~ A MUSICAL PRODUCT ~ to improve an "outdated" instrument ...
THIS PAGE IS OUTDATED. Please go to the next page:
👉 http://www.windydankoff.com/alto-clarinet-mouthpiece.html
The alto clarinet takes an alto sax reed,
but it has the range of a TENOR sax.
Would a TENOR sax reed work better?
THE ANSWER is . . .
👉 http://www.windydankoff.com/alto-clarinet-mouthpiece.html
The alto clarinet takes an alto sax reed,
but it has the range of a TENOR sax.
Would a TENOR sax reed work better?
THE ANSWER is . . .
OLD VERSION:
BIGMouthPiece™ for Alto Clarinet
~ Big easy sound with a tenor sax reed ~
© 2024 Windy Dankoff
The alto clarinet is under-appreciated. It often seems stuffy and stubborn. BIGMouthPiece awakens its voice with a bigger 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)
TERMINOLOGY: Chalumeau – low register Clarion – middle register
Over the break – the cross from chalumeau to clarion register, like shifting gears
Who needs it? Band players love it for its superior projection. Jazz players love its expressive capacities and fluidity, especially over the break. Bass clarinet and sax doublers find it easily accommodating. Classical players project better in large ensembles, whereas it may be too bold in chamber settings. It's a major instrument upgrade at a modest price. Even a plastic alto will sound spectacular. 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, and rising into altissimo with a unified character. It's free-blowing and expressive with much of the character of a bass clarinet, but sweeter in the midrange. It crosses the break with greater facility than a standard MP, and produces a beautiful, uniform tone.
LOGIC of the TENOR SAX REED The normal alto reed's vamp (the vibrating portion) is 12% longer than that of the of the soprano reed. But, the alto instrument is 34% longer (acoustically). Perhaps the vamp should be around 34% longer? A typical tenor sax vamp is about 38% longer so it makes sense. And now it's practical. Maybe the alto clarinet reed was always too short, and nobody noticed!
BIGMouthPiece is created from a classical tenor sax mouthpiece that is lathe-cut on the outside, re-bored inside, and finely tuned for the alto clarinet.
PHOTO Standard mouthpiece vs. BIGMouthPiece with Airfoil Baffle
My video demonstration >> https://youtu.be/2p0dbXpmfK0
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
My video demonstration >> https://youtu.be/2p0dbXpmfK0
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
WHAT ELSE DOES IT DO?
It Fixes the Major Weakness of the Alto Clarinet
A common complaint with alto clarinets is the poor response in low clarion. 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 (at 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, it causes high-frequency noise that interferes with articulation and purity.
BIGMouthPiece has THREE ways to suppress this 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 added 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 (it's inside the tenon).
This noise reduction also darkens and unifies the tone through the whole range. The right ligature can also help by allowing the reed shank to flex and absorb pressure pulses that are reflected back during challenging articulations. A flexible cushioned ligature is included.
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 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, I often hear "I thought it was a baritone sax" – but unlike a sax, I can also play softly to stay out of trouble. I 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 that BIGMouthPiece will further the revival of alto clarinet.
BIGMouthPiece evolved through hundreds of hours and over 25 prototypes
It started as a curious experiment, then it kept getting better until it far exceeded my expectations. I spent months refining the design and production tools so they come out very consistent for both large-bore and small bore altos, including Vito and Selmer-Bundy. It makes even these humble horns sound spectacular.
============================
PRICE $250 PLUG & PLAY Includes Fibracell synthetic reed (3.5 or 4.5), a flexible ligature, cap, and tooth patch
Priority Mail and handling / USA add $15 = $265 postpaid
Trial Period – 10 DAYS If you're not satisfied, contact me for a refund. You pay return postage. $25 deducted for non-refundable Fibracell reed.
LENGTH OPTIONS – LONG or SHORT version
LONG VERSION is 3mm (1/8") longer than the standard MP, to accommodate the length of the tenor reed. If you have an adjustable neck, reduce your pullout by 3mm for correct tuning. Then, this is the default option because it requires no reed trimming.
SHORT VERSION If your neck is non-adjustable (like LeBlanc) or if you cannot reduce the pullout by 3mm, get the Short Version to maintain the tuning. You will need to trim 3mm from the shank of your reeds to avoid overhang (wrap with tape and use a fine saw blade, or use any grinding or sanding device). If you order reeds from me, I will trim them for you. Alternative: Some of my clients have the composite adjustable neck from jdwoodwinds.com. It will adjust for the Long Version.
REED OPTIONS – Fibracell 3.5 or 4.5
A reed is included so you can make best use of your trial period. The Fibracell synthetic reed is likely to please, right out of the box – no soak, highly consistent, and long life at modest cost. It creates that dark chocolate bass-like tone with a bit of sparkle, and a strong clarinet voice right to the top.
Fibracell 3.5 is preferred by jazz players who need tonal flexibility, or by anyone who prefers less resistance.
Fibracell 4.5 is generally better by classical players. Specify your choice when you order.
Prototypes I have some perfectly-sounding prototypes at $150-180, and some cosmetic seconds
Windy Dankoff, Woodwind Technician
for purchase info 👉 CONTACT ME HERE
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 is no longer a sax MP. The lower half is transformed inside and out. The shank is cut back for initial tuning and fit. By coincidence, its original bore is not far off from that of the alto cl. It needs a small enlargement, which enables the needed re-shaping. For that, I produced a “tuned” reamer to cut the bore for good tuning with accurate twelfths. I correct the altissimo with a little undercutting tool. It becomes an alto clarinet piece with a BIG MOUTH for deeper tone, greater projection, and less resistance. BUT, it still needed better low clarion stability and articulation, especially for stubborn intervals over the break like middle-D to B and C. The tenor reed system improved that by (only) about 30%.
Inspired to improve it further, I began altering the 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 rough texture in that zone greatly improves the low clarion. Fine textures absorbs high sound, so I deduce that some high overtone noise must be interfering with wave formation in the low clarion. And so it seems, 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 darkens and helps unify the tone of the whole instrument. It even makes a Bundy sound impressive. This textured surface is called the Noise Filter.
Searching for 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 a tongue "voicing" the sound. It also increases the nozzle effect to match the greater 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 for a one-page explanation of how the chamber and baffle work as an enhanced nozzle.
ORIGIN STORY As a teenage radio hobbyist, I studied wave formation, harmonics, bandwidth, noise reduction ... and I made bamboo flutes. I was a solar product developer and manufacturerfor 27 years. 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 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
DEMONSTRATION VIDEO >> https://youtu.be/2p0dbXpmfK0
It Fixes the Major Weakness of the Alto Clarinet
A common complaint with alto clarinets is the poor response in low clarion. 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 (at 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, it causes high-frequency noise that interferes with articulation and purity.
BIGMouthPiece has THREE ways to suppress this 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 added 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 (it's inside the tenon).
This noise reduction also darkens and unifies the tone through the whole range. The right ligature can also help by allowing the reed shank to flex and absorb pressure pulses that are reflected back during challenging articulations. A flexible cushioned ligature is included.
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 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, I often hear "I thought it was a baritone sax" – but unlike a sax, I can also play softly to stay out of trouble. I 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 that BIGMouthPiece will further the revival of alto clarinet.
BIGMouthPiece evolved through hundreds of hours and over 25 prototypes
It started as a curious experiment, then it kept getting better until it far exceeded my expectations. I spent months refining the design and production tools so they come out very consistent for both large-bore and small bore altos, including Vito and Selmer-Bundy. It makes even these humble horns sound spectacular.
============================
PRICE $250 PLUG & PLAY Includes Fibracell synthetic reed (3.5 or 4.5), a flexible ligature, cap, and tooth patch
Priority Mail and handling / USA add $15 = $265 postpaid
Trial Period – 10 DAYS If you're not satisfied, contact me for a refund. You pay return postage. $25 deducted for non-refundable Fibracell reed.
LENGTH OPTIONS – LONG or SHORT version
LONG VERSION is 3mm (1/8") longer than the standard MP, to accommodate the length of the tenor reed. If you have an adjustable neck, reduce your pullout by 3mm for correct tuning. Then, this is the default option because it requires no reed trimming.
SHORT VERSION If your neck is non-adjustable (like LeBlanc) or if you cannot reduce the pullout by 3mm, get the Short Version to maintain the tuning. You will need to trim 3mm from the shank of your reeds to avoid overhang (wrap with tape and use a fine saw blade, or use any grinding or sanding device). If you order reeds from me, I will trim them for you. Alternative: Some of my clients have the composite adjustable neck from jdwoodwinds.com. It will adjust for the Long Version.
REED OPTIONS – Fibracell 3.5 or 4.5
A reed is included so you can make best use of your trial period. The Fibracell synthetic reed is likely to please, right out of the box – no soak, highly consistent, and long life at modest cost. It creates that dark chocolate bass-like tone with a bit of sparkle, and a strong clarinet voice right to the top.
Fibracell 3.5 is preferred by jazz players who need tonal flexibility, or by anyone who prefers less resistance.
Fibracell 4.5 is generally better by classical players. Specify your choice when you order.
Prototypes I have some perfectly-sounding prototypes at $150-180, and some cosmetic seconds
Windy Dankoff, Woodwind Technician
for purchase info 👉 CONTACT ME HERE
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 is no longer a sax MP. The lower half is transformed inside and out. The shank is cut back for initial tuning and fit. By coincidence, its original bore is not far off from that of the alto cl. It needs a small enlargement, which enables the needed re-shaping. For that, I produced a “tuned” reamer to cut the bore for good tuning with accurate twelfths. I correct the altissimo with a little undercutting tool. It becomes an alto clarinet piece with a BIG MOUTH for deeper tone, greater projection, and less resistance. BUT, it still needed better low clarion stability and articulation, especially for stubborn intervals over the break like middle-D to B and C. The tenor reed system improved that by (only) about 30%.
Inspired to improve it further, I began altering the 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 rough texture in that zone greatly improves the low clarion. Fine textures absorbs high sound, so I deduce that some high overtone noise must be interfering with wave formation in the low clarion. And so it seems, 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 darkens and helps unify the tone of the whole instrument. It even makes a Bundy sound impressive. This textured surface is called the Noise Filter.
Searching for 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 a tongue "voicing" the sound. It also increases the nozzle effect to match the greater 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 for a one-page explanation of how the chamber and baffle work as an enhanced nozzle.
ORIGIN STORY As a teenage radio hobbyist, I studied wave formation, harmonics, bandwidth, noise reduction ... and I made bamboo flutes. I was a solar product developer and manufacturerfor 27 years. 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 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
DEMONSTRATION VIDEO >> https://youtu.be/2p0dbXpmfK0
=====================================
SET-UP and CARE of your BIGMouthPiece
Reed selection I include a synthetic Fibracell tenor reed as described above. I enjoy its consistency and ease of use and spectacular tone. You can get quick delivery from me, or from standard suppliers like Kessler, Alto, Weiner, or Sweetwater Music. No one reed fits all! 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. Other tenor sax ligatures will fit, including standard metal ones and Syos.
Cleaning A soft brush gets into the corners better than a traditional swab, and is more protective of the textured 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 I include a synthetic Fibracell tenor reed as described above. I enjoy its consistency and ease of use and spectacular tone. You can get quick delivery from me, or from standard suppliers like Kessler, Alto, Weiner, or Sweetwater Music. No one reed fits all! 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. Other tenor sax ligatures will fit, including standard metal ones and Syos.
Cleaning A soft brush gets into the corners better than a traditional swab, and is more protective of the textured 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's a revelation!" Woodwind professional, classical and jazz, teacher – awaiting further review and 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.
"It's a revelation!" Woodwind professional, classical and jazz, teacher – awaiting further review and permission
