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Discussion Starter #1
If I'm accustomed to an Otto Link 6* and I want to buy one but have it refaced am I then looking for a 5* then that will end up a 6*? Or a 6 to a 6* refaced?
 

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Talk with whomever is doing your refacing. Be specific about your objectives, and let them guide you.
 

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Discussion Starter #3
Cool. I actual never knew anything about refacing until I heard about it here on the forum. I'm picking up the tenor sax again after a long lay-off and was looking into getting a Otto Link STM like I had before and then herd about the quality issues and people having them refaced. I don't even know who I would go to for a reface. I can pick up a used Otto Link for about $150 cdn. I figured to reface it would be about $100? That would put it within my budget. Other than that I was going to buy the Theo Wanne Slant Sig 2. I'm familiar with the metal Otto Link though.
 

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When you reface a link you drop about .005 (the star). Then you open it to get to the original size if that is what you want.

The question is: Do you want it brighter than stock...as in more baffle?

If you want a little more baffle and you want a 6* then a 6 would generally be good...at least as I do the work.

So first you need to know what you want from the piece tonally. Second you need to know how your specific refacer works.

If you want no extra baffle you can still lower it. In that event you may as well get a 6* and tell your guy that you dont want it brighter. The new raised baffle can be lowered by removing material.

If you want it brighter you definitely do not buy a bigger piece and then proceed to close it. That will not produce the necessary tip material to create more baffle.

Its morning here. I hope that makes sense and is not baffling :)
 

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I’d suggest getting a piece in the size you want.
As there’s a good chance that it will play just fine as is and not need a reface.
Many on here overstate the apparent quality issue in my opinion.
I’ve had many modern (post Early Babbitt) STM’s that play perfectly well without a reface.
They are different pieces to the Florida era and Early Babbitt era pieces and as such they play differently.
If people could accept that, there would be less complaining about perceived quality issues.
 

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The baffle won’t help as much as raising the chamber floor which a reface can’t do. You’d have to start adding crap inside that never seems to work.
 

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Discussion Starter #7
Well, I'm just looking for a metal Otto Link that is crafted properly and is in a 6* as I had before. This would go with a Conn 10m I'm picking up soon. Not looking for brighter. Yeah so just a proper playing Link without defects. The last Link I had was straight out the box and I didn't have the experience then to know if it was slightly defective or not or compare it with anything to know any kind of a difference.

On a side note I'm looking at either an Otto Link NY metal or the Theo Wanne Slant Sig 2. Both will cost me the same. Any input between the two?
 

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On a side note I'm looking at either an Otto Link NY metal or the Theo Wanne Slant Sig 2. Both will cost me the same. Any input between the two?
From a quality standpoint, I'd take the Theo Wanne Slant. At least you'll know you're getting a top quality mpc that won't need refacing. But if you prefer a NY Link tone wise, then that's a different story. Also, if you don't like the mpc prior to a reface, there's no guarantee you'll like it after the reface though it should play a bit better. Key work there is "should", not the same as "will."

Maybe someone else who has played both mpcs (I've played a NY Link, but not the Wanne Slant) can chime in on the tonal differences.
 

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If I'm accustomed to an Otto Link 6* and I want to buy one but have it refaced am I then looking for a 5* then that will end up a 6*? Or a 6 to a 6* refaced?
I don't see the logic in this question? If you're going to buy a mouthpiece and you're accustomed to a Link 6*, why not just buy a Link 6*? Why look for a mouthpiece to have re-faced? If you are near a music store that has an assortment of mps go try a bunch and buy the one that you like. Or, order a couple from an online source that will let you return the one's you don't like. I've never understood the refacing thing. Shaving a micron off the tip of a mouthpiece is not going to give you as much of a benefit in play-ability as changing reeds will.
 

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Discussion Starter #10
I hope to get a chance to test out some mouthpieces at a music store next week. Essentially, from what I've gathered in my research is that there is quality control issues with current gen Otto Links. Perhaps this is overblown, I don't know. I keep hearing about people getting their Links refaced. Thus my inquiry. Basically with about $300 to spend my options was either buying something like a brand new Otto Link STM NY, a used Otto Link STM (NY or non) and have it worked to fix up any quality issues or buying the Theo Wanne Slant Sig 2 which seems to have a pleasant sound to me.
 

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I hope to get a chance to test out some mouthpieces at a music store next week. Essentially, from what I've gathered in my research is that there is quality control issues with current gen Otto Links. Perhaps this is overblown, I don't know. I keep hearing about people getting their Links refaced. Thus my inquiry. Basically with about $300 to spend my options was either buying something like a brand new Otto Link STM NY, a used Otto Link STM (NY or non) and have it worked to fix up any quality issues or buying the Theo Wanne Slant Sig 2 which seems to have a pleasant sound to me.
OK well, you keep bringing up quality issues. I don't believe in them. A mouthpiece either plays for you or it doesn't. Manufacturers are not going to put out mouthpieces that don't play. While one doesn't play for you it just might be right for somebody else. You can inspect a piece when you're checking it out to see if it has defects. But, even if it does, it might just be the one that plays great for you.
You should read this. https://forum.saxontheweb.net/showt...Playing-Gear-Using-Myths-Instead-of-Your-Ears!
 

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Sorry, but the assumption that makers do not release pieces that are from moderately to extremely faulty is simply 100 percent inaccurate. There are a lot of door stops out there and Im not talking about measurements in microns..Im talking seriously flawed (Im not pointing fingers any any specific maker, especially since there are a number of them).

All that said, I dont think there is a necessity in refacing a piece before one plays it. Its up to players what they want to do, some people are comfortable knowing that the piece they have has all of its issues addressed. If you have access to several pieces its a bonus. You may find one that suits you fine out of the box.

My earlier reply was simply an answer..not a suggestion that it be refaced or not. Frankly, the best reface results for a player occure when he/she has played that mouthpiece in advance of the work. Then a real discussion about a desired end product can be shared.
 

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Discussion Starter #13
Thanks! I guess I don't need to be as concerned about refacing a Otto Link as I previously thought. I'm just going to test out a bunch of Links soon and see what I can find.
 

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Thanks! I guess I don't need to be as concerned about refacing a Otto Link as I previously thought.
Not sure how you come to that conclusion. You just never know how well a reface will turn out. I'd rather go with a mpc from a reputable designer (several come to mind, including Theo Wanne who makes a piece you're considering) that won't require refacing. But sure, you're on the right track to go in and actually try out some mpcs.
 

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I think he came to this conclusion because every voice, regardless of experience, has an equal voice on the internet.

After over fifteen years of mpc work Incan still say that almost every link can benefit from some work. However, this all depends on the level of the player too. It might be good enough out of the box or it might be a PIA and reed picky as hell.

My professional advice is to get the oiece, play it and then decide on what, if anything, should be done.
If you get the wanne piece it is less likely that any work will be needed. I can guarantee that thenlink table illl not be flat. It might seal, it might not...the rest is a gamble
 

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After over fifteen years of mpc work I can still say that almost every link can benefit from some work. However, this all depends on the level of the player too. It might be good enough out of the box or it might be a PIA and reed picky as hell.

My professional advice is to get the piece, play it and then decide on what, if anything, should be done.
If you get the wanne piece it is less likely that any work will be needed. I can guarantee that thenlink table illl not be flat. It might seal, it might not...the rest is a gamble
+1. This is more or less what I was trying to say, but you wrote it more clearly.
 

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Sorry, no one will ever convince me to get work done on a mouthpiece. I try them, if they don't play well or don't give me the sound I'm looking for I don't buy them. It's as simple as that.
 

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Sorry, no one will ever convince me to get work done on a mouthpiece. I try them, if they don't play well or don't give me the sound I'm looking for I don't buy them. It's as simple as that.
I'm with you 100%. There's no doubt that manufacturing defects occasionally occur. But in those cases, DON'T buy the defective item in the first place. If you need something more open, buy something more open. Don't ruin a perfectly good mouthpiece. I trust hundred thousand dollar precision machines and molds way more than a guy with a piece of sandpaper, a piece of glass and his gut feel. How often do you buy a new precision machined cylinder for your car engine, then sand it down to fit? Never.

Factory painting on the left, refaced on the right:
View attachment 243460
 

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Sorry, no one will ever convince me to get work done on a mouthpiece. I try them, if they don't play well or don't give me the sound I'm looking for I don't buy them. It's as simple as that.
Well, you’re likely missing out on the opportunity to play some really fantastic pieces then. I was the lucky recipient of several mouthpieces with a The Martin Tenor I acquired several years ago. One was an early 80s Link that was below average at best. I’m sure the table wasn’t flat as this piece was very reed finicky and could be squeaky as ****! Not sure how the previous owner played it but clearly he had as the bite plate had a good intent in it. Anyway, I had it refaced by Phil-Tone and it’s now a great piece and only metal piece I’ve ever liked.
 
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