 The Clarinet BBoard
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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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 too. Anyone else here can hear it?
Post Edited (2022-09-13 19:03)
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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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Author: Ed
Date: 2020-11-06 04:43
Thanks to Brad for that great post! Some important points to consider
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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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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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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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Author: Jimis4klar
Date: 2021-08-04 10:14
Anyone tried Behn reeds on BD series mouthpieces, tell me your impressions..
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Author: donald
Date: 2022-09-10 13:55
Hi there, Brad Behn gave me a couple of the Brio reeds to try out at Clarinetfest and I have to say that I was initially impressed, AND they stood the test of time (the one I liked best is only now "worn out" after a considerable amount of use).
- I usually play on V12 3, but find most from a box to be too soft. Vandoren Trad 3s are usually mostly too hard. The Brio 4s seemed to correspond with Trad 3s, only they RESPONDED far better.
So for me, the Brio 4 is close to Vandoren Trad 3 or V12 3.25 (if such a thing existed).
Despite performing most of the time on a thick railed mouthpiece, I DO value brilliance and resonance in my sound, and found these reeds to have loads of that! Even the samples that needed a bit of balancing had a fantastic response, and the brightness in the sound was never edgy and harsh- I find it really easy to make the bright ringing but still WARM sound that we associate with the vintage rubber.
As someone who has always liked the idea of playing the Vandoren Trad (thin blank design) but inevitably been frustrated by the lack of consistency, this is a promising reed. I'll probably get some 3.5s as well as some 4s to see how that strength works for me.
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Author: Dan Shusta
Date: 2022-09-10 21:48
SecondTry stated: "...the player not the equipment makes the sound..."
Now, honestly, I'm not trying to hijack this thread about Brad's new Brio clarinet reeds. However, I adamantly have to disagree with your statement.
When I purchased Brad's new Prescott mpc, he sent along one of his new Brio reeds, strength 2.5. Now, even though I knew it was going to be rather tough sledding for me because of my embouchure dystonia, I went ahead and struggled through an old tune I like to play.
My wife has heard me play before on other mouthpieces and reeds and has never, ever said even one word as to the quality of my tone.
After struggling through the song with the Prescott and Brio reed, my wife immediately commented: "I have never heard you produce such a beautiful tone like that before".
Now, for the record, I am not "a player" and my clarinet is on old plastic, Vito.
So, IMHO, equipment, especially the mouthpiece and the reed can make a HUGE difference as to the quality of the tone produced.
To prevent a verbal catfight, how about we simply agree to disagree?
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Author: manuel78
Date: 2022-09-13 20:11
Never heard about Brio's reeds, is it known who manufactures them? It sais is french material, so then it is not Gonzalez Reeds. Are they made by Rigotti? They sell Pilgestorfer reeds too, so its another possibility.
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Author: manuel78
Date: 2022-09-13 22:41
Dan Shusta,
I've read the website, but it doesn't say who is the manufacturer. Reed factories are not so many, and there are less that produce for other companies. This looks like an OEM reed, it is very unlikely that Behn has a reed factory.
Reeds manufacturers are Vandoren, D'Addario, Gonzalez, Rigotti, Peter Leuthner, Pilgestorfer, Steuer, and perhaps I forget someone. Every other brand is made by one of them, and Vandoren and D'Addario don't do that.
That's the reason of my question.
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Author: Dan Shusta
Date: 2022-09-14 01:00
manuel78,
I'm sorry I misunderstood your inquiry.
I suggest you email Brad directly at bradbehn@gmail.com.
I know that he will appreciate hearing from you about his new Brio reeds and will be able to answer any questions you may have about them.
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Author: Max S-D
Date: 2022-09-14 03:18
I'm not sure if I heard this from Brad or just speculated based on the reed holders, but I believe the Brio is made by Rigotti. I'm not sure who makes the Aria, but it's someone different.
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Author: Dan Shusta
Date: 2022-09-14 06:30
There is one thing I'd like to add about the Brio reed that I received from Brad along with his Prescott mpc.
As I inspected the reed, I immediately noticed how "flexible" the tip was. I actually believed that Brad had "worked" the reed somehow to make it so unusually flexible so that it would be easier for me to play because he was fully aware of my embouchure dystonia.
A short while ago, I read the description of the Brio reed on his website. When I came across the words: "BRIO's flexible tip architecture provides impeccable response...", I then realized that the unusual tip flexibility (MO) was just a natural characteristic of the reed design. Not only was it more flexible than all of my other (very soft) cane reeds, but, also more flexible than the Legere European 2.5 reed which I had.
Indeed, IMHO, a very unique design characteristic of this reed.
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Author: Micke Isotalo ★2017
Date: 2022-09-15 00:40
I also remember Brad mentioning in one of his videos that Rigotti is the maker of his Brio reeds.
The Arias I suppose are made by Pilgerstorfer, due to the same kind of reed holders, packages and engravings on the bark - but that's just an assumption, with no confirmation about it.
Post Edited (2022-09-15 00:54)
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Author: gwie
Date: 2022-09-15 08:23
The BRIO reeds are huge hit among my students, especially at their price point ($28 today). And they work beautifully on the Prescott line mouthpieces from his Epic-CNC.com, and many other mouthpieces as well.
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