Playing on Brads mouthpieces that day was a real treat for me. I learned a lot from having the chance to play them and from the things he said. I agree wholeheartedly - Brads mouthpieces are great and he is a great person in addition
I can’t agree more about taking a unique approach to each client. I have been breaking the mold of all of the Music Stores around me. In my store we take a personalized approach to EVERYONE. Just because it works well for me doesn’t mean it will for you. I’m glad I’m not the only one who approaches their clients like that.
Currently playing on his Prescott mouthpiece and I love it! I tried a number of mouthpieces in the $100-$200 price range, including the Hawkins Vocalize ones (side note that I really enjoyed the Hawkins mouthpiece I played on in HS back in 97-01 and expected to choose one of his mouthpieces), and the Prescott won me over. The Prescott to me just seemed so consistent across the registers, and I preferred its sound and feel overall. I also really enjoy his brio and aria reeds (though I now just stick to the brio due to the price of the Aria reeds), they just require so much less work, are quite playable out of the box, and I end up keeping 9/10 of them until they become worn out.
Thanks for the interviews with Brad. I have been a long time member of ICA, but was not able to attend in Denver. This was so much better than most conference videos that focus on what is new. I am currently 75 years old still playing in chamber music and a wind ensemble. I would have been interested in his opinion on what type of a mpc. Would be advantageous to an aging player.
I would like to know his take on that as well. It’s hard to get all the good questions organized on the fly!:) as far as my thoughts….I would imagine that the considerations would be largely the same in regards the amount of resistance. Those considerations would be potentially influenced by age but probably not in the same way for everyone.
So many views, so few comments.. I've greatly enjoyed listening to you nerd out with BB. The discussion about tip openings and baffles was great for increasing knowledge about their effect on our playing. The principles are the same for clarinets and saxophone. As a player, knowing how these impact the sound informs our equipment decisions. I tend to prefer darker tonal qualities with a broader sound. This helps steer me towards gear that favors these qualities. Can I make something that's designed to be brighter and more focused sound darker and broader? Yes, but it's a lot more work. As an enthusiastic hobbyist tools that favor the sound I am hearing in my head are fabulous for my development. I don't play the game I call "mouthpiece roulette". It applies really to anything. I have friends that constantly switch gear, but there's no substitute for mindful, focused time on the horn.
That last mouthpiece you played on should be the game changer. Then the Penultimate… then the first Epic MP. Did you try the Prescott ? Love my Prescott - Vintage D - and Hero S Curve !!!! ❤ 🖤
Hi! I am not sure if Bard will see this comment. I think the answer is yes but also with a mouthpiece maker at the elite level Brad is, the pitch is all going to be very similar, with slight tendencies depending when the different variables are in play.
Hi Jay, thanks for the interview and trying and the interesting videos, do you have any idea where is the mouthpiece cushions from, which are on the mouthpieces showing in this video? I used it during my study time in the States, i wanna order. Appreciate your help😊
I wish I had something specific to contribute. I have absolute zero of a recollection. I don’t remember there even being patches. Brad would know. I am sure if you email him at his website he would be happy to tell you. I wish I knew:)
My way of trying mouthpieces is to get in the ballpark of where I already play and move out from there. Playing on video trying things in real time at the altitude Denver sits….lotsa variables to contend with. My position is not that a v12 #4 is the right reed for every mouthpiece. All I can speak to is that I always end up happiest playing playing a v12 #4 so, speaking only for me, find a place where that is acknowledged and I find a mouthpiece that works for me there? I agree it’s counterintuitive, but it’s what I do. Not really suggesting it for anyone else
I think you'd get better results on the tests if your reed was properly balanced for the facings. It's easy to hear one side of the reed is harder than the other. The result is a somewhat stuffy sound and uneven response as you play in the upper clarion and altissimo. Mouthpieces have decent core and focus, and that would improve with better reed balance.
All of this is undeniable. The context in which the video was made makes that impossible. Additionally, that would obscure what is different about the mouthpieces. If a reed is adjusted to each mouthpiece in a comparison video it’s much less about an expressing the difference in mouthpieces on a fundamental level and more about characterizing my experience playing them. In my experience, when I play quality equipment I end up sounding like “I” sound and the difference is about what it takes to make that happen and what challenges I am choosing to augment or diminish. A video like that, to do it right, would be wonderful but not possible in the limited amount of time available at the clarinet convention. All that, in my mind, is not opposing anything you put forward, but as a defense (of sorts) to explain how it was essentially doing this (which does have merits in revealing differences although not a perfect expression of the absolute high end of what these mouthpieces can do) was the only way to get it done. The best part, to me was having Brad’s deep insight into mouthpieces.
![[UNCUT] เก็บ "สจ.โต้ง" เอี่ยวมาเฟีย รู้ตัวคนบงการ ก่อนสั่งลั่นไก I คนดังนั่งเคลียร์ I 13 ธ.ค.67](http://i.ytimg.com/vi/o-J_p62D40w/mqdefault.jpg)
As a developing beginner, listening to Brad's insights into mouthpiece design and the tradeoffs was rather illuminating. Thank you!
The evoke is my favorite. Brad’s mouthpieces are great.
Playing on Brads mouthpieces that day was a real treat for me. I learned a lot from having the chance to play them and from the things he said. I agree wholeheartedly - Brads mouthpieces are great and he is a great person in addition
I can’t agree more about taking a unique approach to each client.
I have been breaking the mold of all of the Music Stores around me. In my store we take a personalized approach to EVERYONE. Just because it works well for me doesn’t mean it will for you.
I’m glad I’m not the only one who approaches their clients like that.
Great video. Always fascinating to hear from Brad.
I agree! Brad is a wealth of knowledge and kindness
Resistance comes from these things, the tip opening, the facing curve, the reed strength,and the reed cut.
Currently playing on his Prescott mouthpiece and I love it! I tried a number of mouthpieces in the $100-$200 price range, including the Hawkins Vocalize ones (side note that I really enjoyed the Hawkins mouthpiece I played on in HS back in 97-01 and expected to choose one of his mouthpieces), and the Prescott won me over. The Prescott to me just seemed so consistent across the registers, and I preferred its sound and feel overall.
I also really enjoy his brio and aria reeds (though I now just stick to the brio due to the price of the Aria reeds), they just require so much less work, are quite playable out of the box, and I end up keeping 9/10 of them until they become worn out.
Brad does great stuff! So does Richard Hawkins. It’s a gift that we have innovators making nice stuff for us
Very exciting vid, will watch It again in more detail..
Thanks! Brad is a genius and a gentleman
Thanks for the interviews with Brad. I have been a long time member of ICA, but was not able to attend in Denver. This was so much better than most conference videos that focus on what is new. I am currently 75 years old still playing in chamber music and a wind ensemble. I would have been interested in his opinion on what type of a mpc. Would be advantageous to an aging player.
I would like to know his take on that as well. It’s hard to get all the good questions organized on the fly!:) as far as my thoughts….I would imagine that the considerations would be largely the same in regards the amount of resistance. Those considerations would be potentially influenced by age but probably not in the same way for everyone.
Good information. Had to save.
So many views, so few comments.. I've greatly enjoyed listening to you nerd out with BB.
The discussion about tip openings and baffles was great for increasing knowledge about their effect on our playing. The principles are the same for clarinets and saxophone. As a player, knowing how these impact the sound informs our equipment decisions. I tend to prefer darker tonal qualities with a broader sound. This helps steer me towards gear that favors these qualities. Can I make something that's designed to be brighter and more focused sound darker and broader? Yes, but it's a lot more work. As an enthusiastic hobbyist tools that favor the sound I am hearing in my head are fabulous for my development.
I don't play the game I call "mouthpiece roulette". It applies really to anything. I have friends that constantly switch gear, but there's no substitute for mindful, focused time on the horn.
That last mouthpiece you played on should be the game changer. Then the Penultimate… then the first Epic MP. Did you try the Prescott ? Love my Prescott - Vintage D - and Hero S Curve !!!! ❤ 🖤
Hi Brad,very interesting interview. Will all the different facings and rails etc affect the internation of the clarinet.
Hi! I am not sure if Bard will see this comment.
I think the answer is yes but also with a mouthpiece maker at the elite level Brad is, the pitch is all going to be very similar, with slight tendencies depending when the different variables are in play.
Hi Jay, thanks for the interview and trying and the interesting videos, do you have any idea where is the mouthpiece cushions from, which are on the mouthpieces showing in this video? I used it during my study time in the States, i wanna order. Appreciate your help😊
I wish I had something specific to contribute. I have absolute zero of a recollection. I don’t remember there even being patches. Brad would know. I am sure if you email him at his website he would be happy to tell you. I wish I knew:)
@@clarinetninjathank a lot for the response
Pero tu no tocabas vandoren bd4? 😅😂
With all of Brads mouthpieces there, it was too exciting to think of the one I know so well!
@@clarinetninja las boquillas de bhen son una maravilla y una obra de arte
All mouthpieces tried with V12 number 4? Do you think different strength could benefit one or other?
My way of trying mouthpieces is to get in the ballpark of where I already play and move out from there. Playing on video trying things in real time at the altitude Denver sits….lotsa variables to contend with.
My position is not that a v12 #4 is the right reed for every mouthpiece. All I can speak to is that I always end up happiest playing playing a v12 #4 so, speaking only for me, find a place where that is acknowledged and I find a mouthpiece that works for me there? I agree it’s counterintuitive, but it’s what I do. Not really suggesting it for anyone else
I think you'd get better results on the tests if your reed was properly balanced for the facings. It's easy to hear one side of the reed is harder than the other. The result is a somewhat stuffy sound and uneven response as you play in the upper clarion and altissimo.
Mouthpieces have decent core and focus, and that would improve with better reed balance.
All of this is undeniable. The context in which the video was made makes that impossible.
Additionally, that would obscure what is different about the mouthpieces. If a reed is adjusted to each mouthpiece in a comparison video it’s much less about an expressing the difference in mouthpieces on a fundamental level and more about characterizing my experience playing them.
In my experience, when I play quality equipment I end up sounding like “I” sound and the difference is about what it takes to make that happen and what challenges I am choosing to augment or diminish. A video like that, to do it right, would be wonderful but not possible in the limited amount of time available at the clarinet convention.
All that, in my mind, is not opposing anything you put forward, but as a defense (of sorts) to explain how it was essentially doing this (which does have merits in revealing differences although not a perfect expression of the absolute high end of what these mouthpieces can do) was the only way to get it done. The best part, to me was having Brad’s deep insight into mouthpieces.