I think the explanation rather simple: Links have large chambers, typically. Also typically, Meyers have medium chambers. I say typically because you CAN order a large chamber Meyer, but it's not the same style or design as a Link and, by default the Meyers you order online or purchase at the stores are going to have medium chambers unless you specify otherwise.
In order for a medium chamber mouthpiece to work on tenor, the baffle has to be just right. I feel like the only person that gets this right is Ralph Morgan with his "Excalibur" mouthpieces. I've played a few other medium-chamber HR tenor pieces and they don't seem to work, stuffy as all hell. Mostly though it's that tenor players just tend to prefer larger chambers. I know I do! They achieve a deeper, louder sound when pushed and the extreme registers are a lot more satisfying. There is also more room for error and experimentation with baffles in a large chamber on tenor; I really don't know why this is true but I've played many many tenor mouthpieces and this is the trend I notice.
I played a Meyer 6M on tenor for two or three years in high school. I really had to work extra hard to get a decent sound out of that mouthpiece but I feel like it paid off. When I played my first Link my sound was tremendous after pushing so much air through that little pea-hole for those few years! I still have that mouthpiece and when I get curious or antsy I sometimes stick it on and play. The same thing always happens: I can't believe how stuffy it is or how I ever got a decent sound out of it. I think the La Voz reeds I was using had enough edge to cut through it a bit and produce a tone suitable for jazz...
So anyway, that's why I think Meyers are not popular on tenor. The Meyer design seems really to favor the alto, probably why I've used one on alto for five years with no problems...
). He played a mark vi and used a 6m. All i gotta say...way to blank tone. kinda stuffy and at times i could tell what he was trying but it wasnt coming across in tone or expression.
