The François Louis mouthpieces

Thanks to the continuous support from many of you and your persistant request for the "FL" mouthpieces, I have spent the last few years on the development of a new line of saxophone mouthpieces. The result is here, starting with the new "Spectruoso" tenor sax mouthpiece. Alto, Soprano and Baritone will follow shortly.

 A new design that will make your "FL" mouthpiece recognisable at the first blow. Beautifully mixed polished and sanded (mate) surfaces, with an inner curve at the junction between the beak and the body of the mouthpiece and also at the junction between the shank and the body.

 

 

 

Material

A great new composite material, the "Grounds" that brings up the roots of the vibration. Inspired by the determination of finding a modern material that resonates like wood, with absolute consistency and more focus. Let me tell you, it does vibrate !

 

 

Care

To enjoy your mouthpiece at its best, clean it regularly using a soft tooth brush and mild dish soap. Composite materials are sensitive to solvents, avoid using any.
Resonance has been privileged. Although stronger than hard rubber the "grounds" is not an unbreakable material. Care for your mouthpiece gently, to get the most out of it.

 Chambers

The "Spectruoso" is a baffled mouthpiece. It is available in two different chambers:

§                              The Sphere Chamber                 

Is the "replica" of the original "FL" mouthpieces. It offers an unbelievable dynamic range with a full and rich sound color from the pianissimo to the most powerful fortissimo. It really conveys the air you blow into sound, with an enormous efficiency and a total spectrum of harmonics. Highs, Mids and Lows: dark and bright altogether with a rich medium color. For those who love to use sound colors the way painters do.

§                              The Medium Large Chamber           

Is an Ogival, more traditional type of chamber. It offers quite the same advantages of dynamics with more separation in the spectrum between highs ad lows. A more airy sound with a lot of bounce. The perfect mouthpiece for "Hard Bop" style. Reminiscent of the sound of the 50's, playing with the efficiency of the best "modern" mouthpieces.

 

Facings

This might well be the most personal element of a mouthpiece. Where one likes resistance combined with projection, others will prefer free blowing with darkness, or resistance, darkness and "retenue". The facing is a very important element of the mouthpiece: it is the "KEY" that opens the potential of its inside.

 

 

Bb Tenor Saxophone

Clear options have been made: 6 different tip openings combined with different facings. The efficiency has been privileged. It gives the player the flexibility to make it play the way HE wants.

 

 

Openings Comparative Chart

1/1000 inch 1/100  mm	90 229	92 235	95 241	100 254	102 260	105 266	110 280	112 285	115 292	120 305	125 315	130 330	135 345	140 356
Mouthpiece	-	T235	-	-	T260	-	T280	T285	-	-	T315	-	T350	-
Otto-Link	6	-	6*	7	-	7*	8	-	8*	9	9*	10	10*	11
Bari	90	-	95	100	-	105	110	-	115	120	125	130	135	140
Vandoren	T35	T45	-	T55	-	T75	T77	-	T95	T10	-	-	-	T97

A.                 T 235 Is a 2.35 mm tip opening (92/00") equivalent to the traditional "6" opening.
Combined with a medium facing length and a progressive facing curve. Very stable with enough flexibility to vary sound colors, fast response. Best fit with 2 1/2 to 3 1/2 reeds.

B.    T 260 Is a 2.60 mm tip opening (102/00") equivalent to the traditional "7" opening.
Combined with a medium facing length and a soft facing curve. Great flexibility with a lot of projection and immediate response. Best fit with 2 1/2 to 4 reeds

C.    T 280 Is a 2.80 mm tip opening (110/00") equivalent to the traditional "8" opening.
Combined with a medium short facing length and a progressive facing curve. This is the "universal" mouthpiece: very stable, centered pitch, small enough to be playable by good amateurs and students, big enough to put real amount of air and be playable by professionals. Lots of projection with bottom on the attack of the note, very precise. virtually every reeds fit, from 1 1/2 to 5.

D.    T 285 Is a 2.85 mm tip opening (112/00") equivalent to the traditional "8/8*" opening. Combined with a medium long facing length and a soft facing curve. Due to the longer facing curve, it brings more resistance and takes more air.(This make it feel "bigger") The soft curve gives it a lot of flexibility. This is the best mouthpiece for the professional player that needs to use all possibilities of dynamics, sound colors and range in one mouthpiece., without having to struggle too hard on a real big mouthpiece. Best fit with 2 1/2 to 4 reeds.

E.    T 315 Is a 3.15 mm tip opening (124/00") equivalent to the traditional "9*" opening. Combined with a medium long facing length and a progressive facing curve. Very well balanced and efficient, it keeps a well centered pitch with flexibility, lot of projection and a big fat low range "à la Ben Webster". For the player who likes to blow a lot of air without loosing control. Best fit with 2 to 4 reeds.

F.    T 350 Is a 3.50 mm tip opening (137/00") equivalent to the traditional "10*" opening. Combined with a long facing length and a progressive facing curve. Enormous sound, flexibility, projection, very fat low range, for the player who needs a total freedom of expression and is prepared to put a lot of air, having developed a good control of the embouchure/air stream balance. Not for everybody but Wow!

Ligature's fit

all "L TEN" ligatures fit the Tenor Spectruoso Mouthpiece.

Basic Ligature
Ultimate Ligature
Pure Brass Ligature 

 

Tips & Tricks

Adjusting the reed to the mouthpiece has always been particular and greatly influences the way the reed plays. On the "Spectruoso" mouthpiece, the tip is a little rounder than most of the reeds tips.

If you bring the reed up to cover the entire tip of the mouthpiece, the sides of the reed will go slightly over the tip of the mouthpiece. It will play perfectly, with the reed feeling a little harder.

 

If you place the reed a little lower, with the sides just aligned to the tip of the mouthpiece, the center of the reed will not totally cover the tip of the mouthpiece. It will make the reed feel a little softer.

This way, you can get more from your reeds and make them playable to your own taste.