A BETTER MOUTHPIECE for the alto clarinet ...
BIGGER REED = BIGGER SOUND
BIGMouthPiece™ for Alto Clarinet
~ Big easy sound with a tenor sax reed ~
© 2025 Windy Dankoff
~ Big easy sound with a tenor sax reed ~
© 2025 Windy Dankoff
The alto clarinet is sized between the standard B♭ clarinet and bass clarinet. But it's often considered inferior in its tone and playability, with a feel of restriction. I developed a mouthpiece that's more open and expressive, hence the name – BIGMouthPiece.
BIGMouthPiece opens the flow by using a tenor sax or bass clarinet reed instead of an alto reed. It delivers the fluidity and dynamic range that you expect in a clarinet. My first buyer describes it perfectly –
“I LOVE THIS MOUTHPIECE setup! You have done a remarkable thing here. You've taken a rather boring horn and given it a sonorous, gutsy personality. The alto has never been regarded as anything but a filler horn, and now it can take center stage. It has very fat sound both in the chalumeau and the clarion, and MUCH more projection. This is a really fun instrument with brand new relevance. I do not foresee ever going back to a traditional MP.” –– Jim D. “Windsong” on ClarinetPages.info – popular, jazz and klezmer musician
The typical alto clarinet underperforms for two reasons:
1. Blowing is constricted by the mouthpiece
2. An inadequate register key system introduces "noise" in the low clarion
BIGMouthPiece improves both of these aspects with:
1. A larger reed and chamber for easier blowing and richer tone
2. A Noise Filter that cleans up the low clarion to improve its response
TERMINOLOGY: Chalumeau – low register Clarion – middle register
Over the break – the jump from chalumeau to clarion register – like shifting gears
Noise – unwanted high overtones, acting like sand in the gears
Noise Filter – a textured surface that absorbs those high overtones
Who needs it? Concert band players – just to hear themselves! Jazz players seeking greater expression. Sax and bass clarinet doublers, for easier cross-over. Classical players – some find it too bold to blend in ensemble, while others love it. Any player who stumbles over the break to the low clarion.
You don't need a high-end instrument, just an over-the-top mouthpiece
The tone is like dark chocolate, pouring over the break with a soulful undertone, then a warm uniform tone into altissimo. It sounds much like a bass clarinet, but sweeter in the higher ranges.
Intonation is consistent with fine traditional mouthpieces, with greater stability when varying pp to ff.
The tenor reed makes sense. The alto clarinet is about 1/3 longer than the Bb (soprano) clarinet, so it would be logical for its reed to be 1/3 longer. But the alto reed is only 1/8 longer (comparing the vibrating portions). A TENOR or BASS CL. reed IS close to 1/3 longer. It FEELS right.
BIGMouthPiece is created from a classical tenor sax mouthpiece, transformed inside and out. The bottom end is lathe-cut to shorten it and form a tenon, then the bore is enlarged and re-shaped for clarinet tuning. The bore is specially textured for clean, uniform tone throughout the range. The photo compares it to a traditional mouthpiece – it has bigger mouth.
BIGMouthPiece opens the flow by using a tenor sax or bass clarinet reed instead of an alto reed. It delivers the fluidity and dynamic range that you expect in a clarinet. My first buyer describes it perfectly –
“I LOVE THIS MOUTHPIECE setup! You have done a remarkable thing here. You've taken a rather boring horn and given it a sonorous, gutsy personality. The alto has never been regarded as anything but a filler horn, and now it can take center stage. It has very fat sound both in the chalumeau and the clarion, and MUCH more projection. This is a really fun instrument with brand new relevance. I do not foresee ever going back to a traditional MP.” –– Jim D. “Windsong” on ClarinetPages.info – popular, jazz and klezmer musician
The typical alto clarinet underperforms for two reasons:
1. Blowing is constricted by the mouthpiece
2. An inadequate register key system introduces "noise" in the low clarion
BIGMouthPiece improves both of these aspects with:
1. A larger reed and chamber for easier blowing and richer tone
2. A Noise Filter that cleans up the low clarion to improve its response
TERMINOLOGY: Chalumeau – low register Clarion – middle register
Over the break – the jump from chalumeau to clarion register – like shifting gears
Noise – unwanted high overtones, acting like sand in the gears
Noise Filter – a textured surface that absorbs those high overtones
Who needs it? Concert band players – just to hear themselves! Jazz players seeking greater expression. Sax and bass clarinet doublers, for easier cross-over. Classical players – some find it too bold to blend in ensemble, while others love it. Any player who stumbles over the break to the low clarion.
You don't need a high-end instrument, just an over-the-top mouthpiece
The tone is like dark chocolate, pouring over the break with a soulful undertone, then a warm uniform tone into altissimo. It sounds much like a bass clarinet, but sweeter in the higher ranges.
Intonation is consistent with fine traditional mouthpieces, with greater stability when varying pp to ff.
The tenor reed makes sense. The alto clarinet is about 1/3 longer than the Bb (soprano) clarinet, so it would be logical for its reed to be 1/3 longer. But the alto reed is only 1/8 longer (comparing the vibrating portions). A TENOR or BASS CL. reed IS close to 1/3 longer. It FEELS right.
BIGMouthPiece is created from a classical tenor sax mouthpiece, transformed inside and out. The bottom end is lathe-cut to shorten it and form a tenon, then the bore is enlarged and re-shaped for clarinet tuning. The bore is specially textured for clean, uniform tone throughout the range. The photo compares it to a traditional mouthpiece – it has bigger mouth.
PHOTO Standard alto vs. BIGMouthPiece
Video demonstrations
My chromatic and blues demo >> https://youtu.be/2p0dbXpmfK0
A demo with various reeds from a client in Taiwan >> https://www.youtube.com/watch?v=NgHz-JfkmAo
– The best sound is heard in the second half
Another video review is coming soon
More from the fan club ...
“You've nailed it, Windy. Never before had I experienced such pleasure and ease with the lower clarion range. Intonation is on the spot. You've revolutionized the alto clarinet MPC concept like what Santy Runyon did a century ago for the sax.” – Damir Vidovic, classical musician (Conn alto, Buffet copy) USA
"Awesome mouthpiece ... made all my reeds play fantastic. I can fly around top to bottom on my alto easily with no stuffiness and no resistance like the old mpc I had. This is going to revolutionize alto playing and bring back the alto like never before. Big shout out to Windy!" – Eugene Kirton, the originator of this mouthpiece conversion, player of popular, jazz, and klezmer (Bundy alto) Canada
"I’ve tried out the mouthpiece and I’m quite impressed. Intonation was good throughout the range and it made the alto very free blowing. … I think this could appeal to a lot of people. Thanks again for sending it to me!" – Jared De Leon, woodwind technician, low clarinet and mouthpiece specialist, classical musician, www.jdwoodwind.com (Buffet alto) USA
Responding to a newer version, Jared added:
"I like the new texture. It makes a big difference. It has a big fat bass clarinet-like sound. I think you're really on to something!"
See for more testimonials further down ...
============================
PLUG & PLAY – Price includes:
A SUITABLE REED
FLEXIBLE LIGATURE
Saver-type swab, perfect for the textured bore
Cap, tooth patch
PRICE $250
Priority Mail and handling / USA add $10 = $260 postpaid
Trial Period – 10 DAYS, refundable
REED OPTIONS – A Fibracell or Fiberreed Copper synthetic reed is part of the package
A reed is included so you can make best use of your trial period. A synthetic reed is likely to please, right out of the box – no soak, consistent, and long life . These reeds create that dark bass-like tone with a touch of sparkle.
Fibracell 3.5 is preferred by jazz players or anyone who prefers less resistance and greater expressive range.
Fibracell 4.5 may be better for classical players
Hartmann Fiberreed Copper Classic 2.5 – Highly consistent with great behavior, equivalent to Fcell 3.5
Contact me for the latest reed advice
No reed – subtract $20
Bass clarinet players – Your favorite reeds are likely to work, tenor sax or bass cl.
Tenor sax players – Try your softer tenor reeds on BIGMouthPiece. Vandoren Trad 2.5 has been a favorite.
Alto sax reeds can also work, with some limitations.
Tip opening – 1.85mm (.073") / medium
Cork is sized to fit the most-common 24mm socket inside diameter. On request, I will trim to fit (Bundy may want 23.5mm)
Prototypes I have some perfectly-sounding prototypes at $150-180
Windy Dankoff, Woodwind Technician
For questions or purchase 👉 Go to CONTACT page
Get that alto clarinet out of the closet!
====================
BIGMouthPiece fixes the major weakness
of most alto clarinets – Poor response in low clarion
THE CAUSE of weakness The alto is a "small-bore" clarinet. Compared to the standard B♭ clarinet, its bore is proportionally smaller by about 10%. This sweetens the tone, but has a down-side – the register key vent (the little metal tube) has trouble sounding the low clarion B C C#. These “over the break” notes require a skillful oomph. Advanced bass clarinets have two register vents to fix this (saxophones, similar). But your alto clarinet has a single vent unless it's a high-end Buffet. (To be clear – the typical register key shifts to a B♭ vent when the thumb is released, not to a second register vent.) The single register vent is a compromise that causes high-frequency noise (unwanted overtones) in the low clarion. Noise interferes with wave initiation (articulation), making it nearly impossible to slur over the break. It's like you're shifting gears with sand in the oil. Let's filter it out ...
BIGMouthPiece suppresses noise to improve the low clarion:
High frequency noise is reduced by the Noise Filter, an acoustically-absorbent surface in the bore of the MP. It greatly improves the low clarion and helps darken and unify the tone through the whole range. It's a convoluted surface that cancels out short wavelength sound (high pitch noise). It is located in the zone that most influences the top Bb to low clarion D. My early versions greatly improved the low clarion – until wet, then the effect would diminish. Now I have a sound-absorbent surface that sheds water. See it in the photo.
Video demonstrations
My chromatic and blues demo >> https://youtu.be/2p0dbXpmfK0
A demo with various reeds from a client in Taiwan >> https://www.youtube.com/watch?v=NgHz-JfkmAo
– The best sound is heard in the second half
Another video review is coming soon
More from the fan club ...
“You've nailed it, Windy. Never before had I experienced such pleasure and ease with the lower clarion range. Intonation is on the spot. You've revolutionized the alto clarinet MPC concept like what Santy Runyon did a century ago for the sax.” – Damir Vidovic, classical musician (Conn alto, Buffet copy) USA
"Awesome mouthpiece ... made all my reeds play fantastic. I can fly around top to bottom on my alto easily with no stuffiness and no resistance like the old mpc I had. This is going to revolutionize alto playing and bring back the alto like never before. Big shout out to Windy!" – Eugene Kirton, the originator of this mouthpiece conversion, player of popular, jazz, and klezmer (Bundy alto) Canada
"I’ve tried out the mouthpiece and I’m quite impressed. Intonation was good throughout the range and it made the alto very free blowing. … I think this could appeal to a lot of people. Thanks again for sending it to me!" – Jared De Leon, woodwind technician, low clarinet and mouthpiece specialist, classical musician, www.jdwoodwind.com (Buffet alto) USA
Responding to a newer version, Jared added:
"I like the new texture. It makes a big difference. It has a big fat bass clarinet-like sound. I think you're really on to something!"
See for more testimonials further down ...
============================
PLUG & PLAY – Price includes:
A SUITABLE REED
FLEXIBLE LIGATURE
Saver-type swab, perfect for the textured bore
Cap, tooth patch
PRICE $250
Priority Mail and handling / USA add $10 = $260 postpaid
Trial Period – 10 DAYS, refundable
REED OPTIONS – A Fibracell or Fiberreed Copper synthetic reed is part of the package
A reed is included so you can make best use of your trial period. A synthetic reed is likely to please, right out of the box – no soak, consistent, and long life . These reeds create that dark bass-like tone with a touch of sparkle.
Fibracell 3.5 is preferred by jazz players or anyone who prefers less resistance and greater expressive range.
Fibracell 4.5 may be better for classical players
Hartmann Fiberreed Copper Classic 2.5 – Highly consistent with great behavior, equivalent to Fcell 3.5
Contact me for the latest reed advice
No reed – subtract $20
Bass clarinet players – Your favorite reeds are likely to work, tenor sax or bass cl.
Tenor sax players – Try your softer tenor reeds on BIGMouthPiece. Vandoren Trad 2.5 has been a favorite.
Alto sax reeds can also work, with some limitations.
Tip opening – 1.85mm (.073") / medium
Cork is sized to fit the most-common 24mm socket inside diameter. On request, I will trim to fit (Bundy may want 23.5mm)
Prototypes I have some perfectly-sounding prototypes at $150-180
Windy Dankoff, Woodwind Technician
For questions or purchase 👉 Go to CONTACT page
Get that alto clarinet out of the closet!
====================
BIGMouthPiece fixes the major weakness
of most alto clarinets – Poor response in low clarion
THE CAUSE of weakness The alto is a "small-bore" clarinet. Compared to the standard B♭ clarinet, its bore is proportionally smaller by about 10%. This sweetens the tone, but has a down-side – the register key vent (the little metal tube) has trouble sounding the low clarion B C C#. These “over the break” notes require a skillful oomph. Advanced bass clarinets have two register vents to fix this (saxophones, similar). But your alto clarinet has a single vent unless it's a high-end Buffet. (To be clear – the typical register key shifts to a B♭ vent when the thumb is released, not to a second register vent.) The single register vent is a compromise that causes high-frequency noise (unwanted overtones) in the low clarion. Noise interferes with wave initiation (articulation), making it nearly impossible to slur over the break. It's like you're shifting gears with sand in the oil. Let's filter it out ...
BIGMouthPiece suppresses noise to improve the low clarion:
High frequency noise is reduced by the Noise Filter, an acoustically-absorbent surface in the bore of the MP. It greatly improves the low clarion and helps darken and unify the tone through the whole range. It's a convoluted surface that cancels out short wavelength sound (high pitch noise). It is located in the zone that most influences the top Bb to low clarion D. My early versions greatly improved the low clarion – until wet, then the effect would diminish. Now I have a sound-absorbent surface that sheds water. See it in the photo.
PHOTO Noise Filter is an acoustically textured surface in the bore, visible on the right
The Noise Filter is as significant as the tenor reed itself. A textured material is applied to a quarter of the bore surface. By absorbing unwanted overtones, it improves difficult intervals and articulation. And, it purifies (darkens) the overall tone. Some additional texturing adds more advantage around the break.
Full-length cork helps assure a good fit without wobble
============================
WHY I LOVE THE ALTO CLARINET It's so obscure, I’m the best player on my block. It fills the prime territory from concert G on the bottom of the bass staff, up three octaves plus. It adds depth and mystique to many musical settings. It’s a rich and unique voice for jazz and blues, easy to blend with the rhythm section, or to carry a soulful solo. In a jazz setting, the tone is sometimes mistaken for baritone sax. But unlike sax, I can play low-down and softly to stay out of trouble. I also use it for variety when I do exercises, and it keeps me prepped for bass clarinet. Some players use it to substitute for other instrumental parts. And, it's making a comeback among wind composers. I hope BIGMouthPiece will help revive the alto clarinet.
BIGMouthPiece evolved through 10 months of work and over 30 prototypes
It began as a curious experiment with an exciting result on day-one. But this is uncharted territory. It took months of trial and error and user feedback, to produce a single version for both large-bore and small bore altos, including both the LeBlanc/Noblet/Vito and the Selmer/Bundy and Buffet families – Even the humble plastic school horns sound wonderful.
BIGMouthPiece™ for alto clarinet ~ Get it out of the closet!
For availability 👉 CONTACT HERE
DEMONSTRATION VIDEO >> https://youtu.be/2p0dbXpmfK0
A demo with various reeds from a client in Taiwan >> https://www.youtube.com/watch?v=NgHz-JfkmAo
– The best sound is in the second half
=====================================
SET-UP and CARE of BIGMouthPiece
Reed selection I include a synthetic Fibracell or Fiberreed tenor sax reed as described above. I enjoy their consistency, ease of use, and spectacular tone. No one reed pleases everyone, but this gets you started. I'm gathering data on other tenor sax and bass cl. reeds preferred by my clients, and can advise.
Ligature I include a flexible lig that tends to improve articulation and darken the tone. A standard tenor sax lig will also work.
Cleaning To dry the textured interior, a soft brush "saver" swab is INCLUDED (use it for the neck too). Use a mouthpiece brush occasionally with soap and water. For stubborn deposits, soak the MP in vinegar, then wash. BTW, to swab the body of the horn, a soprano sax Pad Saver is ideal.
=====================================
MORE Testimonials
"It is fantastic! The alto now matches my Selmer Low C professional bass clarinet both in volume and overall tone. As a comparison I switched back to my best mouthpiece made by Olav Bakke in Norway. The volume and tone were severely diminished compared to the BIGMouthPiece. In community band, often an alto cl. part is not available so an alto sax part is substituted. Alto cl. normally can’t match alto sax in volume and punch, but with the BIGMouthPiece I know I can. I’m thrilled!" LL, Louisiana, USA (LeBlanc alto cl.)
"Thanks for all your work on the BMP. I'm really impressed with how much easier my alto clarinet plays with it and how it gives the instrument a bolder, brighter sound. It will blend well with my clarinet choir. I had a good discovery, too – I tried a Vandoren Jazz 2.5 alto sax reed and it mellowed the sound nicely. I'll keep using the Fibracell 3.5 for the wind symphony when I'm teamed with the alto saxes. It helps me get to the higher notes where they tend to play. I'm really happy with the versatility I've found with different reeds for different ensembles. Great work on the BMP!" Maria B., Colorado (Noblet alto cl.)
"The alto is definitely much easier to blow, getting a lovely level of pianissimo that was not possible before." Vicktor P., Australia (LeBlanc alto cl., JD Woodwinds Composite Neck)
All testimonials are used with permission
The Noise Filter is as significant as the tenor reed itself. A textured material is applied to a quarter of the bore surface. By absorbing unwanted overtones, it improves difficult intervals and articulation. And, it purifies (darkens) the overall tone. Some additional texturing adds more advantage around the break.
Full-length cork helps assure a good fit without wobble
============================
WHY I LOVE THE ALTO CLARINET It's so obscure, I’m the best player on my block. It fills the prime territory from concert G on the bottom of the bass staff, up three octaves plus. It adds depth and mystique to many musical settings. It’s a rich and unique voice for jazz and blues, easy to blend with the rhythm section, or to carry a soulful solo. In a jazz setting, the tone is sometimes mistaken for baritone sax. But unlike sax, I can play low-down and softly to stay out of trouble. I also use it for variety when I do exercises, and it keeps me prepped for bass clarinet. Some players use it to substitute for other instrumental parts. And, it's making a comeback among wind composers. I hope BIGMouthPiece will help revive the alto clarinet.
BIGMouthPiece evolved through 10 months of work and over 30 prototypes
It began as a curious experiment with an exciting result on day-one. But this is uncharted territory. It took months of trial and error and user feedback, to produce a single version for both large-bore and small bore altos, including both the LeBlanc/Noblet/Vito and the Selmer/Bundy and Buffet families – Even the humble plastic school horns sound wonderful.
BIGMouthPiece™ for alto clarinet ~ Get it out of the closet!
For availability 👉 CONTACT HERE
DEMONSTRATION VIDEO >> https://youtu.be/2p0dbXpmfK0
A demo with various reeds from a client in Taiwan >> https://www.youtube.com/watch?v=NgHz-JfkmAo
– The best sound is in the second half
=====================================
SET-UP and CARE of BIGMouthPiece
Reed selection I include a synthetic Fibracell or Fiberreed tenor sax reed as described above. I enjoy their consistency, ease of use, and spectacular tone. No one reed pleases everyone, but this gets you started. I'm gathering data on other tenor sax and bass cl. reeds preferred by my clients, and can advise.
Ligature I include a flexible lig that tends to improve articulation and darken the tone. A standard tenor sax lig will also work.
Cleaning To dry the textured interior, a soft brush "saver" swab is INCLUDED (use it for the neck too). Use a mouthpiece brush occasionally with soap and water. For stubborn deposits, soak the MP in vinegar, then wash. BTW, to swab the body of the horn, a soprano sax Pad Saver is ideal.
=====================================
MORE Testimonials
"It is fantastic! The alto now matches my Selmer Low C professional bass clarinet both in volume and overall tone. As a comparison I switched back to my best mouthpiece made by Olav Bakke in Norway. The volume and tone were severely diminished compared to the BIGMouthPiece. In community band, often an alto cl. part is not available so an alto sax part is substituted. Alto cl. normally can’t match alto sax in volume and punch, but with the BIGMouthPiece I know I can. I’m thrilled!" LL, Louisiana, USA (LeBlanc alto cl.)
"Thanks for all your work on the BMP. I'm really impressed with how much easier my alto clarinet plays with it and how it gives the instrument a bolder, brighter sound. It will blend well with my clarinet choir. I had a good discovery, too – I tried a Vandoren Jazz 2.5 alto sax reed and it mellowed the sound nicely. I'll keep using the Fibracell 3.5 for the wind symphony when I'm teamed with the alto saxes. It helps me get to the higher notes where they tend to play. I'm really happy with the versatility I've found with different reeds for different ensembles. Great work on the BMP!" Maria B., Colorado (Noblet alto cl.)
"The alto is definitely much easier to blow, getting a lovely level of pianissimo that was not possible before." Vicktor P., Australia (LeBlanc alto cl., JD Woodwinds Composite Neck)
All testimonials are used with permission
NOW it's cool!
graphic source unknown
graphic source unknown
You may be wondering …
How can a tenor sax MP possibly work on an alto clarinet – and why?
It is no longer a sax MP. The lower half is reshaped inside and out. The shank is cut back to tune it and create a tenon. The bore is enlarged and tapered for good tuning with accurate twelfths. The altissimo is tuned with a tiny undercut. It becomes an alto clarinet piece with a BIG MOUTH for deeper tone, greater projection, and less resistance BUT there's more. Early versions improved the low clarion stability and articulation by perhaps 30% over a standard MP. It could still be dicey Jumping the break to middle-B, C, C# and D.
Something had to be done, but what? I began exploring the acoustics with pairs of magnets (a tiny one inside guided by another on the outside). This reduced the bore at specific spots. In the bottom quarter of the bore, the tiny obstruction had a strong effect on the low clarion. It helped me identify a zone of influence in the lower bore. I was trying to vary the bore when my cutting failed and left a rough texture. I thought it was ruined, but I mounted a reed and .... I was astonished to find great improvement in the low clarion. Textures absorb high sound, so I deduce that some high overtone noise must interfere with wave formation in the low clarion. With the texture applied – Voilà! Transitions up to low clarion improved by an additional 60%, now totaling about 90% improvement over a standard MP. It also darkens and helps unify the tone of the whole instrument.
This Noise Filter traps short wavelenth (high pitch) noise, while the pure (darker) tones roll right over it. The results are visible on an audio spectrum analyzer. I experimented for months to find a durable texture that traps noise even when it's wet. The low clarion response has become nearly perfect, as shown in my YouTube demo where crossing the break is undetectable. The Noise Filter is as significant as the tenor reed itself.
ORIGIN STORY As a teenage ham radio hobbyist, I studied wave formation, harmonics, noise factors ... And, I made bamboo flutes! In my 27-year career, I designed and manufactured solar power components. When I retired, I returned to making flutes, fixing and improving woodwinds, and playing jazz. After being seduced by klezmer music, I dove into clarinet. I got an alto but it was wishful thinking – It sat in the closet until I ran across Eugene Kirton’s demo of a modified tenor sax mouthpiece on YouTube. I was off and running on this fascinating project. I gifted one to Gene in gratitude for his concept. The BMP bore design and Noise Filter are my own innovations.
How can a tenor sax MP possibly work on an alto clarinet – and why?
It is no longer a sax MP. The lower half is reshaped inside and out. The shank is cut back to tune it and create a tenon. The bore is enlarged and tapered for good tuning with accurate twelfths. The altissimo is tuned with a tiny undercut. It becomes an alto clarinet piece with a BIG MOUTH for deeper tone, greater projection, and less resistance BUT there's more. Early versions improved the low clarion stability and articulation by perhaps 30% over a standard MP. It could still be dicey Jumping the break to middle-B, C, C# and D.
Something had to be done, but what? I began exploring the acoustics with pairs of magnets (a tiny one inside guided by another on the outside). This reduced the bore at specific spots. In the bottom quarter of the bore, the tiny obstruction had a strong effect on the low clarion. It helped me identify a zone of influence in the lower bore. I was trying to vary the bore when my cutting failed and left a rough texture. I thought it was ruined, but I mounted a reed and .... I was astonished to find great improvement in the low clarion. Textures absorb high sound, so I deduce that some high overtone noise must interfere with wave formation in the low clarion. With the texture applied – Voilà! Transitions up to low clarion improved by an additional 60%, now totaling about 90% improvement over a standard MP. It also darkens and helps unify the tone of the whole instrument.
This Noise Filter traps short wavelenth (high pitch) noise, while the pure (darker) tones roll right over it. The results are visible on an audio spectrum analyzer. I experimented for months to find a durable texture that traps noise even when it's wet. The low clarion response has become nearly perfect, as shown in my YouTube demo where crossing the break is undetectable. The Noise Filter is as significant as the tenor reed itself.
ORIGIN STORY As a teenage ham radio hobbyist, I studied wave formation, harmonics, noise factors ... And, I made bamboo flutes! In my 27-year career, I designed and manufactured solar power components. When I retired, I returned to making flutes, fixing and improving woodwinds, and playing jazz. After being seduced by klezmer music, I dove into clarinet. I got an alto but it was wishful thinking – It sat in the closet until I ran across Eugene Kirton’s demo of a modified tenor sax mouthpiece on YouTube. I was off and running on this fascinating project. I gifted one to Gene in gratitude for his concept. The BMP bore design and Noise Filter are my own innovations.
