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Re: How much is Otto Link Tone Mater 40's worth?!

Nope, definitely not worth around $400-$550 USD, going by ebay sales. (and which might be worth more as it's recently refaced.)
I'll take it off your hands for the price of shipping it. =P


(If this wasn't obviously playing around, it is probably worth about $400-500ish, and is a really nice mouthpiece, although imho vintage Links go for more than they're probably worth.)
 

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Re: How much is Otto Link Tone Mater 40's worth?!

It's worth what someone would be willing to pay for it. Seriously.... I played on an old NY ToneMaster for many yrs, but always felt I was missing the "edge" I wanted. Mine was worked on by the late Jon Van Wie and while it does play well, I'm much happier with my Sakshama Shorty. You can see what they usually go for (well......asking prices) on eBay, but I'd personally never pay more for one than what a current production Link would cost. I understand Marin does very good work, but it's just like any other Link in that nothing is guaranteed. All you can do is list it (or eventually put it up for sale here) and see what happens.
 

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Howdy Y'al!

I have a tenor otto link tone master from the 40s that has been restored by Marin Spivak. I was just curious on the worth of vintage Tone Master!? Thanks!
That depends highly on how it looks, the (new) tip size, how the work of Marin was done (he is known for high quality), if it includes the original ligature and/or cap. You should post some pictures for us to give better advice.

Depending on the state my guessed price range for your piece could be between 300 and 600 USD.
 

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Re: How much is Otto Link Tone Mater 40's worth?!

Nope, definitely not worth around $400-$550 USD, going by ebay sales. (and which might be worth more as it's recently refaced.)
I'll take it off your hands for the price of shipping it. =P


(If this wasn't obviously playing around, it is probably worth about $400-500ish, and is a really nice mouthpiece, although imho vintage Links go for more than they're probably worth.)
The reface lowers the value unless it is done by someone very, very well known...not just on the forum. Im not knocking anyones work here...its just the bare facts of the marketplace. Refaced pieces presentsan element of risk. Also some players have their favorite craftsmen.

I dont see it going for 400 but I could be dead wrong.

My guess is 300 or so.

Just reading again...what exactly is restored...restored or refaced?
 

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Re: How much is Otto Link Tone Mater 40's worth?!

The reface lowers the value unless it is done by someone very, very well known...not just on the forum. Im not knocking anyones work here...its just the bare facts of the marketplace. Refaced pieces presentsan element of risk. Also some players have their favorite craftsmen.

I dont see it going for 400 but I could be dead wrong.

My guess is 300 or so.

Just reading again...what exactly is restored...restored or refaced?
I agree reface (by anyone) is most likely to reduce the value as it reduces the potential market - however good the reface may be and/or who did it.

Restored sounds like it has been refaced to factory specs, after having been changed to something else. However once material is removed from the rails, In would think a literal "restore" to original would be nigh on impossible. Yes, you could restore it to the original tip opening, but not the facing curve. (or maybe vice versa). So I would be very wary of sinking any money into it without first playing it and/very very good photos of condition.
 

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In these threads you can find back some more information on what Marin does do when 'restoring' old Links:

https://forum.saxontheweb.net/showthread.php?125363-Marin-Spivack-Mouthpiece-Restoration
https://forum.saxontheweb.net/showt...I-m-floored.&p=1693892&viewfull=1#post1693892

I've seen pictures of his work and have to say that what he does looks very good (among the best work I've seen).

To come back on the value of a restored/refaced Tone Master: for most pieces a reface will lower the value (from collectors point of view that is), but from playability point of view a good reface on an old mouthpiece (often having a very small tip opening) can improve the way it plays a lot (including with opening the tip with brains, avoiding a too big change in baffle configuration). People like Erik G. and Marin are known to deliver very good work on those old Tone Masters (I own/owned some pieces done by Erik G. and kept an 8 tip TM, which is really an exceptional mouthpiece).
 

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Im not knocking quality. To cut to the chase...if you arent famous ( in so much as any mpc person is famous) people wont pay for the work.

I many cases a piece sells for less than if it is refaced...In very few cases will one recover base value plus the cost of the reface.

Erik G and Brian Powell are a few exceptions. Marin may do good work but there simply is not the name/fame factor.

And to beat a dead horse..I am not being critical of the quality of work. Just the marketing of names which away from this forum (and often on it) is critical.

George Smith's excellent Master Link will sell for less than Brian Powell's. George Smith or Jon Doe may be better but that does not determine market price.

I dont even agree that it should be that way...but no one asked my opinion when they built this world....that's for damn sure!
 

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Re: How much is Otto Link Tone Mater 40's worth?!

I agree, back in the 70's - 90's days these were considered doorstops and were not worth anything.
During the 70's-90's the saxophone tone concept took a turn in a different direction - everything was over amplified and mouthpieces where designed for more volume and edge to cut through. The Otto Links of the 30's-40's where designed with a completely different sound concept which has had some what of a resurgence in recent years with players trying to emulate the the earlier tenor stylists. Some of the greatest jazz tenor sounds where achieved using Tone Masters so I wouldn't call them junk.
 

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Re: How much is Otto Link Tone Mater 40's worth?!

During the 70's-90's the saxophone tone concept took a turn in a different direction - everything was over amplified and mouthpieces where designed for more volume and edge to cut through. The Otto Links of the 30's-40's where designed with a completely different sound concept which has had some what of a resurgence in recent years with players trying to emulate the the earlier tenor stylists. Some of the greatest jazz tenor sounds where achieved using Tone Masters so I wouldn't call them junk.
Liam, the mouthpieces got better, not worse (then they got worse again) and while I agree with you that there were some great sounds coming out of those old mouthpiece, they were no match when the Super Tonemaster came out. That's why everyone switched. Phil
 

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Some of you may recognize Marin as being someone you recognize from this website, but he is known by lots of players outside of this bubble. He is absolutely as good as ANYONE out there when it comes to mouthpiece refacing and restoration. His work on saxophones is also world class.
There are many great players out there who are well aware of his work, and play pieces that he has refaced for them. I have had many pieces that he has redone and they were fabulous.

When I say as good as ANYONE out there, I mean that.


As for the TM mouthpiece in question, if its in good shape with no crazy repairs done to it, it should be worth about $450-$550 with Marins work on it.
 

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Re: How much is Otto Link Tone Mater 40's worth?!

During the 70's-90's the saxophone tone concept took a turn in a different direction - everything was over amplified and mouthpieces where designed for more volume and edge to cut through. The Otto Links of the 30's-40's where designed with a completely different sound concept which has had some what of a resurgence in recent years with players trying to emulate the the earlier tenor stylists. Some of the greatest jazz tenor sounds where achieved using Tone Masters so I wouldn't call them junk.
Agreed .
 

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Agreed. Those mouthpieces were designed for the beautiful tone that they get. Certainly not a piece you would use without a microphone in a loud setting, but if you’re doing studio work, they can be beautiful! They were typically very small tip openings and though I’m not a big fan of that model for what I personally like to use, you can’t beat some of the great sounds some of the Masters got with them.
 

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Mark, I was not knocking Marin.

When I mean well known I mean..Brian Powell..Navarro, Klum.

My only point was purely economic, not a slam or comment on the work in question or any one elses.
 

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I think the drumheads(calfskin to plastic Remo heads) and cymbals and bandstand volumes also influenced things.

Art Blakey Elvin Jones were just two examples of very powerful drummers . Tony Williams is another.

They had Berg Larsens offering more volume in the 50's and the Brilhart Ebolins could also project( Gene Ammons !)


Anyway, musical styles within small group jazz and the volumes the drummers were playing at behind soloists meant that
guys were wanting more projection from the mpcs. Trumpets could always be heard, lol .
 
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