I'm a B50 player with a 2.5 V12. I love the big and rich sound. Playing this, and an increasing amount of tenor sax, has helped improve my breath control.
Bravo- playing other reed instruments that OPEN you up and MAKE you do the right physical things is KEY :) Not to mention how much playing Bass Cl and Tenor can help regular soprano Bb clarinetists of all ages and stripes.
You can hear and see ;) all the points you figured out. If not I can recommend to start the video from the beginning and it should be clear for everyone :-) It's really hard so switch a mouthpiece when you are used to one for years! You know how it feels and how the reeds are responding! I tried to switch to the BD5D (which is the BD5 for the german"Oehler" clarinet) but after many months of testing and at least frustration I recently went back to a typically german mouthpiece and Vandoren White Master traditional reeds. I wanted a more deeper sound, but I could not get used to it, tried it with different reeds, barrels, etc. But after a while the air didn't want the way I wanted to, it was a fight, staccato was impossonle, ... At least, my sound is brighter again, but very focused, colourful, rich I would say. Too much text? Sorry ;-) I can only recommend to find a mouthpiece and reeds that fit to your individual playing (classical, jazz, ...) then practice practice practice, AND have fun!
The BD5 is excellent Having played a B 40 for many years Hundred and fortunately lost it I had to buy online due to the lockdown here in the UK and I tried to BD5 - I had to stick with it for a bit but I do like it and I use Lehrer reeds with it now. I have been playing bass clarinet since the 1960s there are many fine mouthpieces I suspect that the new one is made by Selmer Will be worth trying as well but we do need to spend time in practice obviously that’s why some players specialise in playing bass clarinet - thank you for an interesting video Cally God bless you. Bill. UK
The response of B40 sounds much better than the other two - my first impression. For Bb/A, however, I cannot deal with B40 (profile 88) and sitting in my case decades - letting that B40 goes, as I have BD5 and 11.1 (discontinued long time ago).
Well, I preferred your sound on the BD5 contrary to other comments I read below. Loved the articulation on the B40 but to my ear it started to sound weaker and thinner as you went up the register. I thought the BD5 sounded like a nice middle ground between ease of articulation and power. Personally, I’m playing a Backun MOBA+ on a Selmer Paris bass and it suits my sound concept for our concert band. Flirting with the idea of trying a closer facing and harder reed for more melodic playing in smaller ensembles. Would love to know what you chose and if you’re still playing it? P.S. - I carry a refaced Selmer C* as a backup.
Oh, a C*, very nice! Yeah, I think it's hard to compare power and projection over a recording device, but I'm still going with the B40 as it feels like it has a bigger sound than the BD5 but is not as "honky" as the B50. But... who knows, I may change my mind in a year haha
I think you should have added the B44 in the mix. It’s more flexible (IMO). When you have to play some Dances from West Side Story on bass. That B40 is a struggle. It may be dark but It’s not very Flexy
I liked the sound with B40 and BD. I used to use the mounthpiece Chedeville Elite F2 with my Belcanta bass clarinet and among many others tested, inclusive B40, was the best for me, with warm and beautiful sound. Now I bought a new Buffet Prestige up to deep C and the performance was disappointing. The high G simply doesn‘t play. Do someone here has experience with this combination? I’m still choosing a new mounthpiece. Best regards
I thought the B40 sounded best . My by bass clarinet mouthpiece is an ARB - Brilhardt I think. I’ve had it since the early 80’s ! I do a lot of doubling so…
MPs are getting ,frankly, too expensive. Good playing to those with the bucks. I must contend with my Bay on a basic YCL. Not a bad sound at all young lady!
Wow I totally missed this comment! I used a box of traditional Vandoren 3.5 reeds. The hardest one on the BD5, the softest one on the B50, and the rest on the B40.
@@callyclarinet It seems it's not best to just vary hardness when testing. It seems that one should play a number of different reeds at the right strength for each mouthpiece to find the correct one to use before comparing mouthpieces. That way you're comparing the best across the board. A variance in resistance or mismatching for your embouchure will give you a false result.
Ever try these MPs out with software/app that shows your overtone production as well as the tuning of the diff octaves? When making a purchase of this magnitude it'll help a ton :) I'd also try them in varying room sizes and with diff reed strengths. Cheers!
I'm a B50 player with a 2.5 V12. I love the big and rich sound. Playing this, and an increasing amount of tenor sax, has helped improve my breath control.
Bravo- playing other reed instruments that OPEN you up and MAKE you do the right physical things is KEY :) Not to mention how much playing Bass Cl and Tenor can help regular soprano Bb clarinetists of all ages and stripes.
I like B45, not nebulous like BD5 but good for all dynamic levels with 4 V12s
Fun to hear you on the bass clarinet.
👍🏼
Thanks Bill! 🐈⬛
Watched this vid and checked out the B50, best thing I ever did, great sound over three octaves love it !! 😊
Go with the B50. It just takes a LOT of air and getting used to. But with breath control you can still play softly with control with finesse. 👍🏼
You can hear and see ;) all the points you figured out. If not I can recommend to start the video from the beginning and it should be clear for everyone :-)
It's really hard so switch a mouthpiece when you are used to one for years! You know how it feels and how the reeds are responding!
I tried to switch to the BD5D (which is the BD5 for the german"Oehler" clarinet) but after many months of testing and at least frustration I recently went back to a typically german mouthpiece and Vandoren White Master traditional reeds. I wanted a more deeper sound, but I could not get used to it, tried it with different reeds, barrels, etc. But after a while the air didn't want the way I wanted to, it was a fight, staccato was impossonle, ... At least, my sound is brighter again, but very focused, colourful, rich I would say.
Too much text? Sorry ;-) I can only recommend to find a mouthpiece and reeds that fit to your individual playing (classical, jazz, ...) then practice practice practice, AND have fun!
Great thoughts here- that BD5 on bass is way too constricting...BD5 hates good overtone production IMO
I got very lucky when I started on bass clarinet and bought a Greg Wier piece on eBay. Now looking for a backup/replacement. Very tempted by Syos.
I love my SYOS piece! It’s now the only one I will play on although B50 is a close second
The BD5 is excellent Having played a B 40 for many years Hundred and fortunately lost it I had to buy online due to the lockdown here in the UK and I tried to BD5 - I had to stick with it for a bit but I do like it and I use Lehrer reeds with it now. I have been playing bass clarinet since the 1960s there are many fine mouthpieces I suspect that the new one is made by Selmer Will be worth trying as well but we do need to spend time in practice obviously that’s why some players specialise in playing bass clarinet - thank you for an interesting video Cally God bless you. Bill. UK
The response of B40 sounds much better than the other two - my first impression. For Bb/A, however, I cannot deal with B40 (profile 88) and sitting in my case decades - letting that B40 goes, as I have BD5 and 11.1 (discontinued long time ago).
I miss my 11.1 !!!! They need to bring those back. 🖤
Your review convinced me to try the BD5 next as I do not pick up my bass often enough.
Well, I preferred your sound on the BD5 contrary to other comments I read below. Loved the articulation on the B40 but to my ear it started to sound weaker and thinner as you went up the register. I thought the BD5 sounded like a nice middle ground between ease of articulation and power. Personally, I’m playing a Backun MOBA+ on a Selmer Paris bass and it suits my sound concept for our concert band. Flirting with the idea of trying a closer facing and harder reed for more melodic playing in smaller ensembles. Would love to know what you chose and if you’re still playing it?
P.S. - I carry a refaced Selmer C* as a backup.
Oh, a C*, very nice! Yeah, I think it's hard to compare power and projection over a recording device, but I'm still going with the B40 as it feels like it has a bigger sound than the BD5 but is not as "honky" as the B50. But... who knows, I may change my mind in a year haha
I think you should have added the B44 in the mix. It’s more flexible (IMO). When you have to play some Dances from West Side Story on bass. That B40 is a struggle. It may be dark but It’s not very Flexy
Lol Flexy. But yeah I'll have to give the B44 a try eventually
I liked the sound with B40 and BD. I used to use the mounthpiece Chedeville Elite F2 with my Belcanta bass clarinet and among many others tested, inclusive B40, was the best for me, with warm and beautiful sound. Now I bought a new Buffet Prestige up to deep C and the performance was disappointing. The high G simply doesn‘t play. Do someone here has experience with this combination? I’m still choosing a new mounthpiece. Best regards
Did you use the same reed/strength for each test?
I thought the B40 sounded best . My by bass clarinet mouthpiece is an ARB - Brilhardt I think. I’ve had it since the early 80’s ! I do a lot of doubling so…
MPs are getting ,frankly, too expensive. Good playing to those with the bucks. I must contend with my Bay on a basic YCL. Not a bad sound at all young lady!
1:23 B40
Which reeds did you use on the various mouthpieces ?
Wow I totally missed this comment! I used a box of traditional Vandoren 3.5 reeds. The hardest one on the BD5, the softest one on the B50, and the rest on the B40.
@@callyclarinet It seems it's not best to just vary hardness when testing. It seems that one should play a number of different reeds at the right strength for each mouthpiece to find the correct one to use before comparing mouthpieces. That way you're comparing the best across the board. A variance in resistance or mismatching for your embouchure will give you a false result.
what happened with SELMER D??? I don't see it anymore
Ever try these MPs out with software/app that shows your overtone production as well as the tuning of the diff octaves? When making a purchase of this magnitude it'll help a ton :) I'd also try them in varying room sizes and with diff reed strengths. Cheers!
Which mouthpiece does your bandmate in LECQ play?
B40 :-)