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Sure, there are plenty of link-based mouthpieces out there. Or, you could just get a link and have it refaced by one of the fine refacers that are on this forum.
 

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I've always been a fan of Super Tone Masters, but with Otto Link's quality control reputation, I don't trust them. Are there any modern mouthpieces that sound similar to old STM's?
I wouldn't say that their quality control is any worse than other makers.
They take a little more getting used to than some pieces, but if you put in the time you will find that most of them have something to offer.
 

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LeBayle LRII and Jody Jazz DVNY. Both have a more focused sound then the STM, but the DVNY is rather bright for a dark piece.

Both should have good, consistent pieces, especially JodyJazz!
 

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I wouldn't say that their quality control is any worse than other makers.
They take a little more getting used to than some pieces, but if you put in the time you will find that most of them have something to offer.
If I did not have my STM I would be playing on a Drake.... no two ways about it! Poss the SOS, NYJT,or the VRJT. Find one you love and stick with it.
 

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The Otto Link STM has to be one of the most common mouthpiece to be found secondhand out there (at least it is over here).

Yes, there is plenty of bad press on line about how badly new ones are made or play and how well were the vintage ones playor were made and how much they are sought after.


For some reason the past of anything musical was a lot better than the present of anything musical. As I always say it is a unique case in the industrial evolution. All other products improved with time, only musical products devolved instead of evolving.

If you want one that plays well (to you) you can either sieve the market in search of one that plays well ( this is what most do, it is the mouthpiece quest where possibly the few good mouthpieces are hidden among the bad ones which seem to permanently be on the market) or you buy one in good shape and you have it refaced to your needs (but if this were a guarantee that the refacing will always work, one couldn’t explain why there are also plenty of refaced pieces on the market too.........one would imagine that they had been to the refacer and they would be now........perfected, as they say.........some have been perfected (which makes you think twice about the term) several times by several refacers! How perfect can they be by now?).


In my view the quest on the secondhand market is the best that you can do, especially now that prices are what they are. There is no shortage of Otto Links while there is certainly a shortage of cash. You go out there and start searching, it will take some time, you will learn a lot and hopefully you will find what you are looking for.
 

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The quality control at Link is no better or worse than it has ever been. I've had many over the past 5 decades. Though the STM is basically the same design it has always been there have been many subtle changes in design, some for the better, some not. This I think is one reason folks have problems liking the contemporary models. More importantly I think the main problem with STMs is players with little or no experience getting one and expecting that they'll get any or some or all of the tone attributed to them, from one, with not taking the time it takes to develop the embouchure and airstream control and flexibility it takes to make these great pieces sing.

If you're looking second hand chances are pretty good that there are plenty of fine contemporary examples out there. They're probably being sold by someone who was disappointed because they were just too lazy to take the time to learn how to play it.

I'll never believe that Otto Link mpcs are purposely made to need to be refaced when new. Of course, blaming equipment is easier than admitting player deficiencies.
 

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Get a modern Link used and with the money you save send it to a refacer, they'll flatten the table if needed and modify the chamber/baffle to reflect a more "vintage" design. Phil-Tone did mine and it is excellent, not that it was bad before, but it has a little more character now. However, don't expect a reface to give you chops-in-a-box, you still need to work at it to make it play well.
 

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Actually I'm playing on a Drake NYJT M.
And it's fantastic.
But I still have a soft spot for my long body STM's.
Hi Yes but one of them will work better with your horn. I play on a Borgani Tenor and for me , out of all of the Drakes the SOS works best... but I have friends / students that play on Yamaha 32/52/62 or poss Yani. On those horns the Drake VRJT works better.

My STM is a E.B wide tip ...I am very lucky, its a very fine piece. I got it with a MK6 way back in 84 but did not start using it full time until about 94.(foolish boy:))
I don't practice or gig on anything else. Ever! I try-out mouthpieces for students and out of an interest for sax hardware. But thats it.
 

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The quality control at Link is no better or worse than it has ever been. I've had many over the past 5 decades. Though the STM is basically the same design it has always been there have been many subtle changes in design, some for the better, some not. This I think is one reason folks have problems liking the contemporary models. More importantly I think the main problem with STMs is players with little or no experience getting one and expecting that they'll get any or some or all of the tone attributed to them, from one, with not taking the time it takes to develop the embouchure and airstream control and flexibility it takes to make these great pieces sing.
Big quote!
 

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I have only one, a USA Babbitt for bari, but I read up on it when I thought I had a prospective buyer for it, and it sounds like there were in fact a number of changes, to the baffle and chamber in general, over the years. Enough that it isn't clear to me that we're all talking about the same thing.
 

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The HR Tenney Jazzmaster is an improved STM, imo.
 

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The quality control at Link is no better or worse than it has ever been. I've had many over the past 5 decades. Though the STM is basically the same design it has always been there have been many subtle changes in design, some for the better, some not. This I think is one reason folks have problems liking the contemporary models. More importantly I think the main problem with STMs is players with little or no experience getting one and expecting that they'll get any or some or all of the tone attributed to them, from one, with not taking the time it takes to develop the embouchure and airstream control and flexibility it takes to make these great pieces sing.

If you're looking second hand chances are pretty good that there are plenty of fine contemporary examples out there. They're probably being sold by someone who was disappointed because they were just too lazy to take the time to learn how to play it.
It took me 3 years to Like my modern NY STM but then I really liked it. I liked it so much that I almost bit all the way through it.
 

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It took me 3 years to Like my modern NY STM but then I really liked it. I liked it so much that I almost bit all the way through it.
PM your adress so I can send you a bite patch before its too late!

Skickat från min LG-P760 via Tapatalk 2
 

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PM your adress so I can send you a bite patch before its too late!

Skickat från min LG-P760 via Tapatalk 2
Ha!

No need. I don't use t anymore. My mouth just didn't like the shape. Since I've switched to HR again all my biting problems have gone away. I've been using the same mouthpiece patch for 3 months with no sign of stopping any time soon. A new record for me.
 
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