handcrafted MOUTHPIECES !

Why with so much effort add to what's out there already? The simple answer is: I cannot help but to test my hunches in practice. The more complicated answer is that I've come into contact with older building traditions. Balancing between these and renewal just another mouthpiece came into being.

an unexpected form

The underlying motive in my effort to built an 'ideal' mouthpiece was the aim to combine good intonation with an open and non-nasal sonority. Some unexpected forms were discovered. This resulted in mouthpieces with a few particular traits in chamber form and in fastening the reed. Text, sketches and pictures illustrate its design and show soprano, alto, tenor, and baritone mouthpieces. These mouthpieces were all built in small series.


As my mouthpieces stem from experiments, there were numerous experimantal mouthpieces first. These will be neglected here. Then followed what I call series three and series four.
• series 3 Simplicity was the target. Here the tip is placed in the central axis. In consequence the inner form is as simple and as symmetrical as possible: seen from the tip the chamber develops in a flowing way, conical, round and open like the saxophone itself. Compared to a modern french-style mouthpiece the chamber is relatively wide as the mouthpiece chamber is a continuation of the shank and this width flows right into the tip.
• series 4 These mouthpieces have an even wider chamber as here the chamber is wider than the shank. Practically this makes it necessary to (sometimes) place the tip under the the central axis (as is common in mouthpieces) and this trait makes the chamber even wider directly behind the tip. These mouthpieces funcion well on a modern saxophone, but also in combination with a shortened neck (see «a study in truncation» in the instruments-section).


There is no scientific evidence of the influence of material on the sound produced. It's being said that Adolphe Sax distanced himself from any such influences. It is all about shape. There are, however, divergent opinions about this, just as a musician's set of expectations plays a role. I've chosen to work in metal. It is a permanent material that can be shaped and tooled to fine tolerancies. It is fairly stable through time and can be restored up to a certain extend. I do not need others to make blancs for me.These qualities have led to my choice. I do not believe in any influence of material on the sonority of a wind instrument.