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thank you!

Thank you! I used to go to auditions, but after a few years, I got fed up with fake, pre-arranged situations and corrupt juries. I switched to IT and software development, which proved to be one of my best decisions.

Oh dang sorry about that, IT is a stable job so glad you got that

@@markszavin5050 yup. But it’s like that in all aspects of life

@@emjay2045 well, apparently there are professions where it's not that severe 😉

I think you are right. The best Kaspars were made on Cheds!

Thanks! Interesting, indeed. Most Ciceros have slightly angled walls. This one has a tighter focus than others I have worked on, this is probably a main component of this attribute.

Yes, exactly. The most difficult part is determining the original length of the mouthpiece, but I could calculate it by following the direction of the remainings of the side rails. So I could find the length by aiming for the right window width on the top. Also, I worked on a few Kaspars before, so I was somewhat familiar with the tip rail shape and width.

@@markszavin5050 I have a broken Ann Arbor which is just a little broken on the inside of the tip. I imagine it will be fairly easy for you as length didn't change at all, you'd only fill the upper rail gap. I also got an engraved B45 Lyre, that's more broken, length affected, like the Kaspar on this video. I'll send you these sometime, when I decide to fix them.

@@jimis3167 sure, we can discuss this on Messenger anytime!

Thank you! If any mouthpiece is worth the time and effort this requires, this is it.

Thank you 😊

The game has been finished on Facebook, but if you follow my profile, I plan to make a similar game sometime.

I even exchanged a few emails about this with a representative from Vandoren, but there is no chance of this material being reintroduced.

Those were produced later than the Perfecta, but still made of a better material compared to the current lineup. The engraved logo ones are good candidates for refacing/customization

The original tip was about 1.06 and the beginning of the curve was uneven, but let's say it was 33 (16mm) which is much shorter than the M15, or anything that is commonly used today.

Very nice performance!!

@@ハナモゲラモグラ thank you 😊

¡Gracias!

I don't have any V12s at the moment. I tried it with VD Traditional 3, RueLepic 3.5, and D'Addario Reserve Evo 3.5, all played fine.

Wow, thank you 🙂

Hi, I never tried to paint a mouthpiece. I only add some golden acrylic paint to my engraved logo. One thing to keep in mind is that most paints are not food-safe and may release harmful chemicals over prolonged use if the painted part is in your mouth. I would refrain from painting a mouthpiece.

@@markszavin5050 Thank you very much!

The Kaspar is probably worth the effort. Also, I can customize it to your preferences, while remaining faithful to the maker's original intentions.

Riffault used this facing designation for blanks with quite a diverse chamber and bore configurations, It's hard to tell without pictures.

Hi! I would be happy to work on your crystal mouthpieces! You can find me on Facebook and Messanger under the profile named 'Mouthpiece Medic', or reach out via mouthpiecemedic@gmail.com I prefer the first option for faster communication

¡Gracias por tu amable nota! Estaré encantado de fabricarle una boquilla personalizada ajustada a Légére European Cut 3.25. Puede encontrarme en Facebook con el nombre de perfil "Mouthpiece Medic", o enviarme un correo electrónico a mouthpiecemedic@gmail.com

@@markszavin5050 en cuanto pueda, en un mes o dos, muchas gracias, encantado con su trabajo

@@markszavin5050 I'm not sure what I could be doing wrong, but I've tried all sorts of ways to find "Mouthpiece Medic" on Facebook and not succeeded. Could you perhaps please provide a link?

Yes, I can repair the tip if it's broken. If there is just a small chip missing, I use gray epoxy to fill it. If the missing piece is bigger than 1.5mm, I craft the missing piece from another mouthpiece that's already beyond repair. No machine is involved, I make all of this by hand.

Easier and better to buy new

Mark I am interested in grey epoxy can you send link where to buy it

@@AlvinsThoughts I beg to differ. Of course, there are mouthpieces like a no-name plastic student mouthpiece where it's not worth the time and effort to fix. I see at least two categories where fixing is better than buying a new one: 1, if it's a favorite mouthpiece and it's not a rare or expensive one but has a high practical value for the player 2, if the mouthpiece has historical value, a rare one, or made by a famous maker of the past. Also, I generally think that fixing things is better than fueling global capitalism by just buying new stuff all the time.

@@AlvinsThoughts I will look it up based on the label and get back with the info soon

*. **. ***Cuál es cerrada y abierta.

There used to be a Selmer CP series, but I'm unaware that Pomarico had anything similar. However, occasionally, I work on Pomaricos that hold the initials of the owner, or a previous owner. This may be another example of a custom-made mouthpiece, it's hard to tell any measurements. Maybe someone has a record of custom-made mouthpieces at the Pomarico company.

From what I see, I don't recognize too many signs on hand-finishing on them. About 10 years ago, I went to Frankfurt to visit that huge music exhibition and I went through like 40 Pomaricos until I found one that was usable out of the box. Two years ago, when I worked on the 5th Pomarico in a row, I offered my work to Pomarico to create a custom series of hand-finished mouthpieces with my assistance, only to be released in small batches or with custom orders. Unfortunately, I didn't get any response. It's a pity, maybe I will try this again, because a nicely balanced crystal mouthpiece can provide a wonderful playing experience, and it would be nice if many players could have it.

@@markszavin5050 Yeah ... That's interesting ... By the way ... I own a Ruby Classic Crystal Pomarico which I use it on a cheap Armstrong 4001 Clarinet Student Model ... It used to have a crappy plastic stock mouthpiece ... with that Ruby it plays way better and a lot more control for me.

Thank you 😄

I determine the right baffle contour based on the sound, the overall resistance, tuning, and the speed of the response. One can measure reference points in the baffle with a depth gauge, some even use special wax or silicone to cast a shape and examine it. But there are too many variables to consider and there are subjective factors too. If a magic formula would exist, it should be enough to measure everything and use them as input in a spreadsheet or specialized software. But this is not my approach, I think there is room for engineering in the facing curve, window width, and even the tip rail contour. But I prefer leaving the baffle shaping to be led by sound, feel, experience, and instinct.

That's right, it was the original facing. It's easy to tell because the machines used for creating the factory facing leave a very distinct surface. In fact, I have yet to find a Pomarico (or any other crystal mouthpiece for that matter) that has a correct, or at least symmetrical facing curve. I think the crystal mouthpiece players' market has been always very niche, and it simply isn't worth investing in R&D regarding more precise facing applier machines just for crystal. Currently, on the watch of a strict QA team, hardly anything would leave the factory. I think the superstition about crystal mouthpieces should be played with very soft reeds comes from the extreme amount of resistance caused by thick rails and vastly asymmetrical facings.

@@markszavin5050 Do you think the Vandoren A series(discontinued) might had more symetrical facings?

@jimis3167 Those were also made by Pomarico. They are identical to the vintage Pomarico 1, 2 etc. But those do tend to have more decent facings, as Vandoren essentially selected the better ones and put their stamp on the tenon metal ring.

Thank you 💙

Cuál es la abierta y cerrada *. ** *** Gracias.

Cuál es la ( *) (**) y(***)cerrada.

Hi! It's glass, to be precise, but it's been called crystal for marketing purposes. There isn't a single mouthpiece maker who would make mouthpieces from natural crystal.

Sí, lo soy. Por favor busque el nombre de usuario 'mouthpiecemedic'

www.ebay.com/usr/mouthpiecemedic

Muchas gracias, así lo haré

Hi, thanks for your kind comment!

Köszönöm szépen 😄

Спасибо! Это «Superfini RM», произведенный во Франции компанией Riffault в 1960-х годах. (I hope the translation is accurate 😄)

@@markszavin5050 Спосибо!, а сколько стоит,цена мундштука?

@@arturyesayan4220 Это больше не доступно. Он был продан несколько месяцев назад. Если вам интересно, посмотрите мои другие мундштуки для продажи здесь: www.ebay.com/sch/i.html?item=325528018237&rt=nc&_trksid=p2047675.m3561.l2562&_ssn=sonicbang88

@@markszavin5050 Увожаемый Марк, у меня возраст 64 года и здоровье не то, мне нужно мундштук лёгкого продува, напримерь как vabdoren BD5, но хрустальный мундштук Pomoriko,лучше чтобы недорого был🙏

У меня кларнет строя А немец систем,"Карадл"

Szia, köszi 😄 Ez már egy ideje elkelt, de folyamatosan keresem a jó alapanyagokat amiket fel lehet javítani. Ha gondolod, keressük meg egymást FB-on és szólok ha találok valamit.

Hi, it's French Suite No. 2 in C Minor, BWV 813, VI. Air by J.S. Bach

I generally prefer Vandoren blue box 3, but I like to test my mouthpieces with other brands and strengths too. I usually have Daddario Evolution 3, 3.5, Vandoren blue box 2.5, 3, 3.5, V12 3.5, Arundos 3+, and some Legere EC in my inventory. My philosophy is that a well engineered mouthpiece should take as many reed types and strengths as possible.

@@markszavin5050 That's a good philosophy but not totally true as some mouthpiece may work better with some reeds and not at all with others (refering to brands and models, not strengths) despite being good quality material and comfortable internals. I've tried D'addario reeds too and I think my favourite are classics. But I generally prefer Vandorens V21 and V12, I like both.

@@jimis3167 I agree on that one mouthpiece can't work equally well with all kinds of different reeds. However, I strive to balance the facing and the chamber in a way that enables the mouthpiece to be compatible with as many reed types as possible. And there is the personal factor too to consider. I worked on a Selmer HS* mouthpiece recently and I found it to be great with VD blue box 3, but when I switched to anything in the 3.5 range, I felt somewhat uncomfortable and it was hard to produce a clear sound. Now it's played by a friend of mine with Leuthner 3.5, and produces a wonderfully clear yet dark and robust sound on it with ease.