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Innovation always starts with questions.

In our case , our experiments with the reed table began , not only concerning optical flatness, but WHERE is the table?

Tradition states that we must have a continuous surface for the reed to sit on, and while this is true, our experiments led to the search for the parameters of its critical mechanical areas.

The area behind the window is the main point of focus for all ligatures for both 'support' and ensuring a seal for the physics of the facing, sound production and reed cycles.

Behind this, heading towards the rear shank end of the mouthpiece ,the table plays no further part in sound production other than its assumed flatness for seating a reed.

Our views on visual potential as well as the sonic were reinforced by our experiments with countless design configurations that affect the rear table aesthetic without compromising the mechanics of what makes a Saxophone mouthpiece 'work' .

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