Hi Mike: I have three Lakey soprano saxophone mouthpieces - two 5* and one 7*. I don't know what those markings mean except that obviously one is more open than the other two. Mine came from Claude himself when he lived at his shop in Arleta, CA maybe 25 years ago. I also have some Lakey clarinet mouthpieces from him. My daughter played his alto piece all through her school years.
I don't who makes Lakey pieces now, nor do I know how they compare to the originals. Claude hand-finished his pieces when he was alive - I watched him do it. I don't know any of the tip-opening measurements.
In looking inside my Lakey soprano pieces, they have a small round opening to the throat much like my Super Sessions. My Morgan Vintage has a tad bigger throat opening, but hard to measure - eyeball, only. The b arrels' interior diameter is larger than Selmers', hence I have to shim up the cork with a piece of paper to fit them properly. They are even larger in the barrel than my Morgan Vintage pieces.
The Lakey sopranos have a huge, very spread sound when I play them - way TOO spread for my tastes now.
I don't play these Lakeys - I once did a tour to israel with George Segal's band (called the Hot Frogs Jumping Jazz Band) and used the Lakey 7* on my MKVI soprano. Huge mistake - I shoulda brought along a back-up piece, but that was years ago when I wasn't quite as experienced with these things. I suppose the audiences didn't care, but I struggled with its lack of focus.
I tried my daughter's alto piece years ago and did not like it. As I recall, it was spread to the max, much like the soprano pieces, but were still very harsh and loud. She liked it - different strokes, etc.
His clarinet pieces are very focused - and sharp in pitch. He told me he made them to tune at A-443 for players who play flat AND for the sharp tuning environments that were popular then (and maybe still today). DAVE