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 Behn's New "Brio" Reeds
Author: seabreeze 
Date:   2020-10-18 01:52

Brad Behn just announced that his new Brio reeds will be up for sale very soon on his website. They appear to have a straighter, perpendicular "file" cut across the middle rather than the semi-U or V shape cut of his Aria model.



Post Edited (2020-10-18 01:54)

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 Re: Behn's New
Author: seabreeze 
Date:   2020-11-04 08:40

I tried a pack of the Behn Brio reeds today. They were very responsive, and had the depth and body of sound I associate with Vandoren V12s. The cane looks excellent and is cut and filed straight across the vamp like a V12. For me, Behn Aria reeds play rather like Blue Box Vandorens and Brios are closer to very good V12s but more consistent. So far the order form for Brios is on Behn's Facebook page but not yet on his main page.



Post Edited (2020-11-04 09:16)

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 Re: Behn's New "Brio" Reeds
Author: gwie 
Date:   2020-11-04 08:43

Bought four packs (40) of them in strength 3.0 and 3.5 and have been handing them out to students left and right to try out. Responses are overwhelmingly positive! And not a single dud too.

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 Re: Behn's New "Brio" Reeds
Author: Dan Oberlin 2017
Date:   2020-11-04 18:53

How's the strength of the 3.0 compared to a 3.0 V12?

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 Re: Behn's New "Brio" Reeds
Author: seabreeze 
Date:   2020-11-04 19:50

https://clarinetmouthpiece.com/product-page/behn-brio-bb-clarinet-reeds

Behn says to go up one-half in strength from Vandoren Traditional reeds, so if you play a 3.5 Vandoren Traditional, go up to a 4 in the Brio. For me the Brios are about the same in strength as a Vandoren V12. A #3 Brio worked fine on most of my mouthpieces.

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 Re: Behn's New "Brio" Reeds
Author: Jeroen 
Date:   2020-11-04 19:59

How do these Brio reeds compare to Legere and Silverstein reeds? I mean by sound and playability.

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 Re: Behn's New
Author: Jeroen 
Date:   2020-11-04 20:01

Sorry, never mind, Brio's are cane I see now



Post Edited (2020-11-04 20:01)

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 Re: Behn's New "Brio" Reeds
Author: SecondTry 
Date:   2020-11-04 20:51

Hi:

If this has come up, with apologies please just point me to the answer--which I couldn't find using the board's search feature.


Clearly, for a manufacturer to introduce a new line of reeds is by no means a negative plug towards their existing product offerings. But with that said does anyone have any information regarding not only the difference with which Brio reeds are cut compared to Mr. Behn's Aria line, but the intention behind such profile differences as it regards play?

Thanks.

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 Re: Behn's New "Brio" Reeds
Author: Ken Lagace 
Date:   2020-11-04 23:46

Since Harold Wright used to fix his reeds with rounded shoulders and a straight cut across the bark, and we older reed makers used to make them that way including Brad, my assumption is that the more rounded top can increase the power of the lower harmonics, wherby making a darker but not duller sound. Remember the really old days when there were only Vandoren and Rico reeds? The first was for the pros and the other for students. The flat cut of the Ricos gave a very forgiving response with a bright, almost buzzy sound while the Vandorens were more refined and less forgiving.

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 Re: Behn's New
Author: Dan Shusta 
Date:   2020-11-05 01:09

Ken,

Since the clarinet tone is the fundamental plus odd harmonics, wouldn't increasing the power of the lower, odd harmonics actually make the sound brighter not darker?



Post Edited (2020-11-05 01:45)

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 Re: Behn's New "Brio" Reeds
Author: Ken Lagace 
Date:   2020-11-05 01:52

Dan,
No - brightness is stronger high overtones.

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 Re: Behn's New "Brio" Reeds
Author: Dan Shusta 
Date:   2020-11-05 06:06

Ken,
...If 440 Hz = the fundamental tone. This is the 1st harmonic
Then 1320 Hz = the 3rd harmonic
.And 2200 Hz = the 5th harmonic
.And 3080 Hz = the 7th harmonic

etc., etc.,...

I'm sure you know that an overtone is simply a harmonic of the fundamental.

Even if you could only increase the power level of the 3rd harmonic, the tone has got to be brighter because adding a 1320 Hz harmonic tone is a much brighter tone than the 440 Hz fundamental.

To me, a dark clarinet tone simply has very low levels of all odd harmonics.


Perhaps we should just agree to disagree for no disrespect is intended. Peace.



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 Re: Behn's New "Brio" Reeds
Author: Ken Lagace 
Date:   2020-11-05 06:58

Try with a spectrum analyzer and let's see what it says. I don't have my horn right away to test it. I will agree with what you find and do the test another day.

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 Re: Behn's New "Brio" Reeds
Author: Dan Shusta 
Date:   2020-11-05 10:28

Ken,

I don't currently have an audio spectrum analyzer, however, I believe that a high grade Tectronix audio spectrum analyzer would probably be the way to go. Unfortunately, they are a bit expensive. Even so, the idea of comparing a Vandoren Blue Box #3 with a Brio #3 is extremely interesting to me. Some of you may think that we've gone O.T., but, I don't think so. Seeing the different results, IMO, is far more revealing than listening. (Yes, I've worked in electronics all of my life and am familiar with spectrum analyzers.)

Your second sentence makes me think you already have one of these. If so, I'll wait for your test results.

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 Re: Behn's New "Brio" Reeds
Author: Ken Lagace 
Date:   2020-11-05 17:33

There is an extraordinary tuner with so many features. You can tune to many different tuning systems and it includes a Spec Analyzer.
It costs $3.99 but is well worth it.

https://tonalenergy.com/products/te-tuner

It can show a staff, and playing a scale or melody, you can see the tuning of each note. It transposes for any instrument, and can be used to tune any instrument. When I get my horn back, I will play with our disagreement topic.

There also are many tutorials to learn all the features.

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 Re: Behn's New "Brio" Reeds
Author: Paul Aviles 
Date:   2020-11-05 19:29

I think another way to frame this discussion is to compare Vandoren to Vandoren. V21s have the flat cut across the bark and the rounded shoulders.......they feature more color to the sound but lack a little of the backbone and assertiveness of the 56 Rue Lepic that have the "simple cut." Both excellent reeds featuring a different approach to the sound.






..............Paul Aviles



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 Re: Behn's New "Brio" Reeds
Author: kdk 2017
Date:   2020-11-05 19:57

Paul Aviles wrote:

> I think another way to frame this discussion is to compare
> Vandoren to Vandoren. V21s have the flat cut across the bark
> and the rounded shoulders.......they feature more color to the
> sound but lack a little of the backbone and assertiveness of
> the 56 Rue Lepic that have the "simple cut." Both excellent
> reeds featuring a different approach to the sound.

There is certainly a difference between the result available with 56 Rue and V.12. But I don't know that you can chalk the difference up primarily to the way the bark is cut. Maybe. But there are differences in the tip, the side taper and even the average (they're both inconsistent) thickness that might have more to do with any differences in the sound you get with each.

Brad in one of his YouTube videos suggests straightening the bark at the end of the vamp to reduce stridency. I assume that's equivalent to saying it reduces "brightness."

Karl

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 Re: Behn's New "Brio" Reeds
Author: Paul Aviles 
Date:   2020-11-05 20:56

Someone else on the Board this year brought up the difference in the cut of the "shoulders" and being a "slap-it-on-and-play" guy I was surprised to go back and look carefully at the reeds and see that it bears out.


The geometry of the reed is dramatically changed by the straight cut across the bark because it takes away that amount of stiffness from the rest of the length..........the vamp. So, though I appreciate other differences in the cut of those reeds, it seems that there is a global difference imparted by this area that I had heretofore not really paid much attention to.



mea culpa






................Paul Aviles



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 Re: Behn's New "Brio" Reeds
Author: kdk 2017
Date:   2020-11-05 21:10

Paul Aviles wrote:

> The geometry of the reed is dramatically changed by the
> straight cut across the bark because it takes away that amount
> of stiffness from the rest of the length..........the vamp.

I agree. I've always preferred "file-cut" (or French-cut, or whatever other names people use). I often straighten and slightly thin the shoulders of Aria reeds when they seem to need it.

Karl

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 Re: Behn's New "Brio" Reeds
Author: Brad Behn 
Date:   2020-11-05 23:09

I noticed a discussion above about overtones. I had a couple of thoughts.

1. Please have a look at my friend Russel Harlow's thoughtful video on the topic here: https://www.youtube.com/watch?v=8Zpnuokdmaw&t=5s

It is a Youtube video where he plays a lovely solo from one of the great sounds of the past, and you can see the breakdown of the harmonics, and how loud they are curated within the artist's sound signature.

2. A strong fundamental is good, but as Russell has discovered, so is a strong 12th.

What is a strong fundamental. It is where the root core, base tone is louder in balance to the harmonics.

What is a dark sound - it is one which is absent upper harmonics, or it is one which is balanced with a bias towards the fundamental and lower harmonics.

Basically a dark sound is EQ'd in such a way as to sound "bottom heavy." Unfortunately however the word bright has become "bad" in the mainstream world whereas "dark" has become a term the mainstream has celebrated.

I ask why would one prefer to remove sound from his/her sound (the removal of upper harmonics) in a quest for something dark? But I suggest we should rather celebrate ALL of the sound, AND EQ it for the most beauty. That comes from reed craft, it comes from artful use of wind and embouchure in combination, and it comes from a well trained player who has a good concept.

I'll leave with this: ALL the harmonics beautifully assembled (EQ'd) make for a sweet and resonant sound. That's a beautiful sound, and it isn't dark. it isn't bright either...it is resonant.

Brad Behn
http://www.clarinetmouthpiece.com

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 Re: Behn's New "Brio" Reeds
Author: Paul Aviles 
Date:   2020-11-05 23:25

I hope this won't sound to far astray but the late conductor Sergiu Celibidache was very sensitive to the harmonic series that manifested above the fundamentals of the entire array of orchestral instruments. He also said that many of the best composers were as well. In large part, Celibidache took tempos markedly slower than most other conductors in an attempt to bring out that "ringing," resonant quality to the music he conducted. This is also why he doggedly refused to record music (really hampered his career commercially) because he rightly pointed out that the totality of the harmonic series was completely absent from recordings and only live music does it justice.





..................Paul Aviles



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 Re: Behn's New "Brio" Reeds
Author: Ken Lagace 
Date:   2020-11-06 00:31

It is well known that H Wright could hear the 12th - and with concentration, I have begun to hear it to. Anyone else here can hear it?

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 Re: Behn's New
Author: tdufka 
Date:   2020-11-06 02:29

Brad, all things being equal and assuming a resonant mouthpiece, in your experience what aspect of reed craft could one apply to emphasize the fundamental?



Post Edited (2020-11-06 02:47)

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 Re: Behn's New "Brio" Reeds
Author: Ed 
Date:   2020-11-06 04:43

Thanks to Brad for that great post! Some important points to consider

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 Re: Behn's New "Brio" Reeds
Author: Ken Lagace 
Date:   2020-11-06 05:34

tdufka, to throw my thought in here before Brad can give a definitive answer, the stronger the fundamental is in relation to the overtones, the less it will sound like a clarinet. It is the 12th and 17th that need the proper strength to sound 'clarinetish'. A very strong fundamental will sound very dull.

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 Re: Behn's New "Brio" Reeds
Author: Brad Behn 
Date:   2020-11-07 19:08

Tim, I find a well balanced reed from tip-shoulders allows for the "long" vibrations to blend with the shorter vibrations in such a way as to make a more blended sonority which is full with all the overtones. It sounds warm and pleasing - yet it isn't EQ'd to be something other than what the clarinet's true voice is supposed to be.

So with respect to reed craft, I'd work on the bottom half of the vamp to let the reed vibrate with more comfort in mouth. This technique takes the "bite" out of the experience.

Brad Behn
http://www.clarinetmouthpiece.com

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 Re: Behn's New
Author: SecondTry 
Date:   2020-11-08 02:13

Mr. Behn:

I want the gear you sell that makes me sound like this guy. ; - ) ; - )

That's a double wink because the player not the equipment makes the sound (although the latter helps) and maybe because you've heard of this "strapping young lad" before. ;- )

https://www.youtube.com/watch?v=DuUotsmi2ck

Simply magnificent tone sir.

And if your looking for a back track to promote your new product offering may I suggest this:

https://www.youtube.com/watch?v=nTizYn3-QN0

who would ever thought that you'd design a reed named "Brio that Dances on the Sand."

...Trying getting THAT tune out of your head... ; - )



Post Edited (2020-11-08 02:24)

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