Mouthpiece FAQ
How do you choose a mouthpiece for saxophone or clarinet? What is the difference between a classical mouthpiece and a jazz mouthpiece? On this page, Henri SELMER Paris answers all the questions you may have about mouthpieces.
Understanding the mouthpiece
How does a saxophone mouthpiece work?
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.
Does the mouthpiece material affect the sound?
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.
What is ebonite?
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.
What is tip opening?
The tip opening 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 more open the tip opening, the greater the reed’s vibration amplitude, which enhances 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 much easier control.
What is table length?
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 rounder the sound,
- the softer the attack,
- the more comfortable and stable the playing feel.
The shorter the table:
- the more percussive the attack,
- the brighter the sound,
- the more immediate the response,
- but the harder the mouthpiece is to control.
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 diagram of a mouthpiece (anatomy) here.
What do the letters (C*, C**, D…) or numbers (170, 190…) mean?
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 in the early 20th century were A mouthpieces, meaning very closed openings. At that time, the desired sound was softer and more contained, with less power.
As sound aesthetics evolved, musicians began to seek more projection and volume. We therefore developed increasingly open mouthpieces, from A to B, then C and D.
However, many musicians found C slightly too closed and D slightly too open. To meet this intermediate need, we created the C*, which corresponds exactly to an opening halfway between C and D.
Later, to refine this further and offer more choice, we introduced the C**, positioned between C* and D.
The star therefore represents a half-step in opening, allowing more precise adjustment depending on comfort and sound preference.
Some mouthpieces use numbers instead of letters (170, 180, 190 or 200). These numbers indicate the opening directly in hundredths of a millimetre.
For example, a tenor mouthpiece marked 170 corresponds to an opening of 1.70 mm between the reed tip and the mouthpiece tip. This system provides very precise measurement.
Why are there different chamber shapes (round, square, trapezoidal…)?
At Selmer Paris, mouthpiece production began in 1904. At that time, mouthpieces were mainly made of wood and entirely handcrafted, with round chambers that were easier to shape manually.
The arrival of the Soloist mouthpiece marked the beginning of industrial production using mortising machines, allowing square or round chambers to be made more easily. This model features an intermediate horseshoe-shaped chamber.
The S80 and S90 series then adopted square chambers.
Today, with CNC machines and rotary tools, modern mouthpieces once again mainly feature round chambers.
Can the same mouthpiece suit different musical styles?
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.
Choosing the right mouthpiece
Which mouthpiece should I choose as a beginner?
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.
What is the best mouthpiece for alto saxophone?
There is no universal “best saxophone 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 modern music, the Jazz Flow is a versatile, powerful mouthpiece adapted to modern styles.
What is the difference between the S80 and S90 mouthpieces?
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 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.
Which clarinet mouthpiece should I choose?
We offer 4 Bb/A clarinets mouthpiece models:
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 beak, requiring more pressure but offering excellent control. It produces a dense, rich tone.
What is the difference between a jazz and classical mouthpiece?
A classical mouthpiece tends toward a rounder sound, while a jazz mouthpiece offers more projection and brightness.
More specifically, there are three main differences:
- Tip opening: A jazz mouthpiece is more open to achieve greater power, making it harder to control.
- Table length: Jazz mouthpieces usually have a shorter table to favour impact and brightness.
- Baffle: The baffle reflects the reed vibration. The closer it is to the reed, the brighter and more percussive the sound. Jazz mouthpieces therefore have a higher baffle, while classical mouthpieces have a lower baffle, favouring a rounder tone.
Are Selmer mouthpieces compatible with all instruments?
Selmer 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.
How should I choose / test several mouthpieces effectively?
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.
Purchase & maintenance
Where can I buy a mouthpiece?
You can order your mouthpiece online at selmer.fr or visit one of our authorised dealers.
How long does a saxophone or clarinet mouthpiece last?
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:
- easier to play,
- more timbred,
- clearer.
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.
How can I tell if a mouthpiece is worn or damaged?
A worn mouthpiece shows shiny areas on the table, especially around the tip opening. 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.
How should I care for my mouthpiece?
To limit ageing:
- Avoid wiping the inside every day, as this gradually erodes the internal angles.
- Clean the mouthpiece about once a week by soaking it in room-temperature water (never hot water, which can deform hard rubber).
- Use a mild soap (Marseille soap or dishwashing liquid).
