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Gear Spotlight – The Team at Dawkes

9th February 2026

Imagine handling thousands of Clarinets and Saxophones every year, and all manner of interesting mouthpieces, ligatures and reeds. That’s the privileged position we’re in here at Dawkes Music and many of our staff are active woodwind musicians owning multiple instruments. 

However, whilst temptation lies in every cabinet here, like everyone else we can’t buy one of everything! So, we caught up with a few of our staff to find out what gear they choose to use for their different musical pursuits, and why.

Kasey – Shop Manager

I’ve had the Yanagisawa for a few years now after changing from my long-term previous saxophone and have found it to be very responsive with a mellow sound which fits in well with the concert band I normally play with. 

Whilst I’ve been getting on well with the Theo Wanne mouthpiece, I’ve struggled to find a ligature that worked really well with it and the Kodama ligature is a recent addition (sized for an alto due to the smaller size of the mouthpiece itself!). It is on the more expensive side of the ligature options but I’m already feeling confident in the support it offers, and it adds another layer of richness to the Yanagisawa/Theo Wanne combo.

Chris – Woodwind Consultant

I have been on a Yamaha clarinet from the age of 9 after upgrading from my very trusty Jupiter student clarinet when I started learning at 7 years old. I find Yamaha clarinets very comfortable under the fingers and easy to play. My Bb was a hand-me-down from my brother, so I didn’t get much say on the matter, but my A clarinet was chosen to match the Bb nicely for use in my local county youth orchestra. 

My clarinet is the instrument I went through all the grades with and thus needed a mouthpiece that would help me on that journey. The D’Addario Reserve mouthpiece is just that – reliable, makes a nice sound, and I chose the closer tip of the X0 as I was playing more classical repertoire on my clarinets. 

The D’Addario Reserve Classic reeds I use are very consistent unlike many other reed brands where you may get a few inconsistencies within every box. I get such an ease of response and articulation with these reeds – essential for classical repertoire. I have a Silverstein ligature that helps free up the reed, allowing me to express myself and manipulate the reed to its full capacity whilst playing everything from Poulenc, Mozart and Brahms. 

An addition to my setup other than the ‘usual’ suspects is my Ton Kooiman Etude III thumb rest. This takes pressure off my thumb joint and spreads the weight which relieves pressure and makes playing the clarinet infinitely more comfortable.

Bekki – Marketing Assistant

I chose my Selmer SA80 Series II during my final year of undergrad. After trying several models, I was drawn to the Series II’s warmth, projection, expressive character and versatility. Having played a Yanagisawa 901 prior, it felt like a comfortable upgrade and a solid investment. The Selmer S80 C* mouthpiece on alto has clarity and warmth that gives me confidence, especially in more demanding contemporary music.

On soprano, I play my reliable Yani 901. Its consistent tone and intuitive keywork make technical and altissimo passages accessible (even without a high G key). I’ve customised the venting over time, but Yani’s are known for their solid intonation. I pair it with the Selmer Concept mouthpiece for its warm, focused tone and ease of blowing across legato and delicate passages.

Ana – Woodwind Technician

I was lucky to have bought this instrument and mouthpiece second hand, both in fantastic condition. The well-seasoned wood and well blown-in nature of this Bass makes it a gem that I cherish greatly. I had to make some repairs to facilitate easier playing, but for a second-hand instrument it’s in great condition. After trying different mouthpieces, I settled with the Selmer as it is easy blowing throughout all the registers. The Legere reed is consistent, long lasting and for me it doesn’t have “bad days” like a natural cane reed does. 

Sam – Brand Manager

After owning a Yanagisawa bronze T902 model for some years I treated myself to a Selmer Reference 54. There is something magical about the Selmer sound, and the lighter 2nd gen 54 models have more sizzle and bite than the 1st gen versions, whilst retaining that tubby depth. In terms of the mouthpiece, I do alternate between things, but the Jody Jazz Jet is just really fun to play! It’s direct and lively but you can ease off and play it in a sultrier fashion. The short facing lends itself to being punchy and helps with altissimo.

Despite being severely tempted to upgrade many times, I still use an old wooden Selmer Prologue which I’ve had since the age of 11. Playing more Sax has meant that a Clarinet upgrade would be slightly exuberant, but if I had the choice I’d go for a Yamaha CSGIII. The Selmer still does a good job though for doubling and small group playing, but if I was getting back into more classical ensembles, I would want something with more colours and projection.

The Vandoren BD5 is a ‘do all’ mouthpiece and for someone who comes back to the Clarinet infrequently, or as a doubling instrument, I find it’s just an easy mouthpiece to pick up and play. The BD5 is also fairly reed friendly and works well with Vandoren Rue L’Epic #3 or #3.5 but my preference is for the Wood Stone Ishimori reeds which are generally more consistent and have a crisp, clear sound.