|
Mouthpieces
From amateurs to professionals, the search ends with AIZEN!
Let's face it: mass-produced mouthpieces aren't all that well-made. So players of all levels are forced to go from one supplier to another, searching for a better piece. Mass production really got into gear in the 1970s. To cut costs, makers had to stop hand-checking their mouthpieces individually...and the quality started to nosedive.
At AIZEN, we do things differently. We're real sticklers for quality and precision manufacturing. Let's take a quick look at the AIZEN way of making mouthpieces - and then checking them one by one, by hand.
The engraving is done with the mouthpiece firmly secured on a work pedestal, so the engraving tool doesn't slip because of jolts or jogs. The engraving tool used (technically speaking, a burin) is a fine instrument, with a 0.5 millimeter edge. Lines are engraved at a width of 0.3 millimeters. Vintage Resin, the material used in the mouthpiece, is slightly friable, so the engraving isn't done in one stroke. The lines are retraced two or three times, gradually deepening the engraving. Aizen Mouthpieces are uniformly engraved, one by one, with great care and professionalism.
|
|
|
After the hand-craft work is finished, AIZEN mouthpieces are sandblasted and each one is given a uniform matt finish, creating a sophisticated look. At the same time, this process improves the harmonics and gives a richer sound quality.
|
Next, the shank is shaped using a lathe. Because the lathe is set to maximum rotation, the positioning has to be carefully controlled so that the mouthpiece doesn't go off axis. When the shank is at ideal proportionate length, the sound can be controlled to the maximum degree.
|
|
|
Mass-produced mouthpieces are shaped at high temperatures, so the table warps when they are cooled down. And an awful lot of manufacturers ship out their products in this condition. This is one of the main reasons why the quality of sax mouthpieces is so uneven. The reed doesn't fit right, and players feel a lot of resistance when they use their mouthpiece.
|
At Aizen, we individually file each mouthpiece table to make it flat. In order to protect our trade secrets, we're not at liberty to discuss the kind of file we use but it's special, and the filing is done in an even, gentle left-right motion that brings the table to a perfect horizontal. Getting the balance of the table right is an absolute must for achieving a smooth, stable airflow through the mouthpiece. Then we're ready to shape the facing curve to match.
Next, and working by hand, we put an extremely subtle, just-there-and-no-more concavity into the center of the table. There's no room for error, because if this goes slightly wrong the airflow will be seriously impeded. It takes a lot of skill and practice to get this step down just right.
With mass-produced mouthpieces, you often see cross-markings, machine marks left by drilling. The slight marks cut across the breath flow coming in from the tip. You get a mouthpiece that can't transmit fine vibrations smoothly; a mouthpiece that can't convey fine nuances in the playing. At Aizen we shape the table by hand. The resulting marks in our mouthpieces 'go with the grain', letting the air flow through unimpeded.
At Aizen, we've developed our own unique way of crafting the table, based on comparing the very best vintage examples we could find. The way our table is shaped means that the reed is firmly in place, and that the reed vibrations are brought out to their fullest. Airflow resistance is minimal, and at the same time you get a big, rich sound with lots of range.
|
As mentioned above, mass-produced mouthpieces often have warped tables due to the cooling down process after being produced at high temperatures. The problem is that when there's curvature of the table, it's often difficult to play lead in synch - and you feel too much resistance. When the table is horizontal as it should be, none of these problems occur. It's also much easier to play pianissimo, and the air flow is good.
|
|
At AIZEN, we check that the facing curve is ideal by inserting a special multi-thickness paper at certain points in each of our mouthpieces, one by one. We pay special attention to the length of the facing curve. Getting this right is vital. If the facing curve is too long, it's difficult to blow through, and it's also difficult to produce low notes. On the other hand, if the curve is too short, the sound loses resonance and it becomes more difficult to control. Next, we check that the rail joining the forepart to the back is symmetrically curved. Sound quality suffers if the symmetry isn't perfect, and performance becomes more difficult.
The production process at AIZEN requires such time and labor that in order to guarantee the highest possible product quality, our current output is limited to five saxophone mouthpieces per day. Each one is a handcrafted original.
Vintage pieces tend to vary a lot in sound from piece to piece, even if they're by the same maker. By contrast, AIZEN mouthpieces are exceptionally consistent, and we do everything we can to keep consistency at the very highest possible level. Each and every AIZEN mouthpiece is hand-finished individually by skilled and experienced staff. And we don't stop there. Every mouthpiece is mechanically measured to make sure it's accurately shaped. Our mouthpieces leave our production facility tried and tested.
Of course, there is one catch with the painstaking AIZEN production process. It's not suitable for mass production. We can't market our products in mass production quantities, and they take a lot of time and effort to make. That's why we sometimes have to keep our customers waiting for the pieces they've ordered - but we're just not going to compromise on quality.
|
SAX
Coming soon
|
