Mouthpieces & Ligs

Revelation Silver Jazz -The soloist ligature:

Exceptional radiance, a more brilliant and compact sound due to the silver plating, easy staccato.

Fabric with silver plated metal support.

All sizes are for "standard 'fat' ebonite" size mouthpieces, such as Otto Link's, Meyer's, SR Technologies etc. If you feel your mouthpiece is slightly different, such as a Runyon Quantum, or JodyJazz Classic, please email us (help@sax.co.uk) or call us, and we'll help guiding you for the right one.

The BG Duo Ligature is a slick, easily adjusted and has with excellent resonance, tonal quality and control. Fits all standard ebonite tenor mouthpieces (Otto link, Selmer S80 etc)

The BG Duo Ligature gives players centered, stable intonation in all registers. The ligature gives players access to precise articulation and a focused, warm sound quality and flexibility. The floating design allows minimum contact on both the reed and mouthpiece for maximum vibrations. Grips perfectly to cane and synthetic reeds to allow for quick and easy reed or instrument changes.

•Grips perfectly on cane or synthetic reeds

•Carefully designed to reduce contact with the mouthpiece to produce the maximum vibration

•Single screw enables faster assembly and disassembly

•Focused tone

•Stable intonation in all registers

•Warm sound quality

•Precise articulation

Fits standard hard rubber Alto or Tenor mouthpieces

We are proud to showcase this wonderful Marble version of the D’addario Select Jazz mouthpiece. This stylish and impressive Marble finished mouthpiece produces a beautifully pure and free blowing jazz sound.

The D’addario Select Jazz Marble Mouthpiece captures the feel and tone of legendary mouthpieces from years past. Now, today’s saxophonists have a chance to discover for themselves the sound that, for decades, set the standard of jazz.

The sound quality is classic, warm and even, and when pushed, it holds on to these qualities. It is CNC milled using solid, marble-coloured rod rubber and this process enables complete consistency from model to model.

• Material: Solid Marble Rod Rubber

• Made In: USA

• Chamber: Medium

• Baffle: Low

• Ligature: Not Included

• Manufacturing Method: CNC milled

• Recommended for: Jazz Professionals/Students

"I’m very excited that D’addario have made this mouthpiece exclusively for us in Europe. If you’re going to be behind an exclusive line you want it to be a good one and you want it to be a mouthpiece that speaks the language of many people, not just a few. This mouthpiece does just that! From playing the first note on this piece I realised that I was going to enjoy playing every note on the horn, just from the immediate tonality and response. As you get into it you realise the classic dark and smooth tone is present throughout the entire range and at every dynamic level. It articulates cleanly and at speed. When pushed it doesn’t particularly go bright, it holds on to its basic core. If you’re looking for a classic jazz mouthpiece, with no frills attached, this is a great piece!

We are proud to showcase this wonderful Marble version of the D’addario Select Jazz mouthpiece. This stylish and impressive Marble finished mouthpiece produces a beautifully pure and free blowing jazz sound.

The D’addario Select Jazz Marble Mouthpiece captures the feel and tone of legendary mouthpieces from years past. Now, today’s saxophonists have a chance to discover for themselves the sound that, for decades, set the standard of jazz.

The sound quality is classic, warm and even, and when pushed, it holds on to these qualities. It is CNC milled using solid, marble-coloured rod rubber and this process enables complete consistency from model to model.

• Material: Solid Marble Rod Rubber

• Made In: USA

• Chamber: Medium

• Baffle: Low

• Ligature: Not Included

• Manufacturing Method: CNC milled

• Recommended for: Jazz Professionals/Students

"D’addario have done us a great turn by producing this mouthpiece. It’s highly affordable and yet, for me, carries the characteristics of a classic Meyer New York piece from the past. It produces a dark, smooth and even tone, with a nice medium resistance. It’s also got just a little element of bite, great for when you want to ‘funk it up’ a bit. Just as in the tenor version, D’addario have managed to maintain the tone quality throughout the dynamic range and maintain the tonal characteristic throughout the instrument range. This consistency really puts the musician at ease and allows you to play freely without stylistic restriction. One of the best ‘step-up’ mouthpieces out there!

BARI Gold, the standard of excellence. Hand polished brass saxophone mouthpieces finished in 18 carat gold.

Cap and Ligature included

BARI Mouthpieces

Bari began with one man's mission to achieve a unique sound. Wolfe Taninbaum, the designer of the original Bari reeds and mouthpieces was a musician who played under the stage name of Wolfe Tayne for such famous orchestras as Les Brown, Benny Goodman and Jimmy Dorsey. He also sat in with the CBS and NBC orchestras. Early on, Wolfe became so frustrated with the inconsistency of playable reeds that he began to make his own. After years of trying to perfect cane reeds, he turned to synthetics. In 1952 he developed his first synthetic reed. It was also the first one to gain acceptance from some of the world's top musicians. Wolfe's innovations didn't stop there. he also helped create a unique facing for alto and tenor mouthpieces that Otto Link applied to his larger chamber blanks, calling it the "WT." It produced a dark, husky resonance that was coveted by saxophonists and fetched top dollar. Today's WT II and WT III mouthpieces are improved designs of the original. Now you can achieve that same coveted sound

BARI Gold, the standard of excellence. Hand polished brass saxophone mouthpieces finished in 18 carat gold.

Cap and Ligature included

BARI MOUTHPIECES

Bari began with one man's mission to achieve a unique sound. Wolfe Taninbaum, the designer of the original Bari reeds and mouthpieces was a musician who played under the stage name of Wolfe Tayne for such famous orchestras as Les Brown, Benny Goodman and Jimmy Dorsey. He also sat in with the CBS and NBC orchestras. Early on, Wolfe became so frustrated with the inconsistency of playable reeds that he began to make his own. After years of trying to perfect cane reeds, he turned to synthetics. In 1952 he developed his first synthetic reed. It was also the first one to gain acceptance from some of the world's top musicians. Wolfe's innovations didn't stop there. he also helped create a unique facing for alto and tenor mouthpieces that Otto Link applied to his larger chamber blanks, calling it the "WT." It produced a dark, husky resonance that was coveted by saxophonists and fetched top dollar. Today's WT II and WT III mouthpieces are improved designs of the original. Now you can achieve that same coveted sound.

A nicely designed open chambered, free blowing metal piece in the tradition of Otto Links. Relatively dark toned for a metal piece and pleasingly responsive. A good 'blank canvas' sort of piece for a player who wants tonal flexibility.

Cap and Ligature included

Bari Mouthpieces

Bari began with one man's mission to achieve a unique sound. Wolfe Taninbaum, the designer of the original Bari reeds and mouthpieces was a musician who played under the stage name of Wolfe Tayne for such famous orchestras as Les Brown, Benny Goodman and Jimmy Dorsey. He also sat in with the CBS and NBC orchestras. Early on, Wolfe became so frustrated with the inconsistency of playable reeds that he began to make his own. After years of trying to perfect cane reeds, he turned to synthetics. In 1952 he developed his first synthetic reed. It was also the first one to gain acceptance from some of the world's top musicians. Wolfe's innovations didn't stop there. he also helped create a unique facing for alto and tenor mouthpieces that Otto Link applied to his larger chamber blanks, calling it the "WT." It produced a dark, husky resonance that was coveted by saxophonists and fetched top dollar. Today's WT II and WT III mouthpieces are improved designs of the original. Now you can achieve that same coveted sound.

BARI ebonites have long been regarded as one of the best 'all rounders' for the soprano sax. With a warm, full tone they can acquit themselves well for classical playing (as well as the fact they're very strong on intonation and tonal stability) but, when pushed, can equally well project for jazz while maintaining a full core. Nicely versatile.

Supplied without cap & lig.

Bari Mouthpieces

Bari began with one man's mission to achieve a unique sound. Wolfe Taninbaum, the designer of the original Bari reeds and mouthpieces was a musician who played under the stage name of Wolfe Tayne for such famous orchestras as Les Brown, Benny Goodman and Jimmy Dorsey. He also sat in with the CBS and NBC orchestras. Early on, Wolfe became so frustrated with the inconsistency of playable reeds that he began to make his own. After years of trying to perfect cane reeds, he turned to synthetics. In 1952 he developed his first synthetic reed. It was also the first one to gain acceptance from some of the world's top musicians. Wolfe's innovations didn't stop there. he also helped create a unique facing for alto and tenor mouthpieces that Otto Link applied to his larger chamber blanks, calling it the "WT." It produced a dark, husky resonance that was coveted by saxophonists and fetched top dollar. Today's WT II and WT III mouthpieces are improved designs of the original. Now you can achieve that same coveted sound.

Bari have created an imaginative product after many years of study and experimentation.

They have not invented anything new...just improved it. You'll be pleasantly surprised at the response of the two extreme registers. The low register is sonorous...the highs have their own pocket for continuity of sound and intonation.

Supplied without cap & lig.

BARI Mouthpieces

Bari began with one man's mission to achieve a unique sound. Wolfe Taninbaum, the designer of the original Bari reeds and mouthpieces was a musician who played under the stage name of Wolfe Tayne for such famous orchestras as Les Brown, Benny Goodman and Jimmy Dorsey. He also sat in with the CBS and NBC orchestras. Early on, Wolfe became so frustrated with the inconsistency of playable reeds that he began to make his own. After years of trying to perfect cane reeds, he turned to synthetics. In 1952 he developed his first synthetic reed. It was also the first one to gain acceptance from some of the world's top musicians. Wolfe's innovations didn't stop there. he also helped create a unique facing for alto and tenor mouthpieces that Otto Link applied to his larger chamber blanks, calling it the "WT." It produced a dark, husky resonance that was coveted by saxophonists and fetched top dollar. Today's WT II and WT III mouthpieces are improved designs of the original. Now you can achieve that same coveted sound.

The low register is sonorous...the highs have their own pocket for continuity of sound and intonation.

BARI Mouthpieces

Bari began with one man's mission to achieve a unique sound. Wolfe Taninbaum, the designer of the original Bari reeds and mouthpieces was a musician who played under the stage name of Wolfe Tayne for such famous orchestras as Les Brown, Benny Goodman and Jimmy Dorsey. He also sat in with the CBS and NBC orchestras. Early on, Wolfe became so frustrated with the inconsistency of playable reeds that he began to make his own. After years of trying to perfect cane reeds, he turned to synthetics. In 1952 he developed his first synthetic reed. It was also the first one to gain acceptance from some of the world's top musicians. Wolfe's innovations didn't stop there. he also helped create a unique facing for alto and tenor mouthpieces that Otto Link applied to his larger chamber blanks, calling it the "WT." It produced a dark, husky resonance that was coveted by saxophonists and fetched top dollar. Today's WT II and WT III mouthpieces are improved designs of the original. Now you can achieve that same coveted sound