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I know there are plenty of people that know and understand mouthpiece designs on here. I'd be interested to hear a brief rundown of the design differences between these mouthpieces (alto or tenor) and how that relates to their sound tendencies.

Meyer HR (old and new)
Otto Link HR (old and new)
Berg HR
Selmer Soloist
Brilhart

Thanks for your help.
 

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These are my impressions from the ones I have played on my website:
These are all for Tenor

Meyer HR (old and new)
higher baffle and smaller chamber than a hard rubber link. It has a more compact focused brighter sound than a link

Otto Link HR (old and new)
larger chamber. The baffles and chamber size vary depending on what model link you are playing. Slants have a medium to low baffle but huge chamber. Early Babbitt's have a higher baffle and slightly smaller chamber. Some have a lake behind the baffle which is depression about the size of a thumb print. Some just have a straight baffle running down into the chamber. I've played examples of both that played great so I don't think one is better than another. It's personal preference. The slants have a warmer, full, huge sound. The EB's have a brighter more powerful sound. Sometimes too bright in my opinion.

Berg HR
A number of different baffle options. More of a focused, laserbeam type sound in my opinion. The higher baffle gives them more power and punch but I think you some of the warmth and fullness of a bigger chamber like the links have. These can be great for R & B type gigs where you have to play loud and rock.

Selmer Soloist
Interesting piece for me. Has a lower baffle than the others but a smaller chamber. The chamber is horseshoe shaped and even though the baffle is lower the air is squeezed through that smaller chamber which gives the sound a mix of darkness with focus and a strong center. The high notes can really sing on a great soloist. Not the kind of piece for a loud rock gig though.

Brilhart
I've played a few of these. Not an expert on them but they seem to be a cross between a HR link and a Meyer to me.

I have a bunch of clips on my website of all of these if you want to hear samples and see what they sound like. I'll have a Meyer tenor clip up later this week.
 

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I know there are plenty of people that know and understand mouthpiece designs on here. I'd be interested to hear a brief rundown of the design differences between these mouthpieces (alto or tenor) and how that relates to their sound tendencies.

Meyer HR (old and new)
Otto Link HR (old and new)
Berg HR
Selmer Soloist
Brilhart

Thanks for your help.
Here are my thoughts in regards to alto. These ideas are based on owning and playing hundreds of pieces from all eras, and most brands (sorry I haven't owned many Bergs). I'm describing how these all played for me with original facings. Lots of original facings were flawed from the factory and so many these days have been refaced to hopefully unlock the potential of each piece. I've played really bright and punchy Eburnated bar Links that were really worked, and I've played some dead NYUSA Meyers. There really is an individual vibe to every individual mouthpiece.

Meyer:

Chambers have gotten smaller and punchier through time.

MeYer Bros, had a larger chamber, really concave sidewalls
NYUSA had smaller insides than the first model. These play the best, by far.
EBUSA made from the same blanks as the last NYUSA pieces but with average craftsmanship
MODERN pieces have a very similar design to the NYUSA/EBUSA blanks but the material is very soft and the craftsmanship is poor

Otto Link:

Lots of changes over time, and the pieces got brighter and better projecting as time went by.

Eburnated Bar, very large chamber, little baffle, very dark. Best in smaller tips
Reso Chamber, large chamber with higher floor than the Eburnated pieces - very rare.
Tone Edge (table tip stamp), smaller chamber than the Reso etc., very little baffle. Best in smaller tips.
Tone Edge (side stamp, beveled shank), same as above with the tip stamped on the side
Tone Edge (side stamp, flat shank), slightly smaller inside with a clamshell baffle
Tone Edge (side stamp, USA on shank) same as above with more baffle
Tone Edge (straight sig, large USA) same exact piece as above, with the large USA font on shank
Tone Edge (straight sig, small USA) smaller piece than above, one of the best EB pieces. Huge clamshell, vertical milling lines, slim body.
Tone Edge (straight sig, fatbody) bigger piece than above, many think the best EB pieces. Early ones had a clamshell, later ones had a step-type baffle.
Tone Edge (modern) similar piece to the piece above, but very little baffle.

Berg:

I don't know as much about Bergs, but they have a bullet baffle/chamber configuration, and the higher the bottom number - the lower the baffle profile. 0 is bright, 3 is dark. Materials and craftsmanship were far superior in the old days, but the new marble rubber and bronze pieces can be really great when worked by a real pro.

Selmer Soloist:

Materials and craftsmanship got worse over time, although the materials today are still very very good, and the design is practically identical.

Short shank soloist, shortest blank, 3 different chamber types. An ebolin style one, then a smaller horseshoe (with rounded edges), then the final version (which is identical to the next models)
Long shank soloist, same as above with a longer shank.
Soloist stype, same as above with the facing written under the selmer logo (selmer logo changed as well)
Modern soloist, same as above with poor craftsmanship

Brilhart:

Lots of models, craftsmanship seemed to get worse over time and their number system doesn't really count for anything. They ALL measure differently.

Tonalin - flat sidewalls, large chamber (acrylic)
Ebolin - flat sidewalls, large chamber (resin)
Hard Rubber - concave sidewalls, large ROUND chamber (rubber)
Personaline Tonalin - flat sidewalls, smaller chamber (acrylic), short/long facings
Personaline Ebolin - flat sidwalls, smaller chamber (resin), short/long facings
Personaline Rubber - medium ROUND chamber (rubber)
 
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