~ MUSICAL PRODUCTS ~
The alto clarinet takes an alto sax reed,
but it has the range of a TENOR sax.
Shouldn't it use a TENOR sax reed?
THE ANSWER is . . .
but it has the range of a TENOR sax.
Shouldn't it use a TENOR sax reed?
THE ANSWER is . . .
BIGMouthPiece™ for Alto Clarinet
~ Big easy sound with a tenor sax reed ~
© 2024 Windy Dankoff
The alto clarinet is often described as stuffy and stubborn. BIGMouthPiece awakens its voice with a tenor sax reed and finely-tuned acoustics. 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 (1948 Pedler alto)
TERMS: Chalumeau – low register Clarion – middle register
Over the break – the cross from chalumeau to clarion register, like shifting gears
BIGMouthPiece is created from a tenor sax mouthpiece, modified inside and out for the alto clarinet. Ironically, it makes the horn sound more clarinet-like. It's free-blowing and expressive with more of the character of a bass clarinet. It crosses the break with greater facility than a standard MP, and produces a stronger low clarion. Maybe the alto clarinet reed was always too short, and nobody noticed!
LOGIC of the TENOR SAX REED Start with the fair assumption that the standard B♭ clarinet has an ideal reed length, particularly the length of the vamp (the vibrating part of the reed). The vamp of the alto clarinet (or sax) reed is 12% longer than the vamp of the of the B♭ reed. But the instrument is 34% longer (acoustically). Perhaps the vamp should be about 34% longer? A typical tenor sax vamp is about 38% longer. A tenor reed makes sense. BIGMouthPiece makes it possible.
THE TONE is like dark chocolate, pouring over the break with a soulful undertone, and rising into altissimo with a unified character.
My video demonstrates these qualities >> https://youtu.be/2p0dbXpmfK0
PHOTO Standard alto clarinet mouthpiece vs. BIGMouthPiece
Notice the Big Mouth and the Airfoil Baffle, explained below
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 (1942 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, originator of the tenor sax 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
Plug and Play ...
Notice the Big Mouth and the Airfoil Baffle, explained below
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 (1942 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, originator of the tenor sax 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
Plug and Play ...
Included:
A suitable reed to get you started
Flexible Ligature with just the right cushioning
Mouthpiece cap / Tooth patch
The cork is thick for resiliency, and runs the length of the tenon. This offers you the greatest chance of an easy fit, without wobble.
But wait, there's more . . .
BIGMouthPiece Fixes the Major Weakness of the Alto Clarinet
A common frustration with alto clarinets is the poor response in low clarion – the heart of its range. BIGMouth corrects this weakness. And in the process, it improves the whole instrument.
THE CAUSE of low clarion weakness in most alto clarinets
If the bore of the alto were directly proportioned from the B♭ clarinet, it would be 20mm (measured in the neck). However, altos range from 17mm to 18mm bore. Thus, every alto clarinet is really a small-bore instrument. As a consequence, the register key vent (the little metal tube) has trouble sounding the entire clarion register. Weakness shows at bottom B C C#. These “over the break” notes require a skillful oomph. Advanced bass clarinets have two register vents to fix this (as saxophones do). Alto clarinets typically have a single vent, except high-end Buffet models. (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 at a compromised location (by necessity). In the low clarion, this creates high-frequency noise that degrades articulation and purity.
BIGMouthPiece has THREE ways to suppress noise and stabilize the low clarion:
(1) The longer reed has a lower tonal spectrum with less high noise. (2) The Airfoil Baffle focuses the tone, further reducing noise (see the raised teardrop in second photo). (3) Remaining noise is absorbed by the Noise Filter. It's a textured surface in the segment of the MP bore that most influences the low clarion (inside the tenon). The right ligature can also help by allowing the reed shank to flex and absorb pressure pulses that are reflected back during challenging articulations. Flexible, cushioned, or minimal ligatures work best (including Syos).
Noise reduction also darkens and unifies the tone through the whole range.
DEMONSTRATION VIDEO >> https://youtu.be/2p0dbXpmfK0
============================
WHY I LOVE THE ALTO CLARINET Because it's so obscure, I’m the best player on my block. It’s a rich and unique voice for jazz and blues with a wonderful range. And it adds depth and mystique to many musical settings. I use it for variety when I do exercises. It keeps me prepped for bass clarinet. Some players use it to substitute for alto or tenor sax and other less available horns.
TWO VARIETIES OF ALTO
Alto clarinets fall into two categories, based on inside diameter – 18mm “large bore” (Vito, LeBlanc, Noblet) and 17mm “small bore” (Selmer USA/Bundy, Selmer Paris, Buffet). I test each BIGMouthPiece on a Vito and a Bundy. When these humble horns both sound spectacular and nearly the same, your mouthpiece is good to go.
BIGMouthPiece evolved through hundreds of hours and over 25 prototypes
It started as a fun experiment, but it kept getting better, far exceeding my expectations until ... well, just read the testimonials.
============================
PRICE $250 Including ligature, cap, tooth patch, Vandoren 2.5 cane reed
or $265 including Priority Mail / USA
Trial Period – 7 DAYS No mouthpiece suits everyone. Try various reeds and if you're not satisfied, contact me for a refund. You pay return postage, and reeds are not refundable.
REED OPTIONS Fibracell 2.5 synthetic Over half of my clients favor the Fibracell 2.5 over any other reed. I do, and I used them throughout the development process – no soak, highly consistent, and long life at modest cost.
For $20 – I will substitute the Fibracell for the normally included cane reed
For $28 – I will send both the Fibracell and a traditional Vandoren reed
LENGTH OPTIONS – Select LONG or SHORT
The LONG VERSION is 3mm (1/8") longer than a traditional MP to accommodate the whole shank of the tenor reed. If you have an adjustable neck, reduce your pullout by 3mm for correct tuning. This is the most convenient option.
SHORT VERSION If your neck is fixed (LeBlanc) or if you cannot reduce the pullout by 3mm, you will need the Short Version to maintain your tuning. You will need to trim 3mm from the shank of your reeds to avoid overhang (wrap with masking tape and use a fine saw blade). If you order reeds from me, I will trim them for you. Alternative: I have some LeBlanc clients who have the composite adjustable neck from jdwoodwinds.com. It can take the Long Version.
Prototypes I have some perfectly-playing prototypes at $150-180
Windy Dankoff, Woodwind Technician
for info or direct purchase 👉 CONTACT
Also available through Reverb.com 👉 https://reverb.com/item/84554144-bigmouthpiece-for-alto-clarinet-big-easy-sound-using-a-tenor-sax-reed
BIGMouthPiece™ for alto clarinet ~ Get it out of the closet!
============================
You may be wondering …
How can a tenor sax MP possibly work on an alto clarinet – and why?
It's no longer a sax MP. The lower half is re-shaped inside and out. The shank is cut back for initial tuning and fit. By coincidence, its original bore is not far off from the alto cl. MP bore. It's a bit smaller, so it presents excess material for the needed re-shaping. For that, I “tuned” a reamer to cut the bore for accurate twelfths, plus a little undercutting tool to correct the altissimo. It becomes an alto clarinet piece with a BIG MOUTH for deeper tone, greater projection, and less resistance. BUT, it still lacked low clarion stability and articulation, especially for the most stubborn intervals over the break, like middle-D to B and C.
The tenor reed system improved that by about 30%. Inspired to improve it further, I began probing the mouthpiece acoustics with pairs of magnets (a tiny one inside guided by another on the outside). This reduces the bore at specific spots. In the bottom quarter of the bore, the tiny obstruction had a strong effect on the low clarion. It was a negative effect, but it located a zone of influence. I discovered with amazement that a sanded texture in that zone greatly improves the low clarion. Fine textures absorbs high sound, so I deduced that some high overtone noise must be interfering with wave formation in the low clarion. It seems true, because as soon as the texture is applied – Voilà! The transition up to low clarion improved by an additional 40% – totaling about 70% improvement over a standard MP. It also darkened and helped unify the tone of the whole instrument. This textured surface is called the Noise Filter.
Searching for one more improvement, I tried sliding more magnets around. A narrow rectangular one in the chamber (above the reed) made a surprise improvement. I replaced it with a streamlined shape that became the Airfoil Baffle. It’s like your tongue "voicing" the sound. It also increases the nozzle effect to match the resistance of the clarinet. I got it 3D printed with a fish-scale texture, and it got even better (texture creates an aerodynamic boundary layer). It seems to improve everything.
There is synergy in woodwind acoustics – when one aspect is improved, other aspects tend to fall into place so the entire instrument awakens. Synergy kicked in and the low clarion response became nearly perfect. In my YouTube demo, crossing the break is undetectable. The Airfoil Baffle and Noise Filter are as significant as the tenor reed itself.
If you're baffled, CONTACT me to request a one-page explanation of how the chamber and baffle work as an enhanced nozzle.
ORIGIN STORY As a teenage "radio ham" I studied wave formation, harmonics, noise reduction ... and I made bamboo flutes. For 27 years I was a solar product developer and manufacturer. Then I retired early and returned to making flutes, fixing and improving woodwinds, and playing jazz. I was seduced by klezmer music and 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 YouTube demo of an alto clarinet with a modified tenor sax mouthpiece. I was off and running on this fascinating project. I am grateful to Eugene for the original concept and continuing support. The bore design, Airfoil Baffle, and Noise Filter are my own innovations.
BIGMouthPiece™ for alto clarinet ~ Get it out of the closet!
For availability 👉 CONTACT me directly or find it on Reverb.com
DEMONSTRATION VIDEO >> https://youtu.be/2p0dbXpmfK0
A suitable reed to get you started
Flexible Ligature with just the right cushioning
Mouthpiece cap / Tooth patch
The cork is thick for resiliency, and runs the length of the tenon. This offers you the greatest chance of an easy fit, without wobble.
But wait, there's more . . .
BIGMouthPiece Fixes the Major Weakness of the Alto Clarinet
A common frustration with alto clarinets is the poor response in low clarion – the heart of its range. BIGMouth corrects this weakness. And in the process, it improves the whole instrument.
THE CAUSE of low clarion weakness in most alto clarinets
If the bore of the alto were directly proportioned from the B♭ clarinet, it would be 20mm (measured in the neck). However, altos range from 17mm to 18mm bore. Thus, every alto clarinet is really a small-bore instrument. As a consequence, the register key vent (the little metal tube) has trouble sounding the entire clarion register. Weakness shows at bottom B C C#. These “over the break” notes require a skillful oomph. Advanced bass clarinets have two register vents to fix this (as saxophones do). Alto clarinets typically have a single vent, except high-end Buffet models. (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 at a compromised location (by necessity). In the low clarion, this creates high-frequency noise that degrades articulation and purity.
BIGMouthPiece has THREE ways to suppress noise and stabilize the low clarion:
(1) The longer reed has a lower tonal spectrum with less high noise. (2) The Airfoil Baffle focuses the tone, further reducing noise (see the raised teardrop in second photo). (3) Remaining noise is absorbed by the Noise Filter. It's a textured surface in the segment of the MP bore that most influences the low clarion (inside the tenon). The right ligature can also help by allowing the reed shank to flex and absorb pressure pulses that are reflected back during challenging articulations. Flexible, cushioned, or minimal ligatures work best (including Syos).
Noise reduction also darkens and unifies the tone through the whole range.
DEMONSTRATION VIDEO >> https://youtu.be/2p0dbXpmfK0
============================
WHY I LOVE THE ALTO CLARINET Because it's so obscure, I’m the best player on my block. It’s a rich and unique voice for jazz and blues with a wonderful range. And it adds depth and mystique to many musical settings. I use it for variety when I do exercises. It keeps me prepped for bass clarinet. Some players use it to substitute for alto or tenor sax and other less available horns.
TWO VARIETIES OF ALTO
Alto clarinets fall into two categories, based on inside diameter – 18mm “large bore” (Vito, LeBlanc, Noblet) and 17mm “small bore” (Selmer USA/Bundy, Selmer Paris, Buffet). I test each BIGMouthPiece on a Vito and a Bundy. When these humble horns both sound spectacular and nearly the same, your mouthpiece is good to go.
BIGMouthPiece evolved through hundreds of hours and over 25 prototypes
It started as a fun experiment, but it kept getting better, far exceeding my expectations until ... well, just read the testimonials.
============================
PRICE $250 Including ligature, cap, tooth patch, Vandoren 2.5 cane reed
or $265 including Priority Mail / USA
Trial Period – 7 DAYS No mouthpiece suits everyone. Try various reeds and if you're not satisfied, contact me for a refund. You pay return postage, and reeds are not refundable.
REED OPTIONS Fibracell 2.5 synthetic Over half of my clients favor the Fibracell 2.5 over any other reed. I do, and I used them throughout the development process – no soak, highly consistent, and long life at modest cost.
For $20 – I will substitute the Fibracell for the normally included cane reed
For $28 – I will send both the Fibracell and a traditional Vandoren reed
LENGTH OPTIONS – Select LONG or SHORT
The LONG VERSION is 3mm (1/8") longer than a traditional MP to accommodate the whole shank of the tenor reed. If you have an adjustable neck, reduce your pullout by 3mm for correct tuning. This is the most convenient option.
SHORT VERSION If your neck is fixed (LeBlanc) or if you cannot reduce the pullout by 3mm, you will need the Short Version to maintain your tuning. You will need to trim 3mm from the shank of your reeds to avoid overhang (wrap with masking tape and use a fine saw blade). If you order reeds from me, I will trim them for you. Alternative: I have some LeBlanc clients who have the composite adjustable neck from jdwoodwinds.com. It can take the Long Version.
Prototypes I have some perfectly-playing prototypes at $150-180
Windy Dankoff, Woodwind Technician
for info or direct purchase 👉 CONTACT
Also available through Reverb.com 👉 https://reverb.com/item/84554144-bigmouthpiece-for-alto-clarinet-big-easy-sound-using-a-tenor-sax-reed
BIGMouthPiece™ for alto clarinet ~ Get it out of the closet!
============================
You may be wondering …
How can a tenor sax MP possibly work on an alto clarinet – and why?
It's no longer a sax MP. The lower half is re-shaped inside and out. The shank is cut back for initial tuning and fit. By coincidence, its original bore is not far off from the alto cl. MP bore. It's a bit smaller, so it presents excess material for the needed re-shaping. For that, I “tuned” a reamer to cut the bore for accurate twelfths, plus a little undercutting tool to correct the altissimo. It becomes an alto clarinet piece with a BIG MOUTH for deeper tone, greater projection, and less resistance. BUT, it still lacked low clarion stability and articulation, especially for the most stubborn intervals over the break, like middle-D to B and C.
The tenor reed system improved that by about 30%. Inspired to improve it further, I began probing the mouthpiece acoustics with pairs of magnets (a tiny one inside guided by another on the outside). This reduces the bore at specific spots. In the bottom quarter of the bore, the tiny obstruction had a strong effect on the low clarion. It was a negative effect, but it located a zone of influence. I discovered with amazement that a sanded texture in that zone greatly improves the low clarion. Fine textures absorbs high sound, so I deduced that some high overtone noise must be interfering with wave formation in the low clarion. It seems true, because as soon as the texture is applied – Voilà! The transition up to low clarion improved by an additional 40% – totaling about 70% improvement over a standard MP. It also darkened and helped unify the tone of the whole instrument. This textured surface is called the Noise Filter.
Searching for one more improvement, I tried sliding more magnets around. A narrow rectangular one in the chamber (above the reed) made a surprise improvement. I replaced it with a streamlined shape that became the Airfoil Baffle. It’s like your tongue "voicing" the sound. It also increases the nozzle effect to match the resistance of the clarinet. I got it 3D printed with a fish-scale texture, and it got even better (texture creates an aerodynamic boundary layer). It seems to improve everything.
There is synergy in woodwind acoustics – when one aspect is improved, other aspects tend to fall into place so the entire instrument awakens. Synergy kicked in and the low clarion response became nearly perfect. In my YouTube demo, crossing the break is undetectable. The Airfoil Baffle and Noise Filter are as significant as the tenor reed itself.
If you're baffled, CONTACT me to request a one-page explanation of how the chamber and baffle work as an enhanced nozzle.
ORIGIN STORY As a teenage "radio ham" I studied wave formation, harmonics, noise reduction ... and I made bamboo flutes. For 27 years I was a solar product developer and manufacturer. Then I retired early and returned to making flutes, fixing and improving woodwinds, and playing jazz. I was seduced by klezmer music and 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 YouTube demo of an alto clarinet with a modified tenor sax mouthpiece. I was off and running on this fascinating project. I am grateful to Eugene for the original concept and continuing support. The bore design, Airfoil Baffle, and Noise Filter are my own innovations.
BIGMouthPiece™ for alto clarinet ~ Get it out of the closet!
For availability 👉 CONTACT me directly or find it on Reverb.com
DEMONSTRATION VIDEO >> https://youtu.be/2p0dbXpmfK0
=====================================
SET-UP and CARE of your BIGMouthPiece
Reed selection Most players favor a relatively soft reed. To get you started, I include a Vandoren Traditional 2.5. You know that cane varies, so don’t judge your MP on one reed. I also offer the option of a synthetic Fibracell 2.5. I enjoy its consistency and ease of use. You can buy them from me or from standard suppliers like Kessler or Weiner Music. An alto sax reed may work, but won’t express the full potential.
Ligature Best position will vary with the type of reed or ligature, usually relatively low with medium tension.
Cleaning A soft brush gets into the corners better than a traditional swab, and is more compatible with the Noise Filter surface. I recommend the Rico Neck Saver made for tenor/bari sax. It’s good for both the MP and the neck. Occasionally, a bristled mouthpiece brush can be used with soap and water. For stubborn deposits, soak the MP in vinegar then wash. To swab the rest of your horn, a soprano sax Pad Saver is just right.
SET-UP and CARE of your BIGMouthPiece
Reed selection Most players favor a relatively soft reed. To get you started, I include a Vandoren Traditional 2.5. You know that cane varies, so don’t judge your MP on one reed. I also offer the option of a synthetic Fibracell 2.5. I enjoy its consistency and ease of use. You can buy them from me or from standard suppliers like Kessler or Weiner Music. An alto sax reed may work, but won’t express the full potential.
Ligature Best position will vary with the type of reed or ligature, usually relatively low with medium tension.
Cleaning A soft brush gets into the corners better than a traditional swab, and is more compatible with the Noise Filter surface. I recommend the Rico Neck Saver made for tenor/bari sax. It’s good for both the MP and the neck. Occasionally, a bristled mouthpiece brush can be used with soap and water. For stubborn deposits, soak the MP in vinegar then wash. To swab the rest of your horn, a soprano sax Pad Saver is just right.
NOW it's cool!
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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
I couldn't make these up! All testimonials are used with express permission.
"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
I couldn't make these up! All testimonials are used with express permission.
