BIGMOUTH™
A better mouthpiece for Alto Clarinet
A better mouthpiece for Alto Clarinet
BIGGER REED ~ BIGGER SOUND
© 2026 Windy Dankoff
New life for an "obsolete" instrument
The E♭alto clarinet is sized between the standard B♭ clarinet and bass clarinet. Considered a weak instrument, it was dropped from most school and concert bands by 1980. With a standard mouthpiece, it's resistant and low in volume. BIGMOUTH raises its performance to match the rest of the clarinet family, with a rich sound close to the bass clarinet.
BIGMOUTH uses tenor sax or bass clarinet reeds instead of alto reeds, for greater airflow and a big easy sound. My first buyer described it well ...
“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 alto clarinet underperforms for two reasons:
1. Airflow is restricted by the traditional mouthpiece
2. The low clarion range is degraded by noisy, stray harmonics
BIGMOUTH improves both of these factors with:
1. A larger airflow window
2. A Noise Filter that purifies and strengthens the low clarion
TERMINOLOGY: Chalumeau – the low register Clarion – middle register
Over the break – the jump from high chalumeau to low clarion
Noise – dissonant overtones from an imperfect register key
Noise Filter – a textured surface that absorbs high overtones
BIGMOUTH creates a true clarinet voice with greater projection AND dynamic range (soft to loud).
Intonation is consistent with fine traditional mouthpieces. The altissimo (high register) sings out using standard clarinet fingerings, easily to A6.
Who needs it? Concert band players – just to hear yourself! Jazz players for a sensational sound. Sax and bass clarinet doublers, for easier cross-over. Classical players who don't own a $ prestige instrument. Anyone who stumbles over the break or just don't enjoy the instrument. Most owners say they'll never go back to a standard mouthpiece. " It's like an amplifier for my alto clarinet! " (Maria B, Colorado)
You don't need a high-end instrument, just an over-the-top mouthpiece It even makes an old plastic school horn sound wonderful
PHOTO compares it to a traditional mouthpiece
New life for an "obsolete" instrument
The E♭alto clarinet is sized between the standard B♭ clarinet and bass clarinet. Considered a weak instrument, it was dropped from most school and concert bands by 1980. With a standard mouthpiece, it's resistant and low in volume. BIGMOUTH raises its performance to match the rest of the clarinet family, with a rich sound close to the bass clarinet.
BIGMOUTH uses tenor sax or bass clarinet reeds instead of alto reeds, for greater airflow and a big easy sound. My first buyer described it well ...
“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 alto clarinet underperforms for two reasons:
1. Airflow is restricted by the traditional mouthpiece
2. The low clarion range is degraded by noisy, stray harmonics
BIGMOUTH improves both of these factors with:
1. A larger airflow window
2. A Noise Filter that purifies and strengthens the low clarion
TERMINOLOGY: Chalumeau – the low register Clarion – middle register
Over the break – the jump from high chalumeau to low clarion
Noise – dissonant overtones from an imperfect register key
Noise Filter – a textured surface that absorbs high overtones
BIGMOUTH creates a true clarinet voice with greater projection AND dynamic range (soft to loud).
Intonation is consistent with fine traditional mouthpieces. The altissimo (high register) sings out using standard clarinet fingerings, easily to A6.
Who needs it? Concert band players – just to hear yourself! Jazz players for a sensational sound. Sax and bass clarinet doublers, for easier cross-over. Classical players who don't own a $ prestige instrument. Anyone who stumbles over the break or just don't enjoy the instrument. Most owners say they'll never go back to a standard mouthpiece. " It's like an amplifier for my alto clarinet! " (Maria B, Colorado)
You don't need a high-end instrument, just an over-the-top mouthpiece It even makes an old plastic school horn sound wonderful
PHOTO compares it to a traditional mouthpiece
DEMONSTRATION VIDEOS online
Chromatic scale and over-the-break demo https://youtu.be/2p0dbXpmfK0
Dark Sanctuary by Luke Pickman, Instrument Maniac https://www.youtube.com/watch?v=2iPnCwHYNxE See it at 2.00
Luke writes: "WOW you have really nailed it!! It feels like I'm playing a completely different instrument. The response and clarity across the entire range is a total game changer. I usually use a 2.5 strength reed and there was so much flexibility and openness I had to go up to 3 for a bit more control. Also very impressive projection & volume. It's refreshing to not feel suffocated by the stuffiness of the instrument when trying to move around and maintain tone. Alto clarinet could now be easily used in a louder jazz setting and actually compete with the other horns while maintaining that darker edge. Outstanding work on this, it fully revives the instrument and moves it away from being obsolete." – Luke Pickman, Instrument Maniac, USA (Vito alto cl.)
Gene Kirton, the originator of the BIGMOUTH concept https://www.youtube.com/shorts/JPuvdDTT7-c
A demo with various reeds, from Taiwan https://www.youtube.com/watch?v=NgHz-JfkmAo – best sound is in the second half
TESTIMONIALS
“ 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) USA
" I'm REALLY impressed by the BIGMouthPiece. The ease of blowing and the increased output reaches another level! With the same pressure, I get around 30% more volume than with my Vandoren BD5! And, there is less change of timbre between registers. It's is more stable all around. With bass cl. V21 2.5 reeds the BMP has sent me to nirvana, so perfect! I wish I had found your website before I spent so much money on famous-brand MPs. I hope more alto players feel curious to give the BMP a shot. Thank you! " – Bruno Sant'Anna Chaves, Brazil (LeBlanc swan-neck alto)
"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. 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. ... 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! " – Jared De Leon, JD Woodwinds, low clarinet and mouthpiece maker, classical musician, www.jdwoodwind.com (Buffet alto) USA
" This mouthpiece would change the way the alto is perceived in concert bands. It gives it the depth and resonance of the bass clarinet and the power and cut of the alto sax in the mid and high register. You must play this mpc to believe it. It's that simple." Daniel Powell, Florida, on the Low Clarinets FB group (Vito alto)
" To use my student's words, it is 'Super cool!!' She had never played anything larger than the soprano, but she was playing in tune throughout the range by the end of one class period - 42 minutes! And, producing a great tone with the reed you included. (She's a talented 17-year old kid.) She is really having fun with the alto. I will be looking to order a second one next year. Much appreciated!" – Mark Maurer, High School Band Director, Pittsburgh USA
– All quoted with permission, emphasis added – Windy
PRICE $250 includes Flexible ligature, swab, cap, tooth patch
Postage for USA IS INCLUDED
Canada / Mexico Add $35
Overseas, Add $65 Air or $85 Air Priority
Trial Period – 10 DAYS, refundable
To inquire about purchase, hit 👉 CONTACT
FOR BUNDY please specify so I can adjust the cork size
Scratch & Dent discounts Oops! Ask if I have "seconds" with cosmetic flaws, discounted $25-40
======= REED OPTIONS =========
BIGMOUTH was designed for tenor or bass cl. reeds BUT we were surprised to find that some alto sax reeds work perfectly
PLUG & PLAY Add a synthetic reed to your order –
Softer option – Légère alto American Cut 1.75 good if you use #2 or less on bass or other clarinets $35
Harder option – Légère alto Signature 2.5 $35
Other favorite synthetics
Légère American Cut TENOR 2.0 or higher
Légère Euro Cut Bass Clarinet 3.25 – for a harder option
Hartmann Fiberreed Tenor Copper Classic 3 – Good for a more aggressive tone
Légère Euro Cut Bass Clarinet 3.25 – for a harder option
Fibracell Tenor 3.5 – A favorite, but there's an occasional bad one
Traditional cane reeds
Voted #1 – Vandoren bass clarinet V21 #2.5 or 3
Vandoren tenor reeds also good, # 2.5 or 3, all versions
User feedback
" The Légère alto sax American Cut [1.75] is best for me. BUT this mpc plays reeds nothing else will. I have gone through old boxes of duds and find some play just fine on the BIGMOUTH. " – Dan Powell, FL
" I have a new favorite reed for my BIGMOUTH: Légère bass clarinet European Cut 3.25. (I also tried 2.5, 2.75, 3.0, and 3.5). Sunday, we were warming up for a wind symphony concert. A player in front of me turned and gave me a thumb's up. I asked what that was for. She replied, "I can finally hear the alto clarinet." – Dave R, WA
Made by
Windy Dankoff, Woodwind Technician
For questions or purchase 👉 Go to CONTACT page
Get it out of the closet!
BIGMOUTH fixes a unique weakness of the alto clarinet – poor response in low clarion
THE CAUSE The bore of the alto clarinet is proportionally smaller than the B♭ soprano bore (~10%). The register key struggles to bring out the low clarion notes B C C♯. Crossing registers "over the break" takes extra effort and skill and slurring can be nearly impossible. Advanced bass clarinets (and saxophones) solve this by switching between an upper and a lower register vent. But most alto clarinets have only one vent. (To clarify: The typical register key shifts to a B♭ vent with thumb release, not to a second register vent.) The single vent is located too high for a strong low clarion. It creates noise – a hiss of dissonant overtones. Energy is lost, like having cotton under a guitar string.
THE FIX Overtone hiss is reduced by the BIGMOUTH Noise Filter, visible in the photo below. It's a convoluted surface that supresses short wavelength (high pitch) sound. It is located in a segment of the bore that specifically influences the top B♭ up to low clarion D. It also helps darken and unify the whole instrument.
Noise Filter is an acoustic surface applied to the bore, visible in the photo. It absorbs dissonant overtones to improve difficult intervals and articulation. It also "darkens" the overall tone. It's durable, and works wet or dry.
The full-length cork helps eliminate wobble
TIP OPENING 1.85mm (.073")
CORK DIAMETER It fits the highly-standard 24mm socket. BUNDY takes 23.5mm – Specify with your order
============================
WHY I LOVE THE ALTO CLARINET Because it's so obscure, I’m the best player on my block! It has depth, mystique, and subtlety. It’s a rich and unique voice for jazz and blues. It can bottom-out like a baritone sax, or soar like an alto, or play soft harmony an octave below. The range is huge, from concert F# below the bass staff, to C above the treble (A6 on the clarinet). Some ensemble players are substituting for sax, bassoon, and other instruments. It's making a comeback among wind composers, and BIGMOUTH is helping make that possible.
To inquire for purchase, go to the 👉 CONTACT page
BIGMOUTH™ for alto clarinet ~ Get it out of the closet
=====================================
SET-UP and CARE of BIGMouth
Ligature A strong flexible lig. is included. It's modified to focus pressure high on the reed so it doesn't need much tension. And it's pre-stretched.
Cleaning I include a swab that's effective and safe for the textured interior. It's a sax neck brush, good for your neck too. Occasionally, you can use a soft bristle brush with soap and water. For stubborn deposits, soak the MP in vinegar, then wash. BTW, to swab the body of your 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. Crossing the break was a weak, squeaky mess. Your BMP immediately made that easy with much bolder sound. The high clarion range was really feeble and fuzzy with the Bundy and the BMP made that bold and fluid. I can keep up with the saxes in our wind symphony for the first time ever. My [clarinet] choir director recommended it to his colleague who directs groups in Denver. I had a good discovery, too – I tried a Vandoren Jazz 2.5 alto sax reed and it mellowed the sound nicely. I'll use the Fibracell tenor 3.5 for the wind symphony when I'm teamed with the alto saxes. It helps me get to the higher notes. I'm really happy with the versatility I've found with different reeds for different ensembles. Great work!" 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)
" It's simply awesome! Exceeds my expectations in all areas. 3x the volume of regular alto clarinet mpcs. Tunning is perfect. It's is very well made, and worth the price. I can't stress how much this mpc improves everything about the alto clarinet. " [ I asked permission to quote ] "Absolutely! I wholeheartedly support this product." Dan Powell, Florida USA – super20dan on saxontheweb.net Jazz and concert band (Vito alto)
Since [my Bundy alto] was free, I installed a pickup port in the neck. Now I run it through my bass (guitar) pedalboard and make unhinged noises with it. I wouldn't dream of going back to my Vandoren 5RV" – Rainy, of Sapling "New England’s premier bitchpop and art rock band" (StratoBundy)
"I am very much still in love with this mouthpiece. It has truly unhindered the horn, and brought a beautiful sound to light. The growl through the break and mid-Clarion is sensational, boasting sultriness directly on par with a tenor sax." – a followup by Jim "Windsong" on www.clarinetpages.info - 10 months after his first testimony at the top of this web page. (1940s Pedler alto)
" It just didn't work for me." ... WA, USA (Noblet alto) – The only one ever returned
"All of the things you mentioned with freeing up the lower clarion feels spot on. Same with ability to get more volume out of the instrument in general. Flexibility in sound does seem about as straightforward as swapping reeds and adjusting embouchure, so getting a very "clarinet-y" sound vs a brighter "sax-y" sound is easy to do. It just becomes a matter of finding which specific reed you like for any given purpose. The mouthpiece is definitely a keeper!" – MH, Michigan, USA (Noblet alto, owns many MPs)
"It's a great mouthpiece! The lower clarion is miles clearer than any other that I've played, on alto or bass clarinet. Definitely smooth over the break. Overall, the setup cuts/projects a lot. Maybe in true chamber situations, I'll still pull out my old piece. But this opens more possibilities for the horn, and will make it easier to keep up in a jazz group. I also appreciate you including the cleaning brush." – AG, classical, concert band, jazz player, WA, USA (Bundy alto)
"It works as advertised. Congratulations on having figured that out!" Don L, MN, USA (Selmer Series 9 alto in clarinet choirs)
" My band director never heard me until my first night with the BIGMOUTH. After rehearsal, she asked what I was doing differently and I showed her my new mouthpiece. I haven’t looked back since then! It makes going over the break smoother, and it's easier to hit altissimo notes. It makes my practicing easy and enjoyable. Thank you for creating it! " Lori M, CA (Vito alto, Légère American Cut alto sax reed 1.75)
All testimonials are quoted with permission, emphasis is mine -- WD
The full-length cork helps eliminate wobble
TIP OPENING 1.85mm (.073")
CORK DIAMETER It fits the highly-standard 24mm socket. BUNDY takes 23.5mm – Specify with your order
============================
WHY I LOVE THE ALTO CLARINET Because it's so obscure, I’m the best player on my block! It has depth, mystique, and subtlety. It’s a rich and unique voice for jazz and blues. It can bottom-out like a baritone sax, or soar like an alto, or play soft harmony an octave below. The range is huge, from concert F# below the bass staff, to C above the treble (A6 on the clarinet). Some ensemble players are substituting for sax, bassoon, and other instruments. It's making a comeback among wind composers, and BIGMOUTH is helping make that possible.
To inquire for purchase, go to the 👉 CONTACT page
BIGMOUTH™ for alto clarinet ~ Get it out of the closet
=====================================
SET-UP and CARE of BIGMouth
Ligature A strong flexible lig. is included. It's modified to focus pressure high on the reed so it doesn't need much tension. And it's pre-stretched.
Cleaning I include a swab that's effective and safe for the textured interior. It's a sax neck brush, good for your neck too. Occasionally, you can use a soft bristle brush with soap and water. For stubborn deposits, soak the MP in vinegar, then wash. BTW, to swab the body of your 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. Crossing the break was a weak, squeaky mess. Your BMP immediately made that easy with much bolder sound. The high clarion range was really feeble and fuzzy with the Bundy and the BMP made that bold and fluid. I can keep up with the saxes in our wind symphony for the first time ever. My [clarinet] choir director recommended it to his colleague who directs groups in Denver. I had a good discovery, too – I tried a Vandoren Jazz 2.5 alto sax reed and it mellowed the sound nicely. I'll use the Fibracell tenor 3.5 for the wind symphony when I'm teamed with the alto saxes. It helps me get to the higher notes. I'm really happy with the versatility I've found with different reeds for different ensembles. Great work!" 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)
" It's simply awesome! Exceeds my expectations in all areas. 3x the volume of regular alto clarinet mpcs. Tunning is perfect. It's is very well made, and worth the price. I can't stress how much this mpc improves everything about the alto clarinet. " [ I asked permission to quote ] "Absolutely! I wholeheartedly support this product." Dan Powell, Florida USA – super20dan on saxontheweb.net Jazz and concert band (Vito alto)
Since [my Bundy alto] was free, I installed a pickup port in the neck. Now I run it through my bass (guitar) pedalboard and make unhinged noises with it. I wouldn't dream of going back to my Vandoren 5RV" – Rainy, of Sapling "New England’s premier bitchpop and art rock band" (StratoBundy)
"I am very much still in love with this mouthpiece. It has truly unhindered the horn, and brought a beautiful sound to light. The growl through the break and mid-Clarion is sensational, boasting sultriness directly on par with a tenor sax." – a followup by Jim "Windsong" on www.clarinetpages.info - 10 months after his first testimony at the top of this web page. (1940s Pedler alto)
" It just didn't work for me." ... WA, USA (Noblet alto) – The only one ever returned
"All of the things you mentioned with freeing up the lower clarion feels spot on. Same with ability to get more volume out of the instrument in general. Flexibility in sound does seem about as straightforward as swapping reeds and adjusting embouchure, so getting a very "clarinet-y" sound vs a brighter "sax-y" sound is easy to do. It just becomes a matter of finding which specific reed you like for any given purpose. The mouthpiece is definitely a keeper!" – MH, Michigan, USA (Noblet alto, owns many MPs)
"It's a great mouthpiece! The lower clarion is miles clearer than any other that I've played, on alto or bass clarinet. Definitely smooth over the break. Overall, the setup cuts/projects a lot. Maybe in true chamber situations, I'll still pull out my old piece. But this opens more possibilities for the horn, and will make it easier to keep up in a jazz group. I also appreciate you including the cleaning brush." – AG, classical, concert band, jazz player, WA, USA (Bundy alto)
"It works as advertised. Congratulations on having figured that out!" Don L, MN, USA (Selmer Series 9 alto in clarinet choirs)
" My band director never heard me until my first night with the BIGMOUTH. After rehearsal, she asked what I was doing differently and I showed her my new mouthpiece. I haven’t looked back since then! It makes going over the break smoother, and it's easier to hit altissimo notes. It makes my practicing easy and enjoyable. Thank you for creating it! " Lori M, CA (Vito alto, Légère American Cut alto sax reed 1.75)
All testimonials are quoted with permission, emphasis is mine -- WD
NOW it's cool!
graphic source unknown
graphic source unknown
How is it made?
I start with a classical tenor sax mouthpiece. Using a lathe, I reduce the lower half to correct the length and form the tenon. The bore is slightly smaller than required. I use a custom reamer to enlarge and re-shape it for overall tuning with accurate twelfths. Next, a tiny undercut refines the altissimo. The harmonics align to bring out the true voice of the instrument. I hand-finish the facing to ensure that every mouthpiece plays as well as my personal one.
BIGMOUTH took a year to develop, with over 30 prototypes. It began as a curious experiment with a strong result on day-one. But it took a year of trial and error to create one that performs consistently on both large-bore (LeBlanc/Noblet/Vito) and small-bore (Selmer/Bundy and Buffet) altos. By late 2025, having produced 50 pieces, I got my dimensions, tolerances, and production dialed-in.
Solving the low clarion weakness Early trials showed improvement to the low clarion, but it was still hesitant over the break to middle-B, C, C# and D. So I began to experiment. I probed the acoustics with a pair of magnets – a small one inside the MP bore, moved by another one outside. This let me restrict the bore area at precise points. I located a “zone of influence” for the weak range. Restriction made it worse, so I tried the opposite – enlarging the bore. But my cutting tool vibrated and left a ragged surface. I thought I had ruined my best prototype. BUT I played it just to see how bad it was, and it worked great! I was stunned by a dramatic improvement in the low clarion and a darker tone overall. I had to know WHY it worked ... What does the rough surface DO?
Fact: A rough texture absorbs high-pitch sound. Theory: It absorbs the hissy noise caused by imperfect register venting, and that noise is making some notes harder to initiate. Proof: With the Noise Filter added – Voilà! – The jumps to the low clarion improve by 80-90% over a standard mouthpiece. There's less popping sensation (back-pulse of pressure) when crossing the break. Upper clarion articulation is also improved. And, it darkens the tone and helps unify the sound of the whole instrument. I can see the reduction of noise spikes on a spectroscope (iPhone app).
Next, to make it practical. Early versions lost the filter effect as the rough surface got coated with water. I found texture that shed water but it was abrasive and would tear fibers from a swab. I experimented for months to find a gentle texture that sheds water and does the job. It's been a labor of love.
ORIGIN STORY As a teenage ham radio hobbyist, I learned principles of wave formation, tuning, harmonics, noise reduction, .... I also made bamboo flutes. Based on of environmental concerns, I founded a company to manufacture components for off-grid solar power. When I reached my goals, I retired and returned to making flutes, fixing and improving woodwinds, and playing jazz. Then I was seduced by klezmer music, so I dove into clarinet. I got an alto clarinet because it was cheap. It mostly 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, and he's a big supporter. The bore design and Noise Filter are my own innovations. I named it BIGMouthPiece™ but people couldn't spell it, so now it's just BIGMOUTH™.
Formerly BIGMouthPiece for alto clarinet
I start with a classical tenor sax mouthpiece. Using a lathe, I reduce the lower half to correct the length and form the tenon. The bore is slightly smaller than required. I use a custom reamer to enlarge and re-shape it for overall tuning with accurate twelfths. Next, a tiny undercut refines the altissimo. The harmonics align to bring out the true voice of the instrument. I hand-finish the facing to ensure that every mouthpiece plays as well as my personal one.
BIGMOUTH took a year to develop, with over 30 prototypes. It began as a curious experiment with a strong result on day-one. But it took a year of trial and error to create one that performs consistently on both large-bore (LeBlanc/Noblet/Vito) and small-bore (Selmer/Bundy and Buffet) altos. By late 2025, having produced 50 pieces, I got my dimensions, tolerances, and production dialed-in.
Solving the low clarion weakness Early trials showed improvement to the low clarion, but it was still hesitant over the break to middle-B, C, C# and D. So I began to experiment. I probed the acoustics with a pair of magnets – a small one inside the MP bore, moved by another one outside. This let me restrict the bore area at precise points. I located a “zone of influence” for the weak range. Restriction made it worse, so I tried the opposite – enlarging the bore. But my cutting tool vibrated and left a ragged surface. I thought I had ruined my best prototype. BUT I played it just to see how bad it was, and it worked great! I was stunned by a dramatic improvement in the low clarion and a darker tone overall. I had to know WHY it worked ... What does the rough surface DO?
Fact: A rough texture absorbs high-pitch sound. Theory: It absorbs the hissy noise caused by imperfect register venting, and that noise is making some notes harder to initiate. Proof: With the Noise Filter added – Voilà! – The jumps to the low clarion improve by 80-90% over a standard mouthpiece. There's less popping sensation (back-pulse of pressure) when crossing the break. Upper clarion articulation is also improved. And, it darkens the tone and helps unify the sound of the whole instrument. I can see the reduction of noise spikes on a spectroscope (iPhone app).
Next, to make it practical. Early versions lost the filter effect as the rough surface got coated with water. I found texture that shed water but it was abrasive and would tear fibers from a swab. I experimented for months to find a gentle texture that sheds water and does the job. It's been a labor of love.
ORIGIN STORY As a teenage ham radio hobbyist, I learned principles of wave formation, tuning, harmonics, noise reduction, .... I also made bamboo flutes. Based on of environmental concerns, I founded a company to manufacture components for off-grid solar power. When I reached my goals, I retired and returned to making flutes, fixing and improving woodwinds, and playing jazz. Then I was seduced by klezmer music, so I dove into clarinet. I got an alto clarinet because it was cheap. It mostly 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, and he's a big supporter. The bore design and Noise Filter are my own innovations. I named it BIGMouthPiece™ but people couldn't spell it, so now it's just BIGMOUTH™.
Formerly BIGMouthPiece for alto clarinet