A BETTER MOUTHPIECE for the alto clarinet ...
BIGGER REED = BIGGER SOUND
BIGMouthPiece™ for Alto Clarinet
~ Big easy sound with a tenor sax / bass clarinet reed ~
© 2025 Windy Dankoff
~ Big easy sound with a tenor sax / bass clarinet 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. That's why it's called BIGMouthPiece.
BIGMouthPiece has a larger reed opening for a tenor sax or bass clarinet reed instead of an alto reed. It delivers the fluidity and dynamic range that you expect in the clarinet family. 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 at the conventional mouthpiece
2. The low clarion is "noisy" due to inadequate register key systems
BIGMouthPiece improves both of these aspects with:
1. A larger reed and chamber for easier blowing and richer tone
2. A compensating feature called Noise Filter that strengthens the low clarion
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 larger 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 about 1/3 longer. And 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 has a larger reed opening for a tenor sax or bass clarinet reed instead of an alto reed. It delivers the fluidity and dynamic range that you expect in the clarinet family. 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 at the conventional mouthpiece
2. The low clarion is "noisy" due to inadequate register key systems
BIGMouthPiece improves both of these aspects with:
1. A larger reed and chamber for easier blowing and richer tone
2. A compensating feature called Noise Filter that strengthens the low clarion
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 larger 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 about 1/3 longer. And 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 ...
============================
PRICE $250 PLUG & PLAY Package including:
RELIABLE SYNTHETIC REED
FLEXIBLE LIGATURE
Brush swab
Cap and tooth patch
Add $10 for Priority Mail / USA
Trial Period – 10 DAYS, refundable
SYNTHETIC REED INCLUDED – A Hartmann Fiberreed Copper Classic 2.5 tenor
This reed is included so you can make best use of your trial period – no soak, no break-in, highly consistent
No reed – subtract $20
Prototypes I have some well-playing prototypes at $150-180
General reed advice
Cane Vandoren 2.5 or 3 tenor sax OR bass Clarinet
Synthetic The Copper Classic is currently included, for economy and best overall behavior right out of the box. These options give a more classical tone:
Légère Signature Bass Clarinet 1.75 or 2.0 – This is BY FAR my favorite synthetic for the BMP. It's expensive, but superior - with more confirmation from players, I will keep them in stock
Fibracell 3.5 tenor sax reeds – for a natural sound and feel. Cheaper, but we occasionally get a dull one
Bass clarinet players Try any of your favorite reeds
Tenor sax players Try your softer tenor reeds
Alto sax reeds Some work well for quiet playing, with some limitations. Légère American Cut 1.75 or 2.0 work great if you insert a leather pad to tighten the ligature.
TIP OPENING 1.85mm (.073") Facing: medium lay, gentle break-away
Cork Sized to fit the most-common 24mm socket inside diameter. Bundy may want 23.5mm - specify if you need
Windy Dankoff, Woodwind Technician
For questions or purchase 👉 Go to CONTACT page
Get it 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 ...
============================
PRICE $250 PLUG & PLAY Package including:
RELIABLE SYNTHETIC REED
FLEXIBLE LIGATURE
Brush swab
Cap and tooth patch
Add $10 for Priority Mail / USA
Trial Period – 10 DAYS, refundable
SYNTHETIC REED INCLUDED – A Hartmann Fiberreed Copper Classic 2.5 tenor
This reed is included so you can make best use of your trial period – no soak, no break-in, highly consistent
No reed – subtract $20
Prototypes I have some well-playing prototypes at $150-180
General reed advice
Cane Vandoren 2.5 or 3 tenor sax OR bass Clarinet
Synthetic The Copper Classic is currently included, for economy and best overall behavior right out of the box. These options give a more classical tone:
Légère Signature Bass Clarinet 1.75 or 2.0 – This is BY FAR my favorite synthetic for the BMP. It's expensive, but superior - with more confirmation from players, I will keep them in stock
Fibracell 3.5 tenor sax reeds – for a natural sound and feel. Cheaper, but we occasionally get a dull one
Bass clarinet players Try any of your favorite reeds
Tenor sax players Try your softer tenor reeds
Alto sax reeds Some work well for quiet playing, with some limitations. Légère American Cut 1.75 or 2.0 work great if you insert a leather pad to tighten the ligature.
TIP OPENING 1.85mm (.073") Facing: medium lay, gentle break-away
Cork Sized to fit the most-common 24mm socket inside diameter. Bundy may want 23.5mm - specify if you need
Windy Dankoff, Woodwind Technician
For questions or purchase 👉 Go to CONTACT page
Get it 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 fifth 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 good fit, no 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
Ligature I include a flexible lig that tends to improve articulation and darken the tone. Other tenor sax ligs will also work. For Légère reeds (and maybe others) place the ligature ALL THE WAY UP to the drop of the beak.
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
"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. I'm looking forward to using it next time I record another composition with alto clarinet & will definitely include a link to it in the description when I do." Luke Pickman, Instrument Maniac USA (Vito alto cl.) https://www.lukepickman.com/
"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)
"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 - ten months after his initial testimony at the top of this web page.
"All of the things you mentioned with freeing up the lower clarion notes feel 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 pretty 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 cl. with many MPs to compare to)
"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. Thanks for the help. I also appreciate you including the cleaning brush." – AG, classical, concert band, jazz player, WA, USA (Bundy alto, Fiberreed Copper Classic 2.5)
All testimonials are used by permission
The Noise Filter is as significant as the tenor reed itself. A textured material is applied to a fifth 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 good fit, no 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
Ligature I include a flexible lig that tends to improve articulation and darken the tone. Other tenor sax ligs will also work. For Légère reeds (and maybe others) place the ligature ALL THE WAY UP to the drop of the beak.
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
"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. I'm looking forward to using it next time I record another composition with alto clarinet & will definitely include a link to it in the description when I do." Luke Pickman, Instrument Maniac USA (Vito alto cl.) https://www.lukepickman.com/
"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)
"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 - ten months after his initial testimony at the top of this web page.
"All of the things you mentioned with freeing up the lower clarion notes feel 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 pretty 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 cl. with many MPs to compare to)
"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. Thanks for the help. I also appreciate you including the cleaning brush." – AG, classical, concert band, jazz player, WA, USA (Bundy alto, Fiberreed Copper Classic 2.5)
All testimonials are used by 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.
To solve the problem, 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 interfered with the low clarion. Thus I identified 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 a great improvement in the low clarion. Textures absorb high-pitch sound, so it's logical to say that some overtone noise interferes with wave formation in the low clarion. With a 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. I call it the Noise Filter.
This Noise Filter traps short wavelenth (high pitch) noise, while the pure (darker) tones roll right over it (results are visible on an audio spectrum analyzer). I experimented for months to find a texture that's durable and traps noise even when it's wet. The low clarion response is 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 learned the concepts of wave formation, tuning and harmonics, noise factors ... And, I made bamboo flutes! My career was in solar power systems and manufacturing. When I retired, I returned to making flutes, fixing and improving woodwinds, and playing jazz. I was seduced by klezmer music, so I dove into clarinet. I got an alto cl. but I was disappointed – 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.
To solve the problem, 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 interfered with the low clarion. Thus I identified 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 a great improvement in the low clarion. Textures absorb high-pitch sound, so it's logical to say that some overtone noise interferes with wave formation in the low clarion. With a 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. I call it the Noise Filter.
This Noise Filter traps short wavelenth (high pitch) noise, while the pure (darker) tones roll right over it (results are visible on an audio spectrum analyzer). I experimented for months to find a texture that's durable and traps noise even when it's wet. The low clarion response is 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 learned the concepts of wave formation, tuning and harmonics, noise factors ... And, I made bamboo flutes! My career was in solar power systems and manufacturing. When I retired, I returned to making flutes, fixing and improving woodwinds, and playing jazz. I was seduced by klezmer music, so I dove into clarinet. I got an alto cl. but I was disappointed – 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.
