BUY A NEW AL CASS by Stev Cass
at http://www.alcassmouthpieces.com/index.html
STEVE CASS do a photo for this site
"select an al Cass Mouthpiece"
top row is 3x5,3x4,3x3,3x2,3x1,228227226225224128127
126125124
middle row same (cornets)
bottom row....tuba, bass trombone, trombone to cornet/flugelhorn, Trombone to trumpet, J1,L1,S1, 4x1 , flugelhorn, Alto Horn, Mello and French Horn.
STEVE CASS explain in a web forum
the al Cass Mouthpiece Size.
The earlier pieces, were boxed up individually, such as the S1,and J1 bone pieces. Higher up the shelves were the UNBOXED, cubbyholed groups of T1,T2, and T3. We know that the original S1 and J1 sizes were dropped because it seems the sizing was too difficult to "make any sense". The S was not the SMALLer, the L was NOT THE LARGE, the J? Is the smallest. So.... as the piece model #'s were at their second stage, the very smooth lines, the T1,T2 and T3 were developed for common sense purposes. The T1 the biggest, the T2 the mid range, the T3, the smallest. On 1 box of boxed pieces, I have a J labeled box, with a T3 inside. I never had an L1, otherthan in a very early set.
Now, the 12, and 128.
I think I originaly had 3 boxed 128's, and 1 each of the 127, 126, 125, 124. None of these sizes existed where the newer trombone's were kept. These were all IN BOXES. It was WORSE with the 2 series, I had only 1 228 or 2 in box. A 225, 224, 226, I don't think I have ever seen the 227 new in the box. BUT in the newer/higher shelves of later production/bin'd pieces, exist the 12 and the 22.
About 15 12's and I think about 910 22's.
But my point is, there were no later honeycombed 124's,125's,126's, 225's,227's etc etc... JUST 12's and 22's. I had 3 or 4 boxed 3 series. 1 of each? All of the later editions are NONpreboxed, and existed in the honeycomb bins, 20 3x1's 4 3x2's, 8 3x3's 10 3x4's and 12? 3x5's. But this is why a lot of pieces don't have boxes. It's not because I don't give you a box, it's because it didn't have a box, it was in a bin. I don't have blank boxes, and his process changed/perfected to more effiency.
I believe the 12's to be a 128 because the 128 IS the beginning. (unless it's a 129?)Then if someone ordered a 124, he could just pull a 12 and customize it, box it up and send it to order. Instead of having too many 124's in stock and run out of 128's. I believe it was after he drilled the throat he would take out the inscription devise and write on the second #. The one confusing part is the model #'s such as 121,...... I have no idea what this is. A 128 with a 1? Or a 12128. as far as cornet's most boxed pieces were of the 2 series. (I had NO 2 series cornet in BINS(so the cornet 2 series were a slower seller), the trumpet pieces didn't exist in boxed form(this means they must have been popular enough), but the cornet's were plentiful boxed up. This means that that at this time, the 2 series had not sold out of it's original production, in which no 2 series pieces were made after the early 70s.) I had just a few 1 series in boxes. Just a few cornet 3 series in boxes, but the 3 series did exist in bins as well. We had bin'd 12 cornets. So this is another reason why I am led to believe the the 22 is a 228 and a 12 is a 128. Are some different than others? You would have to think variations / customifications must exist. We now believe that each dot placed next to the # indicates 1 throat size bigger than stock. For example if you have a 128 and it has a DOT, I believe it may be a 127. If 2 dots, then a 126. He did this rather than cross out the 8 and put a 6. It looked "cleaner". So, these pieces are clearly marked. The factory modified piece look perfect, if a piece looks hacked, it probably was.
The older style trumpet to bone doubler was boxed, yet the newer model was "bin"style. in fact, most of the doublers were in boxed form. The trumpet to bone probably sold the most and so at that time a bin of them was made. Pieces like the bone to trumpet,bone to french, they were never bin'd. Just boxed form. So, there are no later made models of those and were made, on the most part, from the late 50s to early 70s.
All the 4 series pieces 4x1, 4s1,4x2 4s2......existed ONLY in older boxed form as well, so it appears according to what we know so far he didn't sell too many of those, but he really didn't focus on the symphonics, nevertheless, he had them incase anyone needed one. There were NO 4 series in the bins. I can't put an exact era on when the transition from boxed to bin happened. i would have to guess earlymid 70s. Just before I entered daily. I remember if someone wanted a piece, he took it out of a bin, labeled the box and sent it. I think the 3 series were the hottest of them all at that time. It was about this same time that the piece production went down, he was really slow in the late 70s and mostly only did custom work until finally quiting alltogether about 81ish. I mentioned throughout this that some were not good seller's and some were more popular. These were not mass produced in such extreme #'s where a survey really makes a difference. Great players are found among all the different series and size spectrum.
FROM TRUMPET HERALD
I believe it was Brad Goode, who gave the "low down" on rim/diameter(thanks again Brad!). It used to drive me nuts really because I would be asked to measure the pieces and answer what the size differences are.
But what Brad did was open the door to my father's simplistic design, that all 3 rims, 1,2, and 3 are the same, it's the slight inner contour that makes them different. (please correct me on this Brad, or anyone who remembers what Brad said...), but I was always puzzled because when i would be asked to measure, I couldn't give an answer, I couldn't see any difference in the measurements and was lost wondering where do I measure from and to?
I remember I did ask my father once, "dad... about the mouthpieces... what's the deal?" and his answer was pointing to his head, more specifically his brain area and said "it's all right here".
I guess I was pretty spoiled to have the pieces around me and I could pull any piece to try.... but tend to go back to one. I ended up getting back the last 2 of Diz' old pieces via his estate auction and the one I'm using is #47(a 224A). (what is interesting about this is the piece my father made me when I was 5, is also a 2 series. But I find on this piece, I can get "creative" easily. I seem to "morph" notes more easily and it sounds like I know what i'm doing at some points but I really don't. I'm fakin it. But I have a good sense of melody and I have fun. I like to experiment a lot, i am not disciplined by any means. But using this piece I suddenly go from the low register to a very high note with just a little extra effort. Which is why i think Dizzy said "these mouthpieces play themselves". I think that's what he meant.
Un japonnais a mesuré les embouchures mais je ne suis pas sur de son résultat...
Model No. 
Dia.(mm) 
Dia.(1/64) 
Depth 
Rim 
124 
16 
41 
Med. Shallow 
Round 
125 
16 
41 
Med. Shallow 
SemiRound 
126 
16 
41 
Med. Shallow 
Medium 
127 
16 
41 
Med. Shallow 
SemiFlat 
128 
16 
41 
Med. Shallow 
Flat 
224 
15.6 
40 
Medium 
Round 
225 
15.6 
40 
Medium 
SemiRound 
226 
15.6 
40 
Medium 
Medium 
227 
15.6 
40 
Medium 
SemiFlat 
228 
15.6 
40 
Medium 
Flat 
3X1 
15.3 
39.5 
Deep 
Flat 
3X2 
15.3 
39.5 
Med. Deep 
SemiFlat 
3X3 
15.3 
39.5 
Medium 
Medium 
3X4 
15.3 
39.5 
Med. Shallow 
SemiRound 
3X5 
15.3 
39.5 
Shallow 
Round 
http://www.freemanmusic.com/mpsize/alcass.html
