The mouthpiece determines the precision of attacks, sound projection and tone colour. It controls how the reed vibrates and transforms air into sound.
In fact, the mouthpiece has more influence on your sound than the instrument itself. The sound is created in the mouthpiece, while the instrument acts as an amplifier.
Contrary to common belief, several studies show that the material of the mouthpiece has very little impact on the sound produced. What really matters is the surface finish.
Metal, plastic and hard-rubber mouthpieces can produce very similar sounds if their surface condition is the same. Conversely, two hard-rubber mouthpieces with different surface textures (smooth or rough, for example) will sound very different.
A smooth surface favours a brighter sound, while a rougher surface tends to produce a rounder tone.
Ebonite, invented in 1839 by Charles Goodyear, is made from natural rubber (from the Hevea tree) vulcanised with sulphur. It is particularly stable, easy to machine and visually attractive. Its resemblance to ebony wood gave it its name.
It is used both for mouthpieces and for luxury objects such as high-end pens and combs.
The tip opening of a mouthpiece is the distance between the tip of the reed and the tip of the mouthpiece (about 1.5 mm for a classical alto saxophone mouthpiece).
The larger the opening, the greater the amplitude of the reed’s vibration, which promotes projection and sound power. However, the mouthpiece also becomes more demanding and more difficult to control.
This is why jazz mouthpieces are often described as more powerful but harder to master.
Conversely, more closed mouthpieces, mainly used in classical music, offer less power but are much easier to control.
Table length is the distance between the tip of the mouthpiece and the point where the reed contacts the table (about 24 mm for an alto saxophone mouthpiece).
The longer the table:
The shorter the table:
This is one of the main reasons why some mouthpieces are perceived as easier to play than others.
A relatively closed mouthpiece with a long table will always be easier to control than a very open mouthpiece with a short table.
You can view a mouthpiece anatomy diagram here.
The letters found on mouthpiece tables (A, B, C, D, as well as C* and C**) correspond to different tip openings.
The first Henri SELMER Paris mouthpieces, at the beginning of the 20th century, were A models — meaning very closed tip openings. At that time, the desired sound was softer, more contained, and less powerful.
Over time, sound aesthetics evolved. Musicians began seeking more projection and volume, leading to the development of progressively more open mouthpieces, moving from A to B, then to C and finally to D.
However, many musicians found the C slightly too closed and the D slightly too open. To meet this intermediate need, the C* was created, corresponding exactly to a tip opening halfway between C and D.
Later, in order to further refine this adjustment and offer more choice to musicians, the C** was introduced, positioned between the C* and the D. The star therefore represents a half-step in tip opening, allowing more precise adjustment according to the player’s comfort and sound preferences.
Some mouthpieces do not use letters but instead feature numbers such as 170, 180, 190 or 200. These numbers directly indicate the tip opening in hundredths of a millimeter.
For example, a tenor mouthpiece marked 170 corresponds to an actual tip opening of 1.70 mm between the tip of the reed and the tip of the mouthpiece. On S90 tenor models, the marking 170 refers precisely to this effective measured opening.
This particularly precise grading system was later extended and adapted across the different ranges, making it possible to maintain a consistent approach while respecting the acoustic specificities of each instrument.
At Henri Selmer Paris, mouthpiece manufacturing began in 1904. At that time, models were mainly made of wood and entirely hand-crafted. The chambers were round, simply because this geometry was the most natural and easiest to produce by hand.
The Soloist marked an important turning point by introducing the use of mortising in the manufacturing process. This step paved the way for more industrialized production and made it easier to create angular internal shapes. The Soloist chamber therefore adopted an intermediate horseshoe shape, characteristic of this technical transition.
With the S80 and later the S90 series, this technique became widespread. Mortising became an industrial standard and led to the generalization of square chambers on these models. Once again, the geometry resulted directly from the possibilities offered by the manufacturing tools.
Today, thanks to CNC machines and high-precision rotary tools, it is once again possible to efficiently produce round chambers. Modern mouthpieces therefore mostly return to this shape — made accessible by advances in production technology rather than by any fundamental change in acoustic design.
Yes. A useful comparison is the human voice: with the same voice, one can sing classical, rock or rap. A mouthpiece works in the same way.
It is simply a tool that helps musicians move in a certain direction, but it never determines the musical style on its own.
This choice depends primarily on the sound you are looking for and on each player’s individual characteristics (oral cavity, personal energy, etc.).
For classical saxophone beginners, relatively closed mouthpieces such as the S80 C* or S90 opening 170 are generally recommended. For smaller budgets, the Prologue alto mouthpiece is an excellent alternative. For clarinet, Focus or Echo mouthpieces are usually recommended.
For those who wish to move directly toward jazz and contemporary music, the Jazz Flow mouthpiece in opening 5 is particularly suitable.
However, the best advice is always to try several mouthpieces to find the one that best matches your expectations, sensations and playing style.
There is no universal “best mouthpiece”: the best mouthpiece is the one that matches your instrument, your musical style, the sound you are looking for and your way of playing.
The Soloist, the oldest mouthpiece in our catalogue, is known for its great versatility, timbre and power.
The S80 is a reference for balance, roundness and ease of response, while the S90 stands out for its more timbred sound.
The Concept range is characterised by a rounder and more flexible tone, suited to modern sound aesthetics, and the Claude Delangle mouthpiece was designed as a soloist mouthpiece offering a very rich and powerful sound.
For jazz and contemporary music, the Jazz Flow is a versatile, powerful mouthpiece adapted to modern styles.
Born in the 1980s, the S80 mouthpiece is known for its great ease of play and its ability to quickly produce a round, homogeneous sound.
The S90 mouthpiece is quite similar in design but offers a more timbred sound.
As an anecdote, the S90 was created at the request of Michel Nouaux, soloist of the French Republican Guard and Selmer tester. At a time when most musicians played the S80 C*, he wanted a more timbred mouthpiece to better project over the orchestra when performing as a soloist.
We offer four models for Bb/A clarinets:
The Focus and Concept models are like two siblings: they share the same internal structure, with the only difference being the opening. The Focus is more closed, the Concept more open.
Next comes the Echo mouthpiece, characterised by its flexibility and its wide range of tone colours. On the same note, the sound can be shaped to remind rounder, more timbred, more powerful or softer.
The Density mouthpiece has a very different and rather unusual geometric structure. It is a fairly open mouthpiece with a very thick tip rail, requiring more pressure but offering excellent control. It produces a dense, rich tone.
A classical mouthpiece tends toward a rounder sound, while a jazz mouthpiece offers more projection and brightness.
More specifically, there are three main differences:
Henri Selmer Paris mouthpieces are compatible with all instrument brands.
The mouthpiece–reed combination forms the vibrating system, which is the sound source. The instrument then acts as a resonator.
Just as a CD player can work with any amplifier, a Selmer mouthpiece can be used on any saxophone or clarinet.
Changing mouthpieces can be stressful. To avoid confusion, it is recommended not to spend too much time on each mouthpiece: two to three minutes is enough.
It is essential to use a new reed, and above all the same reed for all mouthpieces tested. A reed that has already been played adapts to the table and facing of a specific mouthpiece; moving it to another mouthpiece would distort your perception.
You can book an appointment at our showroom or with one of our authorised dealers to try different mouthpieces.
You can order your mouthpiece online at selmer.fr or visit one of our authorised dealers.
A mouthpiece’s lifespan depends on playing time. A student playing four to five hours per day will usually need to replace their mouthpiece every four to five years.
Over time, the internal angles of the mouthpiece become rounded. This frees the reed vibration, making the mouthpiece:
This is often why an old mouthpiece seems to “sound better” than a new identical one. However, when wear becomes significant, it can also degrade response and reliability.
A worn mouthpiece shows shiny areas on the table, especially around the window. This indicates that the reed has rubbed to the point where the table is no longer perfectly flat.
When the table is no longer flat, the seal between the mouthpiece and the reed is compromised. Air leaks appear, reducing reed vibration and degrading the mouthpiece’s response.
To limit ageing:
Worldwide (4 to 8 days)
by credit card 3D secure
14-day withdrawal period
2 years on new
in our workshops at
Mantes-la-Ville
