BOQUILHAS - marcas e modelos

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This moutpiece offers a little wider throat than normal mouthpieces.  This allows more air flow, and thus a louder tone when necessary.  At the tip there is a slight roll-over baffle for more brightness and faster airflow. This is more of a sax-clarinet doublers mouthpiece and good for jazz.


1930s Buffet - Evettine in top scroll - Buffet emblem below lower ligature lines

Early Buffet

C Model

C Crowns

These 2 Buffet C Crown mouthpieces are from different generations.  Unfortunately I forgot which was from which.  One is from a 1974 R-13, the other is an earlier model.  The distinct differences are that [1] one has a slightly longer beak; [2] one throat wide is wider,  [3] and the C and the crown are spaced dfferently

C Crowns are apparently made from Chedeville blanks


1974 - This 1974 model has a close C and crown, and wide though not as wide) throat as the other model. Centered and good tonal quality.


Chedeville made fine rubber mouthpieces from the 1920s to the 1970s.  Their quality does vary and many of the older mouthpieces are preferred to the newer ones.

Chedeville actually originates in France but Chedeville consisted of two brother mouthpiece makers, Charles and Henri.  Charles Chedeville was based in France and produced some great mouthpieces. His production was somewhat high, though below that of bigger competition of Vandoren and Selmer.  Charles provided "blanks" or unfinished mouthpieces to a variety of makers including Frank Kasper of Chicago and Ann Arbor (until about 1970) and instrument manufacturers such as Bundy and Buffet.  You can find some very nice Bundy and Buffet mouthpieces that are based on Chedeville blanks through the 1970s.

In 1949 the Chedeville company was purchased by the French Landelais company. The Lelandais company had also manufactured mouthpieces that were highly sought after, primarily by American clarinetists.  .

In Philadelphia USA Charles brother Henri, a woodwind repairer, used Henri Chedeville blanks to produce his own line of "Chedeville" mouthpieces.  


Small Bore mouthpiece

Large bore mouthpiece - A frame vs above H frame


K11 - H frame throat (Zinner blank)

K14 - wide A frame throat (Zinner blank)

Gustave Langenus

G Langenus was the New York Symphony's principal clarinetist.  He was most world reknowned by his involvement in the transition to the Boehm keywork system rearranging teaching method.  He was also know in his clarinet mouthpiece design and his superb and rare clarinets.  He was apparently idolized by Bennny Goodman and BG apparently used Langenus mouthpieces throughout his entire career.  The mouthpieces can apparently be superb though the quality is often overlooked by traditional clarinetists as their design is not normal as he was known for his "duckbill" design.  His clarinets, though quite rare, are ranked with the best in the world at his time of the 1920s through 1940s.  The clarinets were supposedly made by the Hofinger company.  They may have had multiple models as it was noted one model had pot metal keys which are very soft and can melt easily at high heat.

Larry Combs

LC-1 (tip 1.1mm)



Noblet mouthpieces came standard with Normandy and Noblet clarinets.  The older mpcs, shown with the fancy scroll, has a very slightly warmer tone to them.  Very good mpcs for the beginner and intermediate players.  Advanced players may like them for their nice tone and ease of response. 


O'Brien originally made the Selmer Clarion crystal mouthpieces.  Identified by only a couple of flutes (indentations on the side of the mouthpiece). 

The O'Brien mouthpieces quality varied over the years.  In the early 1980s a cousin of the original O'Brien created mouthpieces from time to time.  These mpcs were not considered the "prime" mpcs

Earlier mpcs the glass could be slightly darker, even slightly pink.  On many of these models their would be a date etched on the glass.  The original mpcs from the early 1940s, made by the Harry O'Brien, were less clear and had more air bubbles.  So I guess the more "pure" the crystal in the mpc the less desireable they are.

There was also a mold change in the 1950s as the original mold was broken.  The older mold had 3 grooves on each side (6 total). The newer 1960's mold had 1 groove on each side.  The original Harry O'Brien (passed away in the 1950s) and he also manufactured clarinets. The son continued to make Selmer Primer clarinets in the 1940s as the father stopped.  Pete Fountain apparently used these clarinets along with the mouthpieces.  (thanks for this information goes to Michael E Obrien, grandson of Harry O'Brien - if you read this please email me, your address changed)

OCB stood for "Off Center Bore". These models were popular with jazz and classical clarinetists during the 1950s through the 1980s.  O'Brien is said to have put really good facings on his mouthpieces. In general it's thought that O'Brien has been underrated as an artists just because of his status as a manufacturer and retailer.  Tony Scott (pictured below) played a crystal mouthpiece during his jazz recordings years in the 1950s and 1960s.  The OB* was described as a "medium" and his most popular facing.

No 1 Very short, Close
No 2 Medium, French
No * 1.00mm  Very Popular
No 2* More open than OB*
No 3 1.16mm
No 3*  
No 4 1.19mm
No 4*  
No 5 1.25mm
No 5* the most open

Some past tip openings of mpcs I've had

Model Tip Opening Facing length
5 .047" 16.5mm
5* .044" 16mm
5 .054" 17mm
5 .043" 14mm

Selmer Clarion

Very Early model:

Selmer model

This is a beautiful sounding O'Brien.  I thought my 1980 model sounded good.  This Selmer O'Brien (found with an old silver plated metal clarinet) sounds absolutely beautiful - rivaling my certain 1920-30s mouthpieces. This is probably from the original mold, pre 1950s.  Response and tone is extraordinary across the range from low E to altissimmo.

1955 model - The original mpc came in cardboard tubes.  Later ones came in plastic tubes with a sheet of paper in them (similar to the label below).

O'Brien "5" model - O'Brien and 5 etched on the top of the body (not on the table).  No end cap.  Frosted table and no identification etchings on the table. This was a very freeblowing O'Brien with a nice larger tip opening.  This is probably from 1950s or 1960s

tip opening 1.25mm

1970s model - This has the same visual identification as the 1980 model.  Looks nearly exactly the same, 3 flutes on either side, brass end cap, etc though the crystal is not as clear.  O'Brien is etched on the table. In the upper left "x4" is etched and on the lower left "OCB-70" is etched. Tip opening = 1.19mm (0.04865 of an inch). 16mm length facing.

1972 model - This has the same visual identification as the 1980 model.  Looks nearly exactly the same, 3 flutes on either side, brass end cap, etc though the crystal is not as clear.  O'Brien is etched on the table. In the lower left "OCB*-72" is etched.

1980 model - easily recognizable with the brass cap on the end of the tenon.

3 flutes on either side. "3x" scribe on upper left of table; "OCB-80." scribed on lower left of table.  "OBrien" scribed in middle right of table".  Brass tenon cap.  Purchased in 1980 from WoodWind Inc. (of Woodwind and Brasswind), original cork.  Tip opening = 1.16mm (0.04567 of an inch)

Otto Link

Slant Sig - "Eburnated Bar"is stamped above the top ligature line.    "Reg US Pat Off"   is stamped just below the top ligature line.  "Otto Link" slanted on the body. "Serial No 91xx" is stamped below the lower ligature lines

Reso-Chamber - "Eburnated"  is stamped above the top ligature line.  "Reg US Patent Off" is located below the top ligature line.  "Reso Chamber" is the main emblem with Reso on top and Chamber on bottom surrounding a circle.  "Otto Link" marked in the slanted chain circles.   "5*" marked on the bottom of the table.

This mouthpiece has a very wide A frame throat.  No very centered playing and used for jazz.

Penzel - Mueller


SML made very fine mouthpieces.  This particular model had a very centered tone and a wonderful response.  Though I would not rank them in tonal qualities above the good Chedevilles as it does not contain enough 'ring' to the tone.

Stowell Wells Schneider

B3 (tip 1.25mm)

Keyhole design - This mouthpiece is interesting.  As the air/sound travels through the mouthpiece the sidewalls move in to each other. This design, in short, allows the player greater dynamics and the mouthpiece is generally louder in comparison to other mouthpieces.  So the player has to learn greater playing dynamics to maintain pianissimos.  Another similar end result design on O'Briens has a "tone booster" on the baffle near the tip - this idea (apparently) has spawned those "tone boosters" that you buy and can stick into your mouthpiece

WC Sumner

WC Sumner Accousticut   Rubber 3

 Kasper / Goldbeck & Sons


Ben Redwine has evolved a design from a past clarinet player, Ignatis "Iggy" Gennusa.  Mr. Gennusa designed a mouthpiece called the "Excellente" which was a direct copy of his famous Chedeville mouthpiece.  He was considered to have one of the best clarinet tones of any professional clarinetist in his generation.  This included 21 years as the principal clarinetist at the Baltimore Symphony Orchestra.

Gennusa “Retro” b-flat mouthpiece. Iggy Gennusa’s first design. Copy of his Charles Chedeville mouthpiece. He deemed this one to be a bit too bright, so rejected it. Since we’ve taken over the company, we’ve reintroduced it. It gives people a good alternative, if the “Excellente” is not quite right for the way they play and what they want to sound like. It is a bit brighter than the “Excellente” and more projecting. Blanks produced by Babbitt, with sulphur in the rubber. Facings available: custom=anything

Gennusa “Excellente” b-flat mouthpiece. Iggy’s second design. This is the one that he liked (as do I). Dark, covered tone. Blanks produced by Babbitt. Facings available: GE-close (under 1.02 mm), GE*-medium (1.02-1.07 mm), GE**-open (over 1.06 mm). Also available in custom facing.

REDWINE e-flat: Zinner blank. Dark sound, excellent intonation. I’m an e-flat clarinetist (US Naval Academy Band), so I have much experience with these and have produced what I feel is the best e-flat mouthpiece on the market, having tried all the rest. Custom facings.

REDWINE bass: Babbitt blank. Projecting bass sound. Excellent intonation. Custom facings.


1st Generation - This model HS* is identified by the old Selmer oval emblem. The emblem is located just above the tenon. The HS* can be seen at the very bottom of the table.  The Throat is a A variety which allows not only centered but a nice spread tone, very flexible.  Approximate age: before 1926

'Air-Flow' era 2nd generation

(pre 1938) Considered a "Special Edition" mouthpiece due to a limited production run this Selmer mouthpiece lasted a few years in conjunction with the Selmer saxophone Air-Flow models.  This model started the "table" markings. This model had the normal "table HS**" stamp but above it it also had "precision garantie".  between the lower ligature lines and the tenon were the words "H. Selmer" in script.  Probably in the same early 1930s era as the Selmer-Johnston.  Photos courtesy of Barb Tucker from Hauer Music

2.5 Generation - Model 36 - Johnston-Selmer - New York - I'm not sure where to put this as it is a Selmer USA model released with the advertising of Mr. Johnston who was touting the Selmer SBA saxophones at the time.  I assume it was made around 1936 in conjunction with the lower emblem Selmer Paris mouthpieces.  I cannot find a "france" stamp anywhere but it may simply be a Paris model. Marked HS* at the base of the table just like the 1st Gen Paris model

3rd Generation - Identified by the new Selmer logo on the lower part of the body. Throat the same A type frame. The word "table HS*" is imprinted on the table.  To the right of the table is the Brand measuring system, which Selmer adopted used since July 1, 1938 on all Selmer and Selmer sponsored mouthpieces.  This numbering system allows you to understand the exact measurements of the original facing.  The first two numbers representing the length of the lay in 1/2 mm, and the second last 3 digits the tip opening in hundredths of a mm

Pre 1938 - without the Brand measuring system, lower emblem

Post 1938 - with the Brand measuring system, lower emblem

4th Generation - Logo moved to the middle of the body, though still high in comparison to modern Selmer mpcs.  The "Table HS" is now inside of and oval on the table.  Throat has much more vertical sidewalls than previous versions, but the walls are still wide apart in comparison to other makes.  These mouthpieces were apparently provided with the Centered Tone clarinets. 

5th Generation - Selmer emblem still high up the body but now the HS* identification is on the front just under the 2nd ligature line. There were apparently sold with the the 1960s (and maybe before and after)

6th Generation - Selmer emblem and HS** is slightly lower, though not in the middle as the later models.  This is a HS** (larger tip than the HS*).  The location of the HS and emblem may be a quirk with just the HS** - more mpc sighting have to be recorded.

6th Generation - Selmer emblem moved to the middle between the ligature lines.  HS* moved more downwards from the 2nd ligature line. The HS* font is now larger than previous generations

Selmer Crystal Clarion

Selmer Crystal (1980ish)

Photos courtesy of Barb Tucker from Hauer Music.  Though this is a Selmer crystal, most of the Selmer crystal mouthpieces were manufactured by O'Brien.  This on in particular looks exactly like the O'Briens from the late 1970's and early 1980s, including the brass tenon cap.

Selmer - later model

This is a beautiful sounding O'Brien (Selmer).  I thought my 1980 model sounded good.  This Selmer Obrien (in with an old metal clarinet) sounds absolutely beautiful - rivaling my 1920s mouthpieces.  This model is longer than the normal Obrien with internal variations that give it a warmer and more centered tonal quality.  Response is extraordinary across the range from low E to altissimmo.

model designation (ie, B, HS*) tip opening in mm
B* 1.05/18mm
C 1.05/19mm
C* 1.10/19mm
C** 1.15/19mm
D 1.20/18mm
E 1.30/18mm
F 1.40/18mm
G 1.50/18mm
H 0.92/18mm
HS* 1.00/18mm
HS** 1.20/18mm
S /17
C85-105 1.05/19mm
C85-115 1.15/19mm
C85-120 1.20/19mm
CP100-118 1.18/27
CP100-122 1.22/27
CP100-125 1.15/27

(from the Selmer Catalog)



The world over, professionals as well as students use mouthpieces from this popular series. Every player can find a suitable set up from the extensive range of tip openings and facing lengths. Standard Series mouthpieces are available for the complete clarinet family, from E soprano to BB contrabass clarinet. Standard facings - B*,

HS*, HS**. (and other sizes)
200 - Eb Soprano Clarinet
201 - Bb Clarinet
202 - Alto Clarinet
203 - Bass Clarinet
204 - EEb Contra-alto Clarinet
205 - BBb Contrabass Clarinet


(HARD RUBBER). Selmer (Paris) C85 mouthpieces bring a new sound to clarinets - a large sound, rich in low overtones, with a subtle blending of power and roundness.  C85 mouthpieces are available for E soprano, B , and bass clarinets. Standard facing - 115. 105 & 125

220 - Eb Soprano Clarinet
221 - Bb Clarinet
223 - Bass Clarinet



The CP 100 mouthpiece widens the B b clarinet mouthpiece range made by Selmer (Paris). The CP 100 is a very flexible mouthpiece adapting to various playing situations (from solo work to playing in the Orchestra clarinet section as well). It is an easy blowing, controllable, full tone mouthpiece with an excellent tuning balance all over the scale. An interesting professional mouthpiece. The CP 100 mouthpiece is now available for B b soprano clarinet; it is offered in three different versions (118, 122 and 125), see chart.

CP211 - B b Clarinet


Model normal tip opening lay length General Comments
2RV 1.065 19.5  
5RV 1.065 19.5 Vandy - "World famous 5RV is virtually a professional standard of comparison"
5RV lyre 1.09+ per Vandoren
1.28m measured
20.5 Vandy - "Responsive, easy to control in all registers, excellent for students. For symphonic and chamber music"
5JB 1.47 22.5 Vandy - "A very open tp, long facing, the jazz mouthpiece"
11.1 1.11 21.0  
11.6 1.16 20.5 Vandy - "Same sound quality as B45 obtained by using reeds that are a little stronger"
B40 1.195 21.5 Wider tip than B45 - more resistance, less bright than B45

Vandy - "Designed to use soft reeds wthout sacrificing the sound quality of a stronger reed (centered and compact)"

B44 1.105 19  
B45 1.195 21.5 Larger chamber, easier blowing than B40

Vandy - "Universaly acclaimed, it is the most popular mouthpiece. Designed for the symphonic orchestra player"

B45 Lyre 1.27 22 Vandy - "The sound of the B40 and the comfort of the B45"
B46 1.17+ 19.5 Vandy -"Ideal for the dance musician with classical backgrounc or the symphonic clarinetist desiring more tip opening"
M30     Vandy - "Designed to provide more flexibility, the M30 incorporates a very long facing and a large tip rail to produce a mouthpiece similar in sonority to the B40, with easier sound production qualities"
B45 (dot)     Large chambered mouthpiece produces excelent full "round" sound"
B40 Lyre     Vandy - "The B40 Lyre sharesmany qualities of the landmark B40.  The perfect blend of round sound and great tone color. Excellent sound production, especially in upper registers"
M15     Vandy - "At last, a mouthpiece which enables you to play strong reeds with a great blowing ease.  Exceptional sonority.  The musician can easily achieve a colorful spectrum of sound"
M13 Lyre     Vandy - "A little more open than the M13 mouthpiece, it permits easy blowing with harder reeds and produces a rich and centered sound.  The M13 Lyre is recommended for symphonic and chamber music"
M13     Vandy - "Offers many of the characteristics of older American mouthpieces which are so widely sought after.  The M13 permits easy blowing with harder reeds and produces a rich, dark, centered sound. Response is particularly sensitive"
AT45     Vandy - "Using advanced technology and innovative composite materials, Vandoren have produced a new generation mouthpiece that uses the same great B45 facing with a slightly brighter sound"


Vintage Kx models

Large bore clarinet mpcs.  Intonation-wise good for medium to large bore clarinets.

1st Generation - Has patent numbers on the side, K9 (or other) stamped on the front, "The woodwind co New York"  "steel ebonite no 36"

K series

K7 - Table model (2nd generation)


G models



Original Series


Zinner is used for blanks for at least some of Gregory Smith, Grabner, Hawkins, Lomax, and Fobes mouthpieces.  The Zinner mpcs have a "Germany" stamp to the left of the table.

Zinner models:

A - parallel sidewalls, deep baffle

E - paralel sidewalls, higher baffle

JC - Angled sidewalls

model designation (ie, JC2) tip opening in mm
0 0.80
1 0.83
2 0.86
3 0.90
4 1.00
5 1.10
6 1.20




The Chedeville facing reacts to air pressure quite different from the standard Kaspar facings in the scoop of the baffle projects the air at the bore radically different from any other design. This scoop in the baffle is what exerts a great influence on the sound and its tonal characteristics. Many players feel the Lelandis to be the superior of the three subsets known as Chedeville mouthpieces. Sadly, few makers reproduce this design. However, I have had great success with David Hite's D facing clarinet mouthpiece. This I feel replicates the character of the Lelandais design to a nicety. The Kaspar bore pieces are slightly more open at the exit to the barrel. (As for measurements others have written extensively.) I generally feel the Chedeville smaller exit bore gave me the flexibility and openness to the sound that I rather like.....
Having studied extensively with Harold Wright he had refacing done only a few times. The sound he made on his Lelandais will live long in my memory. It was very warm and quite round. When he allowed me to play on his Lelandais I was impressed by the ease and fullness of sound without having to work so hard!!!


more info at:
There were two Chedevilles known to produce mouthpieces for sale in the United States. The first was Charles Chedeville, based in France and producer of a great number of mouthpieces, third in production to Vandoren and Selmer. The Chedeville company was taken over by Lalandais in1949, another French maker of mouthpieces which are similar in design to the the Chedevilles and also highly esteemed by American clarinetists. Another French company, Glotin, presently markets a mouthpiece with the Charles Chedeville name, but this mouthpiece does not have the same reputation as earlier Chedevilles. The original Chedeville company supplied blanks (unfinished mouthpieces) to several mouthpiece makers including Frank and Frank L. Kaspar of Chicago and Ann Arbor (until 1970). At different times, clarinet manufacturers such as Buffet and Bundy supplied Chedeville-made mouthpieces with their clarinets.

The other Chedeville was Charles' cousin Henri, a woodwind repairman in Philadelphia. Henri Chedeville sold mouthpieces, the blanks of which were supplied by his Chedeville cousin in France, which he worked on and stamped with his own name...

Brad Behm, who has worked on many old Chedeville mouthpieces, believes that the secret to the best Chedevilles is probably a combination of the design and the material. He notes that these mouthpieces have a very narrow throat (where the windway joins the bore) with either slight slanted (small a-frame) or narrow parallel side walls. The Chedeville's narrow side walls intensify its sound giving it more direction and core. This feature is combined with a concave baffle, which helps to balance this intensity by darkening the sound. Chedevilles also tend to have generally close and imbalanced facings. The quality, design, and material of these mouthpieces are very inconsistent, so there are many Chedeville mouthpieces out there which are inferior mouthpieces....

(The old Chedeville mouthpiece was made) from hard rubber rod stock in (a) drilling process... Rod stock is difficult to obtain now, so that the great majority of mouthpieces made today are molded. The earlier process was considered superior because rod rubber is harder and less likely to warp than molded rubber...

Bonade recommended mouthpieces made from rod rubber stock which he said produced the best quality of sound. Many clarinetists of today subscribe to this same belief, and chose to play older "vintage" mouthpieces for this reason. Stanley Drucker considers the real value of his 1939 Lelandais mouthpiece to come from the composition of the high quality hard rubber which he believes affects the tone in a way analogous to a Stradivarius for a violinist.


Company Model Web Info or Printed Advertisement
Chadash-Hill CH Mouthpiece

The design and concept of the  Chadash-Hill mouthpiece is based on the classic 1930's Chedeville mouthpiece blank.  It differs from most mouthpieces, even custom ones, by being bored (not molded) from hard rubber rod stock, following the original 1930's methods.

Behn Mouthpieces International Chedeville The Vintage Collection
Clarinet mouthpieces made from the ground-up.  Hard rubber scientifically copied from a 1930’s Chedeville clarinet mouthpiece.  We manufacture our own hard rubber. We design and manufacture our own clarinet mouthpiece blanks  and
Clark Fobes Nova

The Bb clarinet mouthpiece features a Chedeville style bore and baffle

Clark Fobes San Francisco

The clarinet mouthpieces are custom molded to Clark's specifications using a Chedeville style interior

J. Ridenour RZ

The model “RZ’s” bore is hand reamed to dimensions commonly associated with old Chedeville style mouthpieces played by many of the great artists from the past as well as the present.

Gregory Smith Old Chedeville


Weiner Chedeville


Charles Bay Bay USA Spectra Artist model & Charles Chedeville/ Charles Bay improved Model.

In 1996, our company purchased the remaining inventory of CH. Chedeville mouthpieces for Bb and Eb soprano clarinet, bass clarinet, alto clarinet/basset-horn, and baritone saxophone. These seasoned mouthpieces (over 20 years old) respond beautifully to our facing and baffle/bore improvements.

Richard Hawkins Pro

It is a copy of many Chedeville mouthpieces.

Glotin Glotin Landais

Replica of a Chedeville Bb mouthpiece,  manufactured by Glotin (France). Facing #8

Vandoren M13, M15,
Vxxxx13 series

The object was not to copy the Chedeville, but to keep the features of the best ones, combined with the modern technology.


Gigliotti Clarinet Mouthpiece: Designed and developed by Anthony Gigliotti, principal clarinetist of the Philadelphia Orchestra, this hard rubber mouthpiece has a velvety tone that is dark yet alive, well centered, and able to hold the sound at any dynamic level.

 Gennusa Excellente

Gennusa "Excellente" clarinet mouthpiece designed by Ignatius "Iggy" Gennusa based on his personal Charles Chedeville mouthpiece.  Manufactured by RedwineJazz, LLC. Edgewater, MD.


 fashions his design from the Chedeville/Lelandais facing




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