Mouthpiece Information


The EBO mouthpieces are the further evolution of my hard rubber traditional and vintage mouthpieces of the past 20 years. I began refacing mouthpieces when I lived in NYC during the 70’s. Many of my first customers were friends who were very  well known players, and whose names are legends today. I kept a book of the dimensions of their mouthpieces before and after I worked on them. For example, one day Pharoah Sanders showed up at my W. 54th St apartment with two shopping bags full of mouthpieces. Most had belonged to Trane and Eric Dolphy. All of these dimensions were written down in my book. In 1980 I moved to Europe and lived in many places before settling down in Germany. I had boxes of stuff in Paris, Amsterdam, Berlin, etc. The box with this book got misplaced for many years and only recently turned up while looking for something else. No one has the mouthpiece dimensions that I have. While I had many of these dimensions in my head there are many special facings in my notebook that I had forgotten.  I have found a common denominator in all the great playing hard rubber mouthpieces I measured and worked on and have used these to make this new version of my Ebonite mouthpieces. The material is the highest grade German Ebonite. You will be amazed at how these mouthpieces play and respond. In keeping with my concept that there are only one or two tip openings that have the magic relationship to the chamber design, the EBO soprano is available in a 65 opening, the EBO alto in a 75 opening and the EBO tenor in a 105 opening.


The History of Ponzol Mouthpieces

I began refacing mouthpieces in the late 70’s while living in NYC as a jazz and studio musician.  I was able to measure hundreds of mouthpieces from well known players and began to see a pattern as to the relationship between chamber design, facing curve and tip opening.  The knowledge gained from these many years of experience was extremely important when I began my own mouthpiece production in 1986.

One of the most important things I’ve learned over the years is the relationship between the chamber and tip opening.  For each chamber design, there are really only one or two tip openings that have the magic combination of resistance and “feel”.  I have reduced the tip openings I offer to only those that have this magic.  In the case of my soprano, alto mouthpieces, I offer only one chamber and one tip opening.  For tenor, I offer 2 chambers and 2 openings. Believe me, this is the best solution to all our mouthpiece problems.  Since going in this direction in 2006, I have not had one request for any tip openings other than what I offer.  It’s much better to have the right mouthpiece and adjust your reed strength if you need less or more resistance.  The many testimonials I receive are proof that this concept really works.

All Ponzol mouthpieces share my concept that a mouthpiece should be easy to play in all registers, with just the right amount of resistance that gives the player the possibility to make their sound, not the sound someone else thinks they should have.

Please keep in mind that no amount of words can tell you what a mouthpiece will feel and sound like.  The terms bright and dark are very subjective.  I’ve had players tell me that the M2 Plus was dark and the M2 bright. So, please make your own decisions by trying them for yourself.