C / Camino de Los Pinos Nº20 Carabaña (Madrid), ZIP 28560 | Open LV 08 AM-20PM
ADJUSTMENT AND REFACING OF REED MOUTHPIECES (CLARINETS AND SAXOPHONES)
How do you sound
INTRODUCTION
My purpose is to further disseminate this office, since there is hardly any information on this artisanal and precision work.Office delegated and reserved only for internationally renowned Concertists, now I want to transmit it to all instrumentalists with a high technical and broad level knowledge of your instrument. They are the famed, praised and revered British, American, French, Russian and Polish Refacers Mouthpieces from prodigious hands. The best known, such as: James Kanter, Brian Powell, Edwar Pillinger, Freddie Giegory, Jong Eun, P.Mauriat, Ramón Wodkowki, Eric Falcon, Jose Vilamur, Dilutis, Tenney, Johen Seggelke, Lord Windsor, Lars Meklusch, Norbert Stachel, Matt Marantz, Merlin Petroff, Behn Epic, Ted Klum, Leszek Pietrón, Rafael Navarro, John Thomas, etc ... Here in Spain there are few of us who dedicate ourselves professionally to this, we highlight in Clarinet mouthpieces Iván Marín, Joaquín Haro, Javier Trigos, Angel Moreno, Sergio Jerez and the one who writes you, there will be some more and in Saxophone mouthpieces we highlight Toni Ribó, Manu Contreras, Enrique Pernia and the one who writes you, some more will also be there, my legacy, as I said before is to expand this knowledge here in our country
How Refacing helps: Refacing (Refacing or modified), is a novel and interesting work on the adjustment of the mouthpieces, these can be adapted to the technical capacity of each instrumentalist, customizing their acoustics in focus, emission, articulation, projection , harmonic resonance , sound etc ... All this to the taste of the instrumentalist.
We are Refaced-Adjusters of reed mouthpieces. Adaptation, rectification, modification and repair of mouthpieces for clarinet and saxophone.
We refacing, modify, rectify, adjust, revive and repair Clarinet and Saxophone mouthpieces.We work all kinds of mouthpiece construction materials (ebonite, bakelite, methacrylate, metal, ceramic, wood, and glass), both commercial and craft mouthpieces, giving thus a unique and totally personalized finish.
basic rule of refacing
Any commercial mouthpiece can be improved to the instrument player's personalized taste, for that you have to know what you want to look for to correct, achieve or remove in said mouthpiece. For example: IN THE SOUND: (Wide or full, dark, bright, velvety or soft grip, raucous etc ...), IN THE PROJECTION: (open, without retention to the passage of air flow, closed or short, medium, deaf, etc ...), IN THE ISSUE OR FOCUS: (direct or easy, semi-cut, that there is a mixture between air and sound or BIFOCAL, etc ... IN THE JOINT: ease of chopping and binding, double stacatto, differences between registers, register adjustments, etc ... AND IN THE RESONANCE: (that vivid, rich in harmonics, low in harmonics or, without resonance or linear, etc ... All this to the taste of the instrumentalist. I must also say that the Retouched or Modified mouthpieces, it is not only developed in the field of poorly finished, defective or aged mouthpieces, to return them their primitive qualities, but also extend their work to mouthpieces that want to change any of their sound qualities, that is to say , We are already talking about the personalization of your mouthpiece. In addition, mouthpieces that have become obsolete, old or that are of origin when a new instrument is purchased, in general, which is thought to be no longer useful, can be worked on by improving them.
MORE INFORMATION
We already know that the perfect mouthpiece for each instrumentalist does not exist, it is for this reason that we must seek and achieve our own personalization of the same.
Refacing
The refacers, adjusters, modifiers, rectifiers, adapters, revivers and repairers of clarinet and saxophone mouthpieces are dedicated to providing the mouthpieces with the greatest versatility and comfort (least effort) for the players to play to their personal taste, this involves adapting their sound, articulation, focus or emission, projection and resonance, to the taste of the instrumentalist. I must say that both conventional and synthetic reeds are all different, as are the mouthpieces and the mouths of the performers. We must also understand that a refaced or modified mouthpiece may seem or give the principle of trying to feel strange, this is because it ceases to be or is not the same mouthpiece as the principle, this does not mean that it has lost qualities, on the contrary, it gains them in versatility, for this reason sometimes, not all, depending on the performer, it is convenient to have a short trial or adaptation period until the embouchure point is reached.
There are mouthpieces that usually leave the factory with some other defect given the high productivity they perform and that we must correct. These defects can be in the EMISSION, which does not emit the sound well, it is difficult to make them sound, in the FOCUS, its centering of the sound is not clear, it is difficult to center the sound, in the JOINT, the chop (sttacato) is laborious and It is difficult to do it double (double sttacato), or the register changes (bass, middle, treble), they have a lot of differentiation, they are very abrupt, in the PROJECTION, which has a collected sound and with little noise, its sound jet is small , which does not admit sonar with three (fff), in RESONANCE, that its sound is linear and does not present richness in harmonics, it is a sound without color, without texture, without body.
There are three questions when it comes to wanting to touch up a mouthpiece: 1º-I want to correct this, 2º-I want to achieve this and 3º-I want to remove this from me Mouthpiece: (Sound, Projection, Emission or Focus, Articulation and Resonance)
Trabajo no presencial, es por envío de boquillas a mí domicílio de servicio: C/Camino de los Pinos Nº20 Carabaña 28560 (MADRID) ESPAÑA. tfno:699405452 wassap y fijo 918723277 y para todos los paises. My work is not face-face, it works by sending mouthpieces to my service address in Spain. I work internationally for all countries
Everything you can imagine
These compensators-protectors are made of a special material that never penetrates the mouthpiece, so they have great durability. They leave a mold of the upper dental blades, thus achieving a fixed, comfortable mouthpiece without transverse or longitudinal oscillations, without the sensation of floating and leaving that correction tolerance in the mouthpiece.
When we remove the mouthpiece or barrel because they are high in tuning, a vacuum decompensation occurs that causes an imbalance of the tuning in the throat register or clarinet resonance box, to solve this problem we have five different measures of rings to close that vacuum correcting the pitch.
SALE
- Sale of compensators-protectors for clarinet and saxophone mouthpieces. 15 euros
-Sale of vacuum decompensating rings for clarinet tuning. 15 euros
