 The Clarinet BBoard
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Author: Maestro_6
Date: 2013-06-19 03:23
Hello everyone!
I went into the main music store around my area to get a small tweak done on my R13 A Clarinet. A $5 job on my A Clarinet suddenly turned into a new Behn Vintage Model D Mouthpiece + a $5 repair. Anyway, I have posted here before recommending him for his refacing services, but this Vintage line of Brad's was something special that surprised me enough to pay the $600.
I selected a Model D out of two that were at the shop. The models A, B, and C were also available. Previously, I was a fan of refaced Vandoren M15's done by Brad and the D model mouthpiece takes the great qualities from my favorite M15's and polishes them while adding so much depth. The sound is quite incredible to both me and the listeners. Great rubber! If I had to describe the difference, I'd say that the sound is very warm and resonant (although the MP dimensions go into that, of course). With the right model, I feel that any constriction is removed from the feel and response, allowing the player to be expressive. It's quite a remarkable difference!
So, is it worth the price tag? That's for you to find out, but it definitely is in my opinion. He offers free adjustments for life on the Vintage line, so there is some piece of mind for the future. Once you've found a model that suits you, it really does wonders. Nevertheless, people are different, so they're at least worth a try!
Disclaimer: I am not connected to Brad Behn in any way and simply am a satisfied customer.
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Author: Paul Aviles
Date: 2013-06-19 11:34
Funny, I just ran into Brad Behn at the Oklahoma Clarinet Symposium. He refaced my old Larry Combs LC1 and I took the opportunity to try a couple of his mouthpieces.
I also found the Robert (pronounced 'row-BARE') model D most interesting, however there were no Henri Cheddeville model As with a substantial enough opening at the time to try out.
The D does get a very interesting sound with no embouchure effort but there is a funny "back pressure" feeling that I just couldn't get over. I do want to revisit this whole Behn mouthpiece thing again when I have more time.
I also highly recommend reading the NOMENCLATURE section of his website. There are a lot of great design points that he discusses starting with the BAFFLE.
..............Paul Aviles
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Author: Maestro_6
Date: 2013-06-19 14:35
Paul,
It's great that you mentioned those characteristics. I've noticed a similar feel, but in my case, it worked just right to have a very slight resistance in order to produce good response. I like to think of that as "good resistance." It wasn't uncomfortable or weird for me at all. I feel it was quite like my M15 in that respect, but it clearly had more to offer.
You are also right about the articles Brad posts on his website. I made sure I read them before going, and it gave me a much better idea of what to expect during the testing.
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Author: NBeaty
Date: 2013-06-19 15:34
Resistance-
Most of the time, the back pressure is felt as uncomfortable or unexpected due to the resistance programmed into the mouthpiece and the difference of rod rubber to the much more common molded rubber. These are mouthpieces that have resistance in the design and a much higher quality material that work best with a lighter reed than one would use one a zinner\vandoren etc. A half strength lower or a thinner cut reed will help this.
It is important to note how much resonance, focus, clarity, ring, and projection comes from not having to "carve the sound into the reed" (I believe that quote is directly off of his website). Being able to play a comfortable reed that would otherwise be too wild or shrill on another mouthpiece is a great asset to the vintage and signature lines of mouthpieces.
Additionally, using a ligature that would be "warming up", "covering up", or "darkening up" on another mouthpiece is no longer necessary. A light metal ligature (Bay, Bonade, Brancher, etc.) will provide excellent response and clarity when it might feel too (again) wild or shrill. This quickens response and reduces resistance as well.
As the OP noted, all of the models feel distinctly different. In addition to the vintage line of four mouthpieces, there are 4 distinctly different signature lines (some of these have a less expensive rod rubber material option for the same design). There are many options so most can find something that speaks to them and allows them to speak well to others.
I too enjoy the Model D. It was also my first mouthpiece of the Behn Vintage or Signature line. Now I have 3 (*cough*). The last year or two I've been playing a signature line prototype that's a little bit different angle.
I remember a few months after I started on the model D, a friend of mine came up to me after an orchestra concert and said "That was beautiful, I don't know how you get your sound to carry over the orchestra so easily at all dynamic levels". Of course, my first thought was, "I've worked really hard to be able to play well". My second thought was, "actually, I owe much of this to superior quality equipment that I didn't have before, making a higher quality sound and being able to do much more with it than I could before". The proof was in the pudding.
There are many mouthpiece craftsman\refacers. There are very very few mouthpiece MAKERS. It is very important to understand the difference and evaluate the short-list of mouthpiece makers.
I would encourage any and all to try these mouthpieces, as well as the Zinner and Overture mouthpieces. In any of these mouthpieces, you can observe for yourself the various qualities of Brad's work. The Overture ($35) is a piece worth having around for students to try and to get an idea of his work.
Disclaimer: I've had mouthpiece refacing lessons and occasionally help out at his table for conferences. I have NO BUSINESS AFFILIATION and have nothing financial to gain from anyone using his product.
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Author: William
Date: 2013-06-20 15:03
I would like to try some of Brad's products for my own curiosity--I've tried many other mpcies and have a drawer full as a result--but being of a "certain age group" I am more inclined to stay with Bonade's advice, "Select a mouthpiece and then, go home and learn to play it". I've been playing such a mouthpiece since my college days--a Chicago Kaspar #14--and, according to many listeners, get an quite acceptable sound. Anyhow, I like the articulation, the resistance and the musical flexability my Kaspar gives me with a variety of reeds, for the last four years, exclusively Forestones. If a Behn mouthpiece would play better, I might be tempted to switch, but I suspect I would eventually gravitate back to the sound in my head, best achieved with my old Kaspar.
FWIW, for years I was in the Buffet camp, however, my Bb clarinet of choice for the past ten years has been a Leblanc Concerto, customized by Tom Ridenour. I still do play a Buffet A, C and low C bass clarinets, but go to Yamaha for my Eb. On all of my soprano clarinets, I use stock barrels with Optimum ligs, except for my effer which I play with a Winslow lig and a Fobes extension.
Bottom line: it may be hard for this old dog to catch on to new tricks, but I'm always willing to try, I just don't expect or rely on them to make me better.
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Author: NBeaty
Date: 2013-06-20 15:38
William,
It would be worthwhile to try some of the model B's of the vintage line. They are modeled after the kaspar mouthpieces and capture the sound of the Kaspars very well. They do have improved response and overall a more comfortable feel than kaspars. Everyone I know that has made the switch from a Kaspar to a Model B has said something along the lines of "I can get the sound of the Kaspar with much greater ease".
If your forestone reeds have worked well with your kaspar, I don't think there would be a problem trying them on a Behn Vintage. They have perfectly symmetrical facings, balanced rails, and a concave table. This provides the most reed-friendly mouthpiece.
Same disclaimer as above.
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Author: kdk
Date: 2013-06-20 16:13
William, I'm always curious about old mouthpieces that are still in use - was yours ever refaced by anyone?
Karl
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Author: Paul Aviles
Date: 2013-06-20 17:48
Ok, I had a sound and feel of a Kaspar in mind from the mid-seventies. Perhaps this vision has since been corrupted, but the sound I got from the "B" series mouthpieces at "the show" was much more brilliant than what I would be comfortable playing for the long haul. There definitely are some wonderful aspects to explore with Behn, but there is also a 'learning curve' with the whole concept.
.................Paul Aviles
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Author: Ed
Date: 2013-06-20 17:50
To me, it is about each player finding a comfortable playing set up which will enable one to achieve his/her own voice. There are many ways to approach this. I know some folks like a more resistant set up that they feel they can blow against. I have known makers who advocate freedom in the mouthpiece and having any resistance in the reed. It is about finding the right balance for each person. The mouthpiece/reed/ligature/barrel equation can be tweaked in countless ways to the player's desires and needs.
A harder reed does not necessarily mean that one is fighting with the set up. Harold Wright was reputed to play #5 reeds. It clearly was what fit his mouthpiece and facing, and he always played with the utmost ease, color and flexibility.
It is great to have so many fine craftsmen out there today with such passion for the art. It certainly gives the player many choices.
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Author: William
Date: 2013-06-21 14:58
Yes, I would definitely like to try some of Brad's mouthpieces and if one played better than my Kaspar, I would be tempted. But I would always be looking for the sound I grew up with, lol.
As for refacing, I bought my Chicago Kaspar from my college clarinet teacher, William Dominic, in 1960. Actually, I bought two (for $12.50 each) because I could not decide which one I liked. One was darker with a "smooth" sound, the other had a "wild side" to it. Eventually, I chose to play the "wild" one because of the edge it gave to my sound. That is the one I still play today. The other one I sold. My Kaspar has been measured and found to have uneven rails so I suspect that some experimentation was inflicted on it by my former teacher. However, for me, I have learned over the years to play it and have not found another that I like better. My "backup" mouthpiece, fwiw, is a custom "Ithica" Charles Bay on which he copied the facing of my Kaspar. Third it "line of succession" would be one of two Woodwind "Educator" G8's refaced by Glenn Bowen or a Greg Smith "Cicero" Kaspar model. Then again, maybe a Behn............but it has some competition. Aren't mouthpiece searches just the most fun ever??
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Author: William
Date: 2013-06-21 14:58
Yes, I would definitely like to try some of Brad's mouthpieces and if one played better than my Kaspar, I would be tempted. But I would always be looking for the sound I grew up with, lol.
As for refacing, I bought my Chicago Kaspar from my college clarinet teacher, William Dominic, in 1960. Actually, I bought two (for $12.50 each) because I could not decide which one I liked. One was darker with a "smooth" sound, the other had a "wild side" to it. Eventually, I chose to play the "wild" one because of the edge it gave to my sound. That is the one I still play today. The other one I sold. My Kaspar has been measured and found to have uneven rails so I suspect that some experimentation was inflicted on it by my former teacher. However, for me, I have learned over the years to play it and have not found another that I like better. My "backup" mouthpiece, fwiw, is a custom "Ithica" Charles Bay on which he copied the facing of my Kaspar. Third it "line of succession" would be one of two Woodwind "Educator" G8's refaced by Glenn Bowen or a Greg Smith "Cicero" Kaspar model. Then again, maybe a Behn............but it has some competition. Aren't mouthpiece searches just the most fun ever??
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Author: NBeaty
Date: 2013-06-22 02:23
William,
Uneven rail measurements were somewhat common with Kaspar mouthpieces, even if they are original. I wouldn't say it couldn't have been worked on, but it's possible it's original.
Give Brad a phone call or email with what you like about your mouthpieces and see what he has to offer you. You've talked enough about trying them that you should take the plunge. =) Even if it's just to see you don't like it, at least you'll know you've tried it.
The chicago kaspars are indeed the best "crop" as they are made from superior rubber to the others (most of the time...). Many don't play, even after serious refacing\voicing, but there are some gems out there. The Vintage Model B made a few improvements on the Kaspar design, creating better response and intonation.
I've encountered many people playing kaspars that want to try Brad's Model B. Almost every one either bought one, or just couldn't afford it at the time. The improvements they felt were:
Quicker response
Less jaw pressure than usually necessary
Increased flexibility
Increased resonance and projection
Easier blow-through
and others.
All these characters made possible by great rubber, great design, artistic quality hand finishing, and a wide variety of facings.
The few that I keep in touch with have noted all these things, and have gone back to try their kaspar again for curiosity and they usually say "This kaspar as the sound that I want...but the Model B has that sound I want, but with improvements in functionality (how much work it takes to make music) and the resonance is far superior". Not a direct quote, although I could make a phone call for something direct, perhaps I'll post that later.
This discussion doesn't just go for Kaspars either. There are many who play chedevilles of a variety of vintages and much of the time with a different name on the mouthpiece (Buffet, bonade, bundy, evette and shaeffer, etc, etc). These people have often come to try the chedeville style mouthpieces.
Since the Model A, Model B, and Model D are all based on different chedeville mouthpiece designs, it hasn't been too hard for someone to find something that MAKES THEM SOUND THE WAY THE WANT (their own voice), allowing the client to have quick and easy access to their voice any time they pick up their horn. All of the improvements listed above apply to chedevilles as well.
The goal of having both incredibly high quality and a variety of excellent designs is that makes music making the primary focus, not the equipment. It is very easy to play a mouthpiece (or other piece of equipment) that gets in the way of you and your voice. As long as it is paired with the appropriate style of reeds and ligature, you can let your voice be heard much more easily.
As a side note: I've studied with Brad, aside from equipment lessons. Never a word was mentioned about equipment during the lessons. His students he teaches regularly aren't nagged on equipment and he doesn't press people. If someone is curious about mouthpieces (getting a new one) he instructs the student to order some from other makers and try a few of his and decide.
The lessons are INCREDIBLY music dominated as an emphasis. It's as though you've been mumbling or speaking softly with no one hearing you, then he pulls out the voice you know has been there, but finds ways for it to fit the music.
An incredible source for mouthpieces, but coming from a true artist clarinet player who teaches his students to have a voice and to use it.
All of that to say is, he does everything he can to meet the customers needs, stands by his work from his $35 beginner mouthpiece to his signature series. An incredible ear for hearing what the mouthpiece is doing while someone is playing and assessing any possible aspects that are impacting the voice.
I personally thank any and all who actually read this far! I hope it was worth it for at least one or two pieces of info!
Thanks.
Disclaimer: I have no business affiliation with Brad Behn and have nothing to gain from his business. I have taken lessons from him for mouthpieces and clarinet, and if you've been to his table at any of the last 3 ICA festivals, then you probably met me helping out at the table!
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