These are some of the most searched terms today. Players are looking for something that goes beyond standard factory mouthpieces — something with more personality, better control, and that feels more connected to the way they play.

The issue is that, in practice, many of the results that appear for these terms still follow a very similar approach. There are several makers offering “artisanal” or “custom” mouthpieces, but most of them work with a limited number of models. They adjust tip openings, chambers or materials, but they usually start from an existing design. In the end, the saxophonist ends up choosing between variations of something that was already created by someone else.

This happens because a large number of mouthpiece makers are not saxophonists themselves. They are skilled craftsmen, engineers or woodworkers, but they do not have the daily experience of actually playing the instrument. Because of this, they often end up reproducing concepts that already exist, improving technical details and creating new versions — but still within a production logic.

The result is that even when a saxophonist believes they are buying something “artisanal” or “made to measure”, they are still choosing from a catalogue, even if that catalogue is small.

I see this differently.

Because I spent many years playing the saxophone professionally, I understand in practice what it means for a mouthpiece to respond in one way or another. I know how a small change in the internal geometry can affect the attack, the projection, the control of the sound, and even the physical sensation while playing. This experience completely changes the way I approach making a mouthpiece.

Instead of starting from an existing model and making adjustments, I begin from scratch for each musician. I do not work with production lines or with variations of the same design. Every mouthpiece is sculpted individually, taking into account the sound the player is looking for, their embouchure, their instrument and their musical style.

For me, it makes no sense to offer “models” when the goal is to create something that truly belongs to one single person. When a saxophonist plays a mouthpiece made this way, they are not using a piece that was adapted for them. They are using something that was created specifically for their sound.

If you are searching for a handcrafted or custom mouthpiece, it is worth reflecting: do you want an improved version of something that already exists, or do you prefer something that was thought out and built from beginning to end for you?

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Yet, if you look at the history of many well-known mouthpiece brands, you’ll notice something interesting: a large number of the people who designed them were not saxophonists.

Many of the classic models we still see today were created by toolmakers, engineers, or craftsmen who had a strong technical background, but little to no real experience actually playing the instrument. In the past, some of these makers worked closely with professional saxophonists to test and refine their designs. That collaboration helped. But over time, many of those original relationships disappeared.

What often remains is a process of copying, adjusting, and reinterpreting existing models. One maker studies another’s work, makes small modifications, and releases a “new” design. Another maker does the same. After several generations of this, we end up with mouthpieces that are variations of variations — pieces that carry forward both the good decisions and the compromises of the original designs.

The problem is that a mouthpiece is not just geometry. It is an interface between a person’s body, their air, their embouchure, and the instrument. When someone designs without that direct experience, they are forced to rely on second-hand information. They can measure, they can calculate, they can follow tradition — but they are guessing about how the piece will actually feel and respond in a real playing situation.

This doesn’t mean every mouthpiece made by a non-saxophonist is bad. Some are excellent. But it does mean their understanding is necessarily limited. They are working from the outside in.

I see things differently because I approach mouthpiece making from the inside out.

Before I ever shaped a single piece of material, I spent decades as a working saxophonist. I know what it feels like when a mouthpiece fights you in the low register. I know the frustration of fighting for control in the altissimo. I know how a small change in the facing can completely change the way you approach a phrase. That experience is not something I read in a book or learned from someone else’s design. It comes from thousands of hours of actually playing.

When I sculpt a mouthpiece, I’m not trying to improve on an existing model. I’m trying to solve a problem for a specific player — often problems I’ve faced myself. That changes the entire process. The decisions I make are guided by direct, physical knowledge of what it means to play the saxophone, not just by tradition or by what has been done before.

There is still a lot to discover about the saxophone and its sound. But I believe the most meaningful discoveries will come from people who understand the instrument not only as an object to be optimized, but as something they have lived with for years.

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Saxophone Tryout Day with Giovani Tramontin

Last Sunday, the picturesque town of Novara was abuzz with the sounds of saxophones as over 30 professional saxophonists gathered for a special tryout day hosted by Giovani Tramontin of Tramontin Sax. The event was a unique opportunity for these musicians to test out the latest line of saxophone mouthpieces crafted by Tramontin, known for their innovative design and exceptional performance. The atmosphere was electric with anticipation as the saxophonists, each with their own style and preferences, prepared to put these new creations to the test.

The day began with an introduction by Giovani Tramontin, who shared his journey and the meticulous process behind the creation of his mouthpieces. His passion for the craft was evident, and it set the tone for what was to come. As the musicians started trying out the mouthpieces, the room quickly filled with a symphony of notes, each player exploring the range and capabilities of the new designs. The feedback was overwhelmingly positive, with many saxophonists expressing their amazement at the quality and versatility of the mouthpieces.

One of the standout testimonials from the day came from Massimo Mantovani, a seasoned saxophonist who had always preferred metal mouthpieces. “Last Sunday, I attended a presentation meeting of a new line of saxophone mouthpieces by the Tramontin company in Cureggio. Since I have always preferred metal mouthpieces for the sax, I participated with curiosity at first. However, as soon as I started trying out these creations, my fellow saxophonists and I were all pleasantly surprised and impressed by the performance of these mouthpieces. Quality in every aspect: sound projection, roundness, ease of emission,” he shared. Mantovani’s experience was echoed by many others who found the mouthpieces to be both innovative and highly functional.

Quote – “As I started trying out these creations, my fellow saxophonists and I were all pleasantly surprised”

Mimmo Valente

The highlight of the event was the hands-on testing session, where saxophonists could truly experience the mouthpieces in a live setting. Mantovani continued, “In the end, I purchased an alto sax mouthpiece with a special blend that also looks beautiful in the dark because it becomes fluorescent, but with truly impressive performance. On Tuesday, I tested it in a pop/rock setting, and all my fellow musicians were impressed by the volume of sound it produced despite their amplified volumes.” This practical application demonstrated the mouthpiece’s adaptability and power, solidifying its place as a top choice for professional musicians.

As the day concluded, there was a palpable sense of excitement and satisfaction among the attendees. Giovani Tramontin’s dedication to his craft and his ability to create mouthpieces that meet the diverse needs of saxophonists were clearly appreciated. The event not only showcased the exceptional quality of Tramontin’s mouthpieces but also fostered a sense of community among the musicians. Mantovani’s final words encapsulated the sentiment of the day: “Without taking anything away from other products on the market, I recommend my fellow saxophonists to try these truly superb creations.” It was a day of discovery, music, and shared passion, leaving everyone eager for the next innovation from Tramontin Sax.

Would you like Tramontin to do a demonstration in your city?

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“The mouthpieces are very comfortable and the sound is clean”

The mouthpieces I use are very comfortable, the sound is clean, and if I want to “scratch” or “dirty” the sound as I like, it can be done easily. The response is immediate, and the volume obtained is considerable. Customization obviously plays a major role, and last but not least, the design and color give a special and unique touch to a very important part of our instrument.

— Alberto

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“It’s beautiful, people can see it from far away, and they always ask about it”

I’ve been using the Tramontin Mouthpieces for almost 10 years, and I’ve never felt the need to change. I feel fully covered in all my sound needs. It’s smooth in the lower tones and powerful in the higher ones, and the midrange is very suitable for many different styles as well, offering an outstanding playing experience. It’s reasonably priced and has such a unique design! This last feature, my friends, from my experience, will definitely set you apart! It’s beautiful, people can see it from far away, and they always ask about it! It was a whole new experience for me, and I hope it will be for you too!

— André Cunha

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“I felt the emotion I had been seeking for so many years while playing, the sound I always desired”

Over the past 20 years of working professionally as a musician, I have had the opportunity to test dozens of saxophone mouthpieces, from the most popular to the most refined. Due to a strong friendship with the brilliant and beloved professor, maestro, and luthier, Adriano Sviech, I was able, with his help, to access high-quality mouthpieces and saxophones. A series of factors made it difficult for me to find a mouthpiece that fits my embouchure style, due to a genetic dental arch issue, and having been a clarinetist for years, I had a different embouchure model than usual for saxophonists. As a result, no mouthpiece gave me the comfort and sound feedback I always dreamed of and studied hard to achieve.

One day, I was introduced to Tramontin mouthpieces through this same friend, who assured me he had found a mouthpiece with different technology that had everything I needed to adapt to it more easily. The first time I played my saxophone with the Tramontin mouthpiece, I felt the emotion I had been seeking for so many years while playing, the sound I always desired, the ease of blowing, tuning, executing, and transposing low, high, and super high notes. From that moment on, I felt a renewal in my professional and artistic life. The versatility of the Tramontin mouthpiece is unique, incomparable, and perfectly adaptable to any blowing style. It fits with you, with your sound, no matter how you play or your musical style. When you blow your instrument, you will hear the sound of your soul.

— Vagner Santos

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“I was completely amazed, as I immediately appreciated the ease of emission across the entire range”

I noticed the “Tramontin” mouthpieces thanks to an excellent saxophonist and friend who was already using them. Driven by great curiosity, I decided to buy one! I was completely amazed, as I immediately appreciated the ease of emission across the entire range of the sax, and a beautiful tonal quality to my taste. An incredible versatility that can adapt based on the musical genre, a design with fantastic colors, a true gem! I can’t part with it anymore! I sincerely thank its maker, Giovani Rafael Tramontin, for his total availability and always being ready with his advice and clarifications on all his extraordinary mouthpieces! Thank you, Rafael

— Peppe Gulino

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“Exceptional sound control and generosity in all registers.”

I say this with all my heart, and those who know me know it couldn’t be otherwise! I had the pleasure of meeting Giovani Rafael Tramontin by chance on Google. My curiosity about his unique mouthpieces prompted me to call him and make an appointment. I tried several mouthpieces and immediately realized their tonal greatness, ease of emission, and altissimo notes. The timbre allows for personal sound exploration and continuous experimentation. Exceptional sound control and generosity in all registers. It completely changed my sound projection, enriching it and allowing me to express myself at my best in my performances.

His mouthpieces adapt to every musical genre because they are made in such a way that the musician can adapt them to the sound they want to achieve at that moment in their performance. What can I say, they just need to be tried to understand their greatness. And if we delve into the materials used and the time it takes to develop one, we truly understand who Tramontin is and his meticulous and detailed art, ensuring that a saxophonist can grow. His work comes from years of hard research, as well as the passion and love he has for the saxophone.

— Mimmo Valente

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“Quality in every aspect: sound projection, roundness, ease of emission”

 Last Sunday, I attended a presentation meeting of a new line of saxophone mouthpieces by the Tramontin company in Cureggio. Since I have always preferred metal mouthpieces for the sax, I participated with curiosity at first. However, as soon as I started trying out these creations, my fellow saxophonists and I were all pleasantly surprised and impressed by the performance of these mouthpieces. Quality in every aspect: sound projection, roundness, ease of emission.

In the end, I purchased an alto sax mouthpiece with a special blend that also looks beautiful in the dark because it becomes fluorescent, but with truly impressive performance. On Tuesday, I tested it in a pop/rock setting, and all my fellow musicians were impressed by the volume of sound it produced despite their amplified volumes. For this, I wanted to thank my friend Giovani Rafael Tramontin for this marvel and my friends and colleagues Mimmo Valente and Claudio Allifranchini for introducing them to me. Without taking anything away from other products on the market, I recommend my fellow saxophonists to try these truly superb creations.

P.S. Giovani, now make them for the clarinet too

— Massimo Mantovani

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“the response of this mouthpiece is nothing short of exciting”

I purchased a Tramontin mouthpiece for alto saxophone, and I have now used it in various live performances and climatic conditions. I must say that the response of this mouthpiece is nothing short of exciting. Speaking of its ergonomic shape, it allows for an extremely easy transition from the low register to the altissimo register with slight movements of the mouth.

This mouthpiece has a sound that can be soft or incredibly powerful despite its opening. It is very homogeneous throughout the register; the sound always remains full, rich, and not shrill, even when hitting very high notes. When paired with a good reed and ligature, it is very versatile.

Tramontin is a truly professional, prepared, and available person, which makes his product truly unique and hard to replace.

Thanks to Giovani for the time dedicated.

— Ivan Giannella

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