 The Clarinet BBoard
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Author: GoldhawkRoad
Date: 2026-07-24 05:04
Is it just to correct defects in mouthpieces that otherwise have desirable qualities, or can you add qualities that a mouthpiece didn't have before? For example, I love my selmer focus bass mouthpiece. Playing it feels great, and I truly love the sound it offers, but projecting in an orchestra requires way too much effort; can refacing rectify that, or is it better just to search elsewhere at that point. Any insights appreciated!
Post Edited (2026-07-24 05:05)
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Author: Micke Isotalo ★2017
Date: 2026-07-24 19:07
Typically refacing is done to restore a facing due to wear, or sometimes to alter playability in a way preferred by the player. However, it alone hardly alters any basic properties of the mouthpiece, such as projection. For that purpose I would look for another one, which hopefully would combine both better projection and the kind of playability you prefer.
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Author: Paul Aviles
Date: 2026-07-24 21:40
I agree with Micke. You may invariably find that you lose things about your mouthpiece that you like when changing aspects of the facing and not gain what you want. I find it better just start trying others until you get closer to what you want. That way, you can always GO BACK if you change your mind.
............Paul Aviles
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Author: donald
Date: 2026-07-25 03:22
I more or less agree with above, though sometimes an expert craftsperson will adjust rail thickness (this can be a "personal preference" factor, but also must match the facing that's applied. As an example, the super thick rails of the old Dan Johnston mouthpieces required a facing curve that was quite unique in order to free up response). This usually has more influence on back-pressure and resistance/response but MAY also brighten the sound. Not a given however....
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Author: David Eichler
Date: 2026-07-25 11:25
How do you know the problem isn't you and not the equipment? Are you an expert professional player with years of experience playing in large ensembles? If not, do you have a teacher? If not, why not? If you are not a highly experienced pro, a teacher should be the one advising you, not people who have no idea what your level of experience or playing capabilities are. Besides which other elements of equipment can also have a bearing on projection too.
Post Edited (2026-07-27 03:34)
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Author: GoldhawkRoad
Date: 2026-07-25 13:52
I appreciate your skepticism. I also agree that the player has the most affect over these things. I think that equipment can make life easier too. The selmer focus I play has a beautiful, dark and covered sound, but it doesn't do me any favors in terms of projecting/cutting through. I suppose I am trying to have my cake and eat it too. As to your last point, I'd rather get a new mouthpiece than a new bass clarinet! (A new neck though is a possibility...)
Post Edited (2026-07-25 14:04)
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Author: GoldhawkRoad
Date: 2026-07-25 14:05
Thanks for the advice, everyone! A very interesting part of the profession that I'm glad to learn a bit more about.
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Author: Chris P
Date: 2026-07-25 18:12
I had a go at refacing a cheap plastic mouthpiece and besides altering the tip opening and length of lay as well as the rail thicknesses, it also significantly changed the tone and response compared to how it played before, so there are other factors to consider and the owner really needs to be present at every stage for their input.
Former oboe finisher
Howarth of London
1998 - 2010
Independent Woodwind Repairer
Single and Double Reed Specialist
Oboes, Clarinets and Saxes
NOT A MEMBER OF N.A.M.I.R.
The opinions I express are my own.
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Author: Mojo
Date: 2026-07-25 18:36
A facing measurement and analysis might find some irregularities. Bumps, flats, unevenness. If corrected, the response should improve. This should give you the sensation that the sound you like is a little easier to produce. More sound with less effort. You may even need a little stiffer reed to compensate.
Opening the tip and letting the baffle rise some will give more projection. But this will come with some tonal and articulation trade off. If you go just a little, you might like it. But there is a risk you won’t.
MojoMP.com
Mojo Mouthpiece Work LLC
MojoMouthpieceWork@yahoo.com
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Author: David Eichler
Date: 2026-07-27 03:40
1. It would be very useful to know the OP's level of experience and proficiency, and it seems to me that pretty much any experienced pro orchestral musician would already know the answer to the question about refacing.
2. The discussion needs an expert opinion about the qualities of the particular mouthpiece in question before one can properly evaluate the request for obtaining more projection. Is this a mouthpiece that is know for having limited projection?
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Author: sonicbang
Date: 2026-07-27 14:09
There is a difference between simply restoring the facing and full customization.
When I work on a worn-out mouthpiece, first I extensively play-test it to have an understanding of what the client likes in the mouthpiece. I usually ask players to provide 1-2 model reeds so I can make sure I play their exact setup (except the clarinet, of course). So I have a subjective feel about the nature of the resistance, response, and tonal color.
Then I take a lot of different measurements about the facing curve, facing length, tip opening, window size, rail thickness at the tip and on the sides.
The goal is to remove the least possible amount of material while correcting the worn spots; there is a series of logical steps to do this. The outcome is a better-responding mouthpiece that is working well with more reeds than before, and the core qualities are unchanged.
Customization is a different thing, which may involve changing the baffle contour, sometimes even the throat shape and the bore, it's not a simple 'refacing'. Here the goal is to work with the player and implement his ideas until the desired outcome is reached. This can be done via the mail to some extent, but obviously it's more effective in person.
Mark Szavin
🎵mouthpiece specialist🎵
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