verb (used with object), re-faced, re-fac-ing
to renew, restore, or repair the face or surface of a clarinet or saxophone mouthpiece
to adjust a mouthpiece to improve its playability
to improve a mouthpiece's internal or external details, including baffle, window, sidewalls, bore, table, facing, siderails, and tiprail
Mouthpiece Refacing and Customization by Brad Behn
If you have a mouthpiece that needs customization, call or email (email@example.com) to schedule an appointment. You can work in person or arrange to work through the mail. Our refacing fee is $160 per mouthpiece plus S&H. All other special services, such as repairs and beak replacements, will be billed on an hourly basis of $160 per hour. Please feel free to email with questions, and as always we offer free evaluations and free estimates.
Our Refacing Concept
A fine clarinet mouthpiece should not only sound beautiful, but it should respond with ease, and feel great to play. Properly balancing the bore, chamber, and facing to the intrinsic characteristics of the hard rubber are very important in creating an enjoyable playing experience.
A little goes a long way!
As mouthpiece material is more easily removed than added, our policy is to employ a series of logical steps to serve your wishes while removing the least amount of material.
How do I get started?
In order to best serve you, all customization services begin with a personal interview; it may include discussions about your personal playing concept, reeds, and what you desire in a mouthpiece. During the customization process, constant communication and play-testing are present to ensure that your session is on track. Our goal is to balance your concept of sound with our technical knowledge to create your ideal playing experience.
What's included in a refacing?
As needed, all of the following services are included in our standard refacing service.
Refacing: Adjust the tip opening and curve for balance, ideal response, and beauty of tone.
Bore ream: Final bore voicing for sonority and pitch.
Flattening table: Fix table issues such as warpage or convexity, voice table with perfectly flat or concave nature as needed.
Table concavity: As needed, voice table with concavity for playability, and better reed results.
Side rail correction: Balance rails, regulate width as needed.
Tip rail correction: Balance tip rail-baffle transition for perfect radius, fast response, and tonal beauty.
Chamber correction: Clean up baffle and internal surfaces for better airflow and better response.
Brad Behn refacing mouthpieces for Eugene Mondie of the National Symphony Orchestra
Above are some basic mouthpiece measuring and refacing tools
Working with Chad Burrow, Clarinet Professor at University of Michigan–Ann Arbor
Brad working with Greg Raden, principal clarinet of Dallas Symphony Orchestra.
Working with Behn Artist, Bill Hudgins, principal clarinet of Boston Symphony Orchestra
Working with Loren Kitt and Ed Cabarga of the National Symphony Orchestra