(i THINK THAT ALL THE MOUTHPIECES MADE FOR PROFESSIONAL INSTRUMENTALISTS ARE GOOD WHAT MAKES OR SEEMS THAT A MOUTHPIECE IS GOOD IS A CLUSTER OF SENSATIONS FOR THE INSTRUMENTALIST) The main issue is not in the mouthpieces, if not in the performer, the suggestion would be: what mouthpiece can do well for this perfomer or instrumentalist. The general sonorous properties of each mouthpiece are the sensations that the professional has after trying it, taking into account your musical style and its degree of training, so it depends on the person who tests it. That is why a mouthpiece, some can do wonderfully and being the same, others fare. There are preferences, but no mouthpieces, if not instrumentalists, certain mouthpieces, are the most liked by certain majorities. I would like to mention another topic that is talked about a lot. is; because being the same mouthpiece, they are all different, here I must say that any minimun tolerance that a mouthpiece has in any of its manufacturing meassures, provides different or sensations, which the players transfer to the versatility of that mouthpiece, such as the following joints: chopped or stacatto, bound or legato, record changes, focus, attack or blow on bass, medium and treble, emission, projection, power, dark, bright sound, resonance, harmonics, etc...also the atomic or molecular structure of the composition of the material with which they are manufactured, greater or lesser density of the alloy or mixture used. Another issue that is fashionable today is to copy, shoot or clone mouthpieces, when it was believed that a mouthpiece is good or responds well to a (single user), you already want to make a copy, with the lack of understanding that there is no equal mouthpiece and that mouthpiece that you want to copy only responds to that person. The mouthpieces are the part of our most personal instrument that we have, just as there is no equal mouthpiece, there is no equal instrumentalist, we all perform different pressures of our facial muscles that provide us with our mouthpiece and use different degrees of strength in the reeds, all the mouthpieces as well as the instrumentalists and like all the reeds, whether conventional or synthetic, are different. It is much more interesting to achieve through refacing or modification, find a versatile and comfortable mouthpiece to our personal technical qualitty. (Custom works). For all this I say that being a very experienced and consolidated issue in the U.S.A, United Kingdom, France, Italy, Germany and Japan, now it is beginning to take into account in our Country (Spain), Someone has thought that the mouthpieces can be modified, refacing, adapted to each instrumentalist?, Maybe, we have part of the solution of small sensory problems in acoustics, discomfort and even psychological that some instrumentalists have. For they are and we must go to a (Refacer), this person is speciaslized in refacing mouthpieces and giving us security, comfort and versatility, getting with a less physical effort , the best benefits. The manufacture of different models and brads of mouthpieces does not stop, every day different models are being designed that will go on the market. I think the future of the mouthpieces will  not be based on testing how many more mouthpieces are brought to market, testing everything and acquiring the maximum possible of them with its consequent price, which then most will end up in a drawer or put on sale to others, in the end, the instrumentalist only uses one for many that he owns, nor will he be in as many purchases and try until he finds what you like, if not in personalizing your own mouthpiece, the instrumentalist who understands this will be closer to reality.