“Sax World” is a Japanese magazine dedicated to saxophones, and covers a wide range of saxophone bodies, accessories, and famous players.
The March 2020 issue will feature an interview with David Sanborn and a special feature on hi-baffle-type mouthpieces in which we would like to interview Aaron Drake of Drake mouthpieces, a true artisan who has handcrafted signature models for David Sanborn over the years.
We hope you’ll answer the following questions.
1. デビッド·サンボーンのシグネチャーモデルの開発の経緯についてはウェブサイト（https://www.drakemouthpieces.com/David_Sanborn_Model.html）に書かれていますが、そもそもサンボーン氏はなぜ、ほかのマウスピース·ビルダーではなく、ドレイク·マウスピースに開発を依頼しようと考えたのでしょうか？ その理由をサンボーン氏本人から聞いていれば教えてください。
The details of David Sanborn’s signature model development can be found on your website (https://www.drakemouthpieces.com/David_Sanborn_Model.html),
but can you please elaborate on how the project was initiated and did David express why he specifically wanted you to develop a mouthpiece for him?
David was a customer of Drake Mouthpieces before we met. He personally purchased several of our mouthpieces including the Contemporary Alto 8, NY Jazz 8 and the Jazz alto 8 – he felt the responsiveness and qualities of the “point” of the sound (attack) that he was looking for. His experience with our other mouthpieces led him to requesting a custom mouthpiece. Previously David played one of the last Dukoff mouthpieces that he acquired from Bobby in the 1980’s. The time had come to retire that mouthpiece, and David was looking for something new. He wanted to retain some of the essential qualities of his sound, but with a new mouthpiece that would offer him something more.
2. サンボーン氏は、氏が使っていたDukoff D8の予備（コピー）が単純に欲しかったのでしょうか、それとも、Dukoff D8では足りない何かを必要としていて、新たなマウスピースとして開発を依頼したのでしょうか？ また、サンボーン氏はこれまでにSAXWORKSやSAXZに開発を依頼したことが知られていますが、それらのマウスピースに不満を持っていたのでしょうか？
Did David simply want a spare (copy) of the Dukoff D8 he used, or did he need something extra that the Dukoff D8 lacked?
Also, it is known that David has commissioned SAXWORKS or SAXZ for development so far, but was he dissatisfied with those mouthpieces?
The Sanborn Signature Masters Series mouthpiece was never intended to be a replica of David’s Dukoff. David felt certain limitations of his Dukoff D8 and was looking for something that gave him a broader range of expression. As far as any other products designed for David, I can only state that, to my knowledge, he has been performing and recording exclusively with his Drake mouthpiece since 2014.
3. サンボーン氏が動画（https://www.youtube.com/watch?v=DxlZDE4xlSQ&t=122s）でも語っている “the point of the sound” をもう少し具体的に説明していただけますか？ また、あなたはどのように解釈し、どのように設計に反映したのでしょうか？
Could you explain a bit more about the “the point of the sound” that David also mentioned in the video (https://www.youtube.com/watch?v=DxlZDE4xlSQ&t=122s )?
How did you interpret his idea and how were you able to reflect them onto your design?
During the prototype stage of development, David and I spoke at great length about this subject. I relied on his feedback about each mouthpiece and my skills as a saxophonist to determine the exact design and finishing procedures that would be necessary to achieve the immediacy of attack which David refers to as “the point of the sound”. Much of it comes down to the way the air column interacts with the various internal shapes of the mouthpiece, combined with my hand finishing work. I have been making mouthpieces since the 1990’s, and have made 10s of thousands of mouthpieces by hand – so my skills as a craftsman / artisan are a critical component to the performance of each mouthpiece. There is a nuance to the hand finishing process that is the result of many years of practice and repetition, something that has resulted from my dedication to the craft – there are no short cuts to developing these skills.
This is also the reason the David Sanborn signature mouthpiece is a limited production mouthpiece, something unique in today’s market.
The signature model has a three-stage baffle, and the first baffle has a mirror finish, so the design looks quite different from Dukoff. How did you come up with this design?
The initial prototype for the design is the result of hand sculpting the mouthpiece. This is how I began making mouthpieces, using ceramic to sculpt allows for subtle contours in the design. Once we arrived at the design we tested a variety of textures on each surface. We tested a filed texture to the initial baffle as well as various types of ridges and other finishes. David played each variation and commented on his preferences. We discovered that the best type of baffle finish to achieve this “point” of attack that David was looking for, was a polished finish on the initial baffle. This also contributes to the free blowing nature of the design. It is part of a process that requires more time to finish, one more example of the attention to details involved in producing a piece like this.
What other difficulties or challenges did you have in developing this signature model?
What kind of feedback have you received from players who purchased the signature model (pro or amateur)?
The feedback from the market indicates that this may be the best high baffle metal alto mouthpiece many players have ever experienced. There is an essence to the mouthpiece which offers the player an insight to David Sanborn’s iconic tone. We are not claiming that this mouthpiece will make the player sound like David Sanborn, yet; we have captured the essential qualities in the design that David prefers.
You have been manufacturing mouthpieces since 1990.
Could you tell us how you started your business?
In my childhood home, my parents converted our garage to a ceramic studio, where they made pottery. Naturally, I spent a lot of time working with clay. I started playing saxophone at age nine and from the beginning I was curious about acoustics. As a saxophonist I excelled in high school and went on to study saxophone at the Eastman School of Music where I received a Bachelor and Masters’ Degrees in Applied Saxophone Performance. My Professor, Ramon Ricker, encouraged me to examine my unique talents – “ask yourself if you have combinations of interests or unique talents that set you apart” – that’s when I began thinking about how could I combine my love of the saxophone and music with my love of sculpting and acoustics. I started by making musical instruments out of ceramic – all kinds of flutes – traverse, end blown, shakuhachi style flutes, fipple flutes, double and triple flutes. The ceramic offered a new dimension in resonance that really surprised me, the projection qualities were really great. I was learning a lot about acoustics working with ceramic. Eventually I began making ceramic saxophone mouthpieces. I made a lot of them, each one was another experiment in baffle design, chamber size / shape, and facing contour. I made several hundred before I ever considered offering them to other saxophonists. The acoustic advantages were undeniable – the glazed ceramic has a higher surface density that any other material, and the air is free to move through the mouthpiece. I released my first commercially-available ceramic saxophone mouthpieces in 1990 and was a pioneer of this concept. It had never been done before and players had concerns about fragility and durability. We eventually perfected the process of combining the ceramic with resin composite to create the Vintage Resin we currently offer. I also came up with the idea to make the chamber out of ceramic – These are my Ceramic Resonance Chamber mouthpieces. The exposed ceramic chamber interacts with the air column and “warms” the tone in addition to creating greater projection. One of my newest acoustic innovations is the Brass Resonance Chamber mouthpieces. These offer the player the comfort of the vintage resin combined with the harmonic overtones of brass in the sound – as well as enhancing projection qualities. Many of the mouthpiece designs that I make today are designs that originated as those early hand-sculpted ceramic mouthpieces.