Are there re-facers who deal only in classical set-ups? Jazz set-ups? Are there well-known classical mouthpiece modifiers? Thanks.
I think you have to play the style to a certain degree of proficiency to understand how the mouthpiece should play and feel. I may be wrong, but I don't think that many mouthpiece techs (lol) have serious legit chops.I do not know of any that do. Most specialize in clarinet or sax. But sax refacers are usually comfortable with jazz and klezmer clarinet set-ups too. There is not much demand for classical sax refacing. I think there is a need, just not much demand.
Agreed, for sure. I see a lot of students crippled throughout their Music College (University) careers by mouthpieces (and instruments) that are simply 'what the professor recommends' but actually bear no resemblance in quality to what the professor actually plays. I do believe that one can spend too much time in the search of the perfect set-up (witness a large % of the contributors to this forum), but that should not be an excuse to ignore the issue entirely. I see students in one particular establishment who have bought some of the worst 2nd hand sopranos and altos simply because they were the brand the professor insisted upon, just mad.Many just play what their teacher suggests. I think classical players need to and will, "wake-up" with respect to mouthpieces, but mouthpiece techs should be prepared.".
I immediately thought of Chris Vadala, you could get a qualified answer, maybe not on specific refacers but a more performance based view of mouthpieces in the two realms of music. Chris is very out going, email him (just look him up) at the Univ. of Maryland.Are there re-facers who deal only in classical set-ups? Jazz set-ups? Are there well-known classical mouthpiece modifiers? Thanks.
That's true... many refacers and also many technicians are not able to play a saxophone or a clarinet... many play flute and repair saxophones... to me even a "certain degree of proficiency" is not enough. You should be a professional player to fit the needs of other professional players. There are exceptions of course.I think you have to play the style to a certain degree of proficiency to understand how the mouthpiece should play and feel. I may be wrong, but I don't think that many mouthpiece techs (lol) have serious legit chops.
Good point. I think that if you rework each reed, you can get them to compensate for a mouthpiece facing that has "issues". I used to do a lot of this years ago.All the really heavy legit guys I know or have studied with never even mentioned mouthpiece refacing. I dont think they even know much about it. They are obsessed with working on reeds though.