working-resistance from Bradford’s design really beneficial in producing and sustaining notes with the deep mellow resonance as described on his website. This means I am no longer struggling against the mouthpiece but working with it to obtain that great tone it really wants to give me. I am sure this is in no small way also attributable to the quality rubber used in the manufacture and the raked-back angle of the innovative design.
I certainly appreciated Bradford’s provision of a few different reeds to try with my new Signature mouthpiece. Previous attempts in sampling reed brands and styles provided inconclusive results and I ended up sticking to the one good quality brand I knew. Now, I can hear vast differences in the tone produced, and I am really very impressed with the enhanced resonance from the Signature mouthpiece.
Regards,
Gosseyn
Post Edited (2013-07-16 07:13)
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