HR or SP depends on what you are more personally comfortable with -- HR is more like a hard rubber Link or a Selmer, and SP is more like a metal Link. There's no difference in the sound really -- the HR beak will make your jaw slightly more open so that may have an effect because the oral cavity is slighly larger, making for a more open sound.

A. Saxscape mouthpieces are designed for the needs of professional musicians who already have a pretty solid idea of what types of mouthpieces work for them. If you are not an advanced player, but know what players you like to listen to, I can recommend a mouthpiece based on your input. For a beginning student, until you develop your airstream and strengthen your embouchure, I would recommend a Selmer C*, Runyon 22, Morgan Pro-Tone, Brilhart Ebolin or Hite Premier.

A. Yes, by appointment only. I strongly encourage you, if at all possible, to come by and try out the different mouthpieces here, and also to bring your current piece so I can understand what has been working for you recently. I have at least one of each type here at all times for reference, and there is a varying selection of mouthpieces available for sale. My studio is located in East Stroudsburg, PA, just a couple of hours from both NYC and Philadelphia. Please contact me for details.

A. Those are machining marks, produced by the CNC process. They are right now the best compromise I have between having a piece that is functional (the correct size, holds the reed on correctly, fits in the mouth comfortably) and one that is aesthetically perfect. For me to make a piece with no CNC machine marks, I would either have to spend an hour with a file removing the marks, or extend the CNC program time by an hour, both of which would raise the price I would have to charge. In the future I do want to have beautiful pieces that rival any mass produced or handmade piece in production, but for now I am concentrating on making pieces that may be a little rough on the outside but place the emphasis on the playability, baffle, chamber, rail finishing, and all the important acoustical stuff.

A. When I create a mouthpiece, I make sure it plays great, regardless of the style or tip opening. I know that even if it isn't the right one for you, it's very likely that someone else will try it and find that it works great for them.

A. Currently the delivery time is about 3 weeks from the time it's ordered until you receive it, if you are in the United States. Add 5 to 7 days for most Europe and overseas addresses. I've applied engineering methods to optimize the production time and keep the quality up to artistic standards. Unless I receive hundreds of orders quickly, I'm prepared to deliver your mouthpiece within a few weeks of your order. Please contact me for the current waiting time.

A. I have played many kinds of mouthpieces while playing different music styles, and particular pieces naturally lend themselves to different situations. I'm glad to be able to create my own refinements to the classic and modern designs, and experiment with creating new pieces that combine the best features of different styles (the Red River).

A. I do plan on it -- next in development is the soprano, due for production in November 2007. After that will probably come bari.

A. I can do certain types of work depending on the mouthpiece. Please contact me for details.

A. I experimented with many materials, including different woods, hard rubber, metals, and polycarbonate, but the cast acrylic brings together all of the best qualities—good hardness and durability, light weight, and FDA approval for uses involving food and oral cavity contact. It is also stronger and higher quality than the acrylic used for injection molding, which is what other acrylic mouthpieces are made from.

A. I'm of the belief that the material has a very small effect on the sound, probably not even audible, as long as the material is "hard enough." In agreement with my own experiments, I have not yet seen a rigorous scientific study where the material has a significant impact on the sound. Making a rail .002" thicker, or changing the baffle depth by a couple thousandths, or adjusting the reed very slightly, will always have a much greater effect than a difference in material. This cast acrylic resin has a hardness between hard rubber and brass, and is extremely resistant to tooth indentation on the bite surface—but still comfortable to play without a tooth patch. I do think, however, that the material does make a difference to the experience of the player, as there will be different vibrations being conducted through the skull depending on the hardness of the material. But this acrylic is fine to use with or without a tooth patch.

A. A Jupiter Artist Series tenor sax. I've tried them against Mark VI's, Keilwerths, and the new Selmer Reference horns, and for the value especially, they could not be beat. Great keywork, intonation, solidly built, and great to play gigs and do studio work with.

A. I have ideas for a ligature... stay tuned!

A. Currently I am taking individual customer orders only. I'm not offering dealer pricing, due to the amount of time it takes to make each mouthpiece. In the future I hope to be able to sell to dealers if I can increase production without sacrificing quality.

A. From my experience, I think the proper way to increase resistance is to evenly widen the tip rail and to some extent the side rails. If the rails are asymmetrical, that's asking the reed to flex about its axis and possibly cause chirping.

A. "Barry Mouthpiece" is just wrong for so many reasons. And "Saxscape" is cooler, anyway.