REFACERS - PLEASE STOP THE UNWARRANTED DAMAGE!

It has been quite some time since I wrote to one and all, since we have been extremely busy over the past few months.

However, I cannot remain silent any longer on the subject of mouthpiece refacing. I am very disappointed regarding the continuing damage being imposed onto our products by others who claim that they can "improve" our products.

The unwary player is being misled into believing that our products can be further improved by the removal of material . . .

REMOVAL OF MATERIAL IS ONLY ONE POSSIBILITY - ADDING IS ANOTHER

Sax players worldwide: Try to make logical decisions about what you are doing to your valuable mouthpiece investment - if you have two of the same mouthpieces (two of a kind, so to speak), then you have a "sporting chance" to discover whether a so-called "refacer" can assist to improve the performance of one mouthpiece since you now have one mouthpiece to act as a "control"

For any of you not familiar with the term "control", please feel welcome to Contact Us and I will personally attempt to explain the logical sequence required to evaluate whether improvements (if any) can be detected following METAL REMOVAL (oh the pain . . . )

On the same subject, I have recently received one "rogue" DEFACED mouthpiece that had been in circulation for what I believe to have been for a period of up to two (2) years. I believe that dozens of players were affected by this "anethema" that was circulated from player to player with our brand name and the so-called "refacer's" initials.

I can't say that I was too impressed with this ruined mouthpiece having been in circulation for such a long time; however, I thank the last person that finally stopped this mouthpiece from any further circulation. With this person's name (and the refacer's name) held in confidence, I will reprint what the last person had to say about this ruined mouthpiece:

A couple of weeks ago you told me that you intend to publish a story about the effects on modifying your pieces. I think this is a good idea, because even me I wouldn't have got the best opinion on them [zagar mouthpieces], if I wouldn't have had the possibility to compare the ruined brass piece [zagar]with the example of the V-series I bought from you [zagarsax]about a year ago on ebay. This piece went to a student of mine and I always saw him play it with mixed feelings: on one side it makes me happy that he has got good stuff, on the other side I was a little sad about the loss. That's why I'm glad to get the two pieces from you.
The brass piece I also bought on ebay a little more than one year ago. The seller's text was as follows:

From David Zagar, one of his highly regard solid brass mouthpieces. They play like good vintage links. This one has been opened to a 115 and signed by the great X. The combination of their work makes for a very powerful  piece with a rich classic jazz tone. Will handle as much air as you can put through it and still sounds really full and warm when you back off. This comes with a custom homemade lig that works very well with this piece.

But immediately I realized that it wasn't playable to me. It was more than edgy, even squeaking. Not at all "full and warm". Althought I thought I should be able to adjust my embouchure to different mouthpiece models, because I studied saxophone with the former student of Marcel Mule, Iwan Roth, in the 80s.
If you have further questions, please email me.
Im looking forward to your package.
Best regards,   Y

Please note that in order to maintain privacy, I have omitted using real names.  In the meantime I had sent out one of our original unmodified Bronze mouthpieces to Y for tryout and was awaiting feedback.

This is what Y had to say once Y had tried out the original (unmodified) Bronze mouthpiece:

[To] begin with the bronze piece: this one is fantastic, it's outstanding! I used a high quality reed from Australia, a Vintage 2 1/2 and the mouthpiece plays big and warm. Very open sound! But you can change the sound quality, i.e. to give more or less highs to the sound by changing the resonane chamber in your throat. It's a beautiful mouthpiece! I think I understand the concept of your mouthpieces. As an educated classical saxophonist (besides my experiences as a jazz player) I am also used to classical mouthpieces as the Selmer C* for example. On this piece you have to support a hard reed very much by your lower jaw to get a good core to the sound, that means you have to give a lot of power from your cheek muscles. On your mouthpiece you needn't do this. You can achieve your personal sound in an effortless way . . .

What can clearly be inferred from my happy customer's words is that if you don't like our mouthpieces in the first place, then don't have them modified; you will not improve our product through the removal of metal. ANY REMOVAL OF METAL WILL DESTROY A ZAGAR MOUTHPIECE - period.

On a lighter note, I just realized that it has been over five (5) years since the release of our first Bronze mouthpiece, the Vintage Bell Metal Bronze (VBMB).

I would like to thank all our highly valued customers for all the support through the years, through rain and shine (through busy periods and quiet times alike), and would like to wish the very best to all sax players globally!

Kindest regards,  Dave (Managing Director - zagarsax mouthpieces) 

(PS pictures of the damaged mouthpiece have been omitted in order to maintain privacy)