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Background: for the last year or so I've been playing a new Yanagisawa tenor with the standard mouthpiece that it came with. Quite happy with the mouthpiece which I felt was better than the Yamaha that I'd previously used on my old tenor.

However, I recently dug out my old Corton alto which uses an Otto Link Tone Edge 6* mouthpiece. I hadn't played it for some years and I have to say that I was very surprised by the bite, the "edge", the clarity and the speed that it gave me (I play both instruments with 3.5 reeds). Now OK, alto is a whole different kettle of fish but it got me wondering whether I should go for a similar Otto Link Tone Edge 6* for my tenor (and soprano for that matter).

In other words, if a particular mouthpiece suits me on one instrument, is it a reasonable bet that it'd work similarly on others?
 

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Distinguished SOTW Member, Forum Contributor 2013
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It could work!

Or maybe not. You just have to try and find out.

Some here swear that larger chamber mouthpieces are better on tenor and medium to medium small on alto. But the fact is that everyone is different and what works for one person may not work for another. There are many here who play all the same mouthpiece on all of there horns. Or all the same make of horn with different mouthpieces.

Again, it could work. But you gotta try it out.
 

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Grafton alto | Martin Comm III tenor
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In other words, if a particular mouthpiece suits me on one instrument, is it a reasonable bet that it'd work similarly on others?
No, it rarely works as simply as that. usually the other way round though, people think because they like an STM on tenor, it will work on alto for them and that is often not the case.

When designing mouthpieces I take this into account, ie I don't just make a baritone mouthpiece that's a bigger version of the tenor, or a soprano mouthpiece that's a smaller version.
 

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It did worked for legendary player Sonny Stitt to play on the same "gear" on all the saxophones.
There are a lot of good and beautiful tenor-soprano AND alto players using the tone edge mouthpieces.
I dont see problems.
 

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Generally, Link's work better on tenor (or are more popular at least). Pete's right that it's not always that simple. But since you're playing a brand that's already very popular on tenor, I'd say there's a better chance of this working that if you tried it with something like a Meyer (popular on alto, not so popular on tenor). A 6* on alto is an .080" tip, very popular on alto. If you get one for tenor, you might want to go up to a 7* which is the most popular tip for tenor. A 6* is a little closed (for jazz, and only a little) on tenor and you'd probably have to play slightly harder reeds than you do on alto to compensate.
 

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I picked up a 6* Tone Edge a few years ago for cheap just to try. It was about as undistinguished as a piece could be. Played fine, just absolutely nothing to define it. Could just be the piece I had, too. Or me - - come to think of it, I'm pretty undistinguished, too.
 

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It did worked for legendary player Sonny Stitt to play on the same "gear" on all the saxophones.
There are a lot of good and beautiful tenor-soprano AND alto players using the tone edge mouthpieces.
I dont see problems.
Yes, he played the same gear except they were horns and mouthpieces by different manufacturers. But they were all still horns & mouthpieces... ;-)
 

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Yes, he played the same gear except they were horns and mouthpieces by different manufacturers. But they were all still horns & mouthpieces... ;-)
I thought when he played brilhart he played this both on tenor and alto , when he had periods with Link again he played it on alto and tenor. Could be wrong though but that was something i heard .
Maybe i have to check out fotos and dates etc.
 

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If you like the qualities of the link - get a Philtone
 
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