 The Clarinet BBoard
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Author: sonicbang
Date: 2013-08-01 06:50
I recently got my beautiful new mouthpiece which is Bradford Behn's vintage D model. I can say without hesitation that this is something very special I have never experienced before. I have owned and tried many great mouthpieces and liked each of them for tone, articulation, feel, response, tuning, but this D model combines all the good properties without compromise. It has a rather closed facing (0.98) but it has a good airflow, and a very comfortable working resistance which is uniform in all registers and dynamics. I got so much inspiration from how the clarinet sounds now! I think who have never tried Behn's mouthpieces should try them because they may seem expensive, but if it's the solution for you then it will be the best investment you can make. I't wasn't an easy decision for me to spend 650$ for a mouthpiece, but money was very well spent.
Of course I have no financial affilation or I have nothing to win with saying this, I'm just a very satisfied customer and a happy clarinettist again!
Mark
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Author: NBeaty
Date: 2013-08-03 21:50
(Sorry, no one is commenting so I'm going to interject an explanation as to why these mouthpieces have generally received less than superior commentary on this bboard with the hopes of creating some sort of conversation)
I'm glad to hear that you like the Model D. It is my favorite of the Vintage lineup (I have 3...).
The price is something that people have complained consistently about on this bboard. It is something I find incredibly frustrating, especially since most of those who complain have never tried one.
Buffet Tosca, Prestige, Devine around the $6000-7000 range. Backun goes up into the $8000 price point. $650 for a mouthpiece is not unreasonable.
As you've found out, most everyone who has bought one has had nothing but great things to say. Simon Rattle's son (Sasha Rattle) has a great review in a thread he started a while back.
Noting the history of this topic on the bboard, it's not surprising that this thread dropped to the bottom of the list with 0 comments. I believe a lot of it has to do with the "everyone's different, so you can't tell me this is great or superior just because you like it". From that, I first have to ask people: Do you know what the range of designs are offered at this price point?
Vintage Model A, B, C, D.
Signature -0, -2, and -4. (not counting those with different materials).
That's 7 DISTINCT designs. Those are basically general designs of the blank, that doesn't even account for the range of facings\tip openings, bores, rail sizes, etc.
Even if there are only 5 facings for each, that's 35 different designs!
Of course you don't have to try every one to figure out what you need. Usually a phone call with Brad Behn will be able to dial in your needs to within a handful of mouthpieces to send for trial.
"Everyone is different". True. Not to say that everyone has to play one of these mouthpieces, but there isn't another maker or refacer (most mouthpiece people are reface pre-made blanks) who has as many options as Behn does at just this one price point!
Ranging from a $35 student mouthpiece "Overture" series to the zinner collection to the vintage and signature mouthpieces, there's something for everyone, essentially. There's no "one size fits all". There's no "he's the guy selling overpriced mouthpieces". I don't know of any other mouthpiece people that put out as many mouthpieces to accommodate as many types of players at as many price points as Brad Behn.
Also it's worth noting how much time is involved in just a trial. Not the trial time, but the careful and thoughtful time to pick out the mouthpieces that would most suit the customer, and even making adjustments just for that customer without any assurance that they will buy. Valuable time spent to help clarinetists be as successful as possible with their music making.
The frustration I have with many people is not whether or not they like something I like. It's a matter of making educated decisions. When learning a piece of music, we have to make educated decisions about style, phrasing, articulation, tonal shape, dynamics, etc. That's what makes a great musician great. They understand all of these things and give it life through their personal commitment and dedication to projecting both themselves and the music to the audience. It doesn't matter whether it's the Mozart Concerto, klezmer music, jazz, or whatever the music might be- as an audience we want to hear more than the notes, we want to hear the living musician projecting their "soul" (lack of a better term) through the music.
Being educated is to know why. It's too often the case that we ask others questions like:
"What reeds are you using?". "OK. Do you know why?".
"Why are you making a crescendo when it's not marked?"
"Why are you using this mouthpiece?"
The list can go on and on with anything related to music and the instrument. It's not a matter of simply what you choose, but everyone should do their best to know WHY they chose what they did.
While I feel there are both scientific and practical explanations why these mouthpieces are superior, I'm perfectly willing to accept when others choose otherwise. I'm not willing to accept it when they don't know WHY!
Most professionals can tell you the WHY on any musical concept of any piece they perform or teach. The equipment side of things is much less understood, which is something that needs to be changed.
A friend told me once that, "Clarinetists are the most conservative and stubborn". I too am stubborn, something I try to keep in check, and will only change anything if I'm fully convinced that it is superior to my choice (Musical or equipment choices, all the same to me).
We all should be willing to try different things and be open to exploration. A former teacher, who in one lesson was less than enthused by my performance of a certain phrase, asked me, "Can you play that again three times in a row in three completely different ways convincingly?". It's the same as equipment, you end up with what allows you to speak your personal voice most effectively.
*Rant concluded*
Disclaimer: I have no business affiliation with Brad Behn and have nothing financially to gain from speaking well of him. I happily play his products on all clarinets and readily support him and what he does for the clarinet community. I also have studied mouthpiece refacing with him and help out his mouthpiece booth at conferences. If you were at ICA Austin, LA, or Nebraska and came by, you probably met me!
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Author: NBeaty
Date: 2013-08-03 21:52
All that and I forgot to mention: He does a lot of refacing, which is a pretty cheap way of checking out his work and seeing what he can do for you.
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Author: JJAlbrecht
Date: 2013-08-03 23:02
I have not yet tried a Vintage or Signature model, but I have been extremely happy with the Artist line Eb mouthpiece Brad Behn created for me. It's just about perfect. His expertise and care for the customer's needs are well worth the prices he chages. Plus,he simply makes wonderful mouthpieces!
Jeff
“Everyone discovers their own way of destroying themselves, and some people choose the clarinet.” Kalman Opperman, 1919-2010
"A drummer is a musician's best friend."
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Author: cigleris
Date: 2013-08-04 00:19
Nathan,
I'm interested to know your thoughts on the Artist line that Brad does. I have recently tried 7 of Brad's mouthpieces on of which, apparently, was the only one of it's kind in existence. I had 2 of each his 1,2,3 facings and this unknown. I liked them all but found a No. 2 to be good. The big problem however was that they ALL played sharp on my Backun MoBa with a 66 barrel, in fact sharp all the way with a 67.5. Perfect at 442 but not 440. I concluded that they all needed to be bored out slightly or that I'd need a longer mouthpiece blank. Could you shed some light on that? Also what the tuning like on the Vintage range? Do they play at 440 or are they sharp too? I might have the opportunity to try the Vintage line through Brad's contact here in the UK.
Thanks
Peter Cigleris
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Author: NBeaty
Date: 2013-08-04 21:01
Peter,
Mouthpiece bores get smaller as they travel across the pond. ;-)
Check your email.
-N
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Author: Ed
Date: 2013-08-04 22:25
Quote:
but everyone should do their best to know WHY they chose what they did.....
you end up with what allows you to speak your personal voice most effectively.
I am always happy to read your posts and observe the passion you have for Brad's products. There are likely a variety reasons why people other products. I think the comment above sums it up for many players.
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Author: Brad Behn
Date: 2013-08-04 22:28
Peter,
In selecting equipment, pitch is an extremely important part of the equation. I am certain I can create a mouthpiece which will serve you very well, but since you and I are not in the same place, and since I haven't met you, some of my comments may not be the case where you are concerned. But in an attempt to seek an entire understanding of how pitch and the playing experience intertwine, I would like to take a a little space here to outline what may be occurring -
1. Reed strength greatly influences pitch - perhaps by as much as 20 cents. Generally speaking, reeds that are hard blow play sharper, and softer reeds play flatter.
2. Reed type influences pitch. By this, I mean both reed-shape, and the quality of cane. There are many types of reeds out there right now, and this offers much opportunity to find the right shape for your mouthpiece and embouchure. For me, reeds with too much material on the back third of the vamp, require additional pressure to hold, contain, and center the sound. This additional pressure will raise the pitch. So for me, the solution is to play a reed shape which is in balance with my embouchure. In other words, some reeds work better for players who put more mouthpiece in, and other reeds work better for players who insert less mouthpiece. Regarding cane quality, if the cane is soft, it generally requires more bite to center the sound, and this additional bite will raise pitch. Softer cane can be attractive for its easier blowing characteristics, but I find the use of harder cane matched to a lighter "scrape" allows me to get the best of both worlds - comfort, no bite, and stability under professional playing conditions.
3. Tonal concept influences pitch. Some players like more of the vowel sound "EE" in their tone, whereas others want more "OH". The vowel sound EE requires fast air, and the necessary pressure to achieve - and this can cause a mouthpiece to play higher.
4. Clarinets, barrels - equipment of course influence pitch. I don't know how the MOBA clarinets tune, but I can say that my Zinner based Artist mouthpieces are made from the exact same blank as the MOBA mouthpieces (Zinner A blank). To my knowledge, the only difference is in how I finish my mouthpieces, but the pitch levels should be essentially the same. If you are using MOBA mouthpieces and playing lower, then I would venture the guess that the pitch difference is in how the facing and reeds are matched.
5. Admittedly there is always some variation from Zinner. While I find their blanks to be remarkably consistent in terms of facing, their depth of table concavity sometimes varies as do the length of their bores. But not so much that it would require a super long barrel to function. So although there can be some variation in internal details, I simply don't think this is the issue for you.
6. An important fact to consider is that we are in the middle of summer. Remember that when we play in warmer conditions the pitch goes up. This may sound trivial, but I am always amazed by how many people contact me with concerns about playing flat during the winter, and concerns about playing sharp in the summer. If your environment is much above 75 degrees Farenhiet (24celcius), then I would expect it to be a higher tuning "environment". On the other hand, when it drops below 70 degrees F, or 21 degrees C, then pitch will typically be rather low. Warming up the setup helps of course in cold conditions, but in hot conditions this only increases the problem.
Regarding my Zinner based Artist mouthpieces, I have found that for the majority of my American clients, they work great. But I am aware that in England A440 really means A440, and perhaps your tuning needs are a bit lower than the average American client. I am always happy to help and would of course be delighted to custom make a mouthpiece for you as you prefer. But first thing would be to actually play it in a rehearsal, play duets with a friend, perform with piano and get to know the real tuning characteristics of your setup - if you haven't already done so. This will provide the necessary framework of real experience to know for sure how much lower you need to go.
I can make my mouthpieces play as low as you would like. By simply reaming deeper or wider I can achieve any tuning level you desire. Note that Zinner blanks come with a squared off bore at the juncture to the chamber. This flatter, non spherical shape creates a slightly sharper pitch level as well as a tidy and dark tone which is very popular. By opening the bore, your sound will both achieve a larger body and more effervescence - sparkle or tonal center. Good things I think.
Feel free to send it to me, or just have me custom make one for you. If you want to exchange the one you have, I am certain my contact would be happy to do so. Andrew Roberts is a good friend and he will work with you as you like. And just for your curiosity, Andrew has a couple of mouthpieces which I reamed to varying degrees, which work very well. Perhaps you can try those to see how they tune for you. This would give us more information to proceed in making your ideal mouthpiece.
And yes, Andrew just picked two very nice Behn Vintage model D mouthpieces. If you get a chance to work with him, I am certain he would be happy to let you try them as well.
The bottom line is that I am at your service, I will do whatever I can to make sure that you are not only happy with your Behn mouthpiece, but that it tunes and serves you properly for a lifetime. Please don't hesitate to ask if there is anything I can do.
Sincerely,
Bradford Behn
Brad Behn
http://www.clarinetmouthpiece.com
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Author: cigleris
Date: 2013-08-04 22:55
Hi Brad,
I appreciate your response and will email you tomorrow if that's ok, it's about time for my bed.
Best wishes and thanks again.
Peter Cigleris
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