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If there is too much material directly behind the tip rail, it can cause chirping.
I have found this through trial and error in pieces I have worked on.
When opening a piece up, if the baffle isn't carefully taken down just behind the tip, it has often caused chirping even at low volumes.
Nooo! That high step baffle is what makes a good Link. Don't do anything to it! Play it.
Resist the urge to have it fudged with.
 

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Discussion Starter · #22 ·
Alas, one of my old threads. I appreciate everybody's feed back:)
A while back I realized that this Link is perfect as is. I absolutely love the sound & response, no issues aside from trying out a few different reeds out of curiosity.

I have no squeaking or chirping on this piece. It's interesting to note, because my Tech whom I bought it from said that he had several people try it, nobody could seem to play it! They would have a week tone, or they would squeak or chirp. I'm the only one he's ever heard play it beautifully and he couldn't believe how easy it was for me to play it.

I can play softer reeds, I just prefer the tone / response I get from stiffer reeds. After a few sessions of a softer reed I'm forced to use very little air (To me it feels like very little air) otherwise the reed sounds buzzy and not to my liking. Yes I sound beautiful on a softer reed, it's not quite the sound concept I'm going for though. My 4H should be in today, I'm excited:)
 

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Nooo! That high step baffle is what makes a good Link. Don't do anything to it! Play it.
Resist the urge to have it fudged with.
he's right though, if it's too high behind the tip rail it won't do anything but squeak. If it were to be done it would mean being able to go for it without worrying whether or not it's going to squawk.
 

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What exactly would the re-face do, and is it really necessary?
It's funny, but I was wondering how long it would take someone to suggest altering a mouthpiece that works fine. Some folks here just have certain compulsions in this regard and they're best ignored. If you send this mouthpiece to a refacer, the only guarantee will be that it will lose value.

Seeing that it was a revived thread, I'm glad you ignored them.
 

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I find these short straight baffle Links are less chirpy that the roll over baffle Links. A lot depends on your embouchure and reed choice. If you play near the tip and use hard reeds to compensate you might be more prone to chirping.
 

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Well, the OP says it plays beautifully for him. Why on earth would he change anything about it?

I have a Meyer that's my main alto piece for probably more than 20 years now. Shortly after I bought it I dropped it or something (I can't even remember what) and made a big nick right in the tip rail. I looked at it and thought, "oh no, now it'll have to be fixed." I put a reed on it and it played exactly like before. I have never had it repaired. Plays beautifully with no apparent ill effects. Sometimes things matter and sometimes they don't.
 

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Alas, one of my old threads. I appreciate everybody's feed back:)
A while back I realized that this Link is perfect as is. I absolutely love the sound & response, no issues aside from trying out a few different reeds out of curiosity.

I have no squeaking or chirping on this piece. It's interesting to note, because my Tech whom I bought it from said that he had several people try it, nobody could seem to play it! They would have a week tone, or they would squeak or chirp. I'm the only one he's ever heard play it beautifully and he couldn't believe how easy it was for me to play it.
I had a Link mouthpiece, loved how it played. Apparently the facing was a mess, but I was happy with it. Decided to "perfect" it, never liked the sound again and sold it. Wise choice to not touch it.
 

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Discussion Starter · #29 ·
I won't be touching this one. It plays incredible:) I also love the smaller tip opening 6*, it's more focused than a larger tip opening.
I am very intrigued by Retro-Revival though, if anything were to happen to this mouthpiece, I'd probably replace it with a crescent. There supposedly extremely good!
 

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I won't be touching this one. It plays incredible:) I also love the smaller tip opening 6*, it's more focused than a larger tip opening.
I am very intrigued by Retro-Revival though, if anything were to happen to this mouthpiece, I'd probably replace it with a crescent. There supposedly extremely good!
6* isn't a small tip. I think my first Link when I was a kid was an 8*, which is what kids do, then a 5* I played for years. I finally moved to a bigger tip again, a 6.
 

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Discussion Starter · #31 ·
Very nice:) I love the added focus you get from a smaller size tip opening, I don't think I'll ever venture larger than a 6*.
I've been playing the 4H reeds for a short while now, I didn't notice much of a change over and above the 4M - I could get similar projection from the 4M, however I was able to play softer when needed, in addition my embouchure lasted a great deal longer before tiring out.
I think after I am done with these reeds I'll settle back to a happy 4M! I do listen when others suggest to go Softer when in doubt, (More flexibility, more colour and depth to the tone ETC ETC) For now I'll settle on 4M, if down the road I feel they get to soft to quick, I can always bump back up to a 4H. I just don't think its necessary to go this stiff! I can play them fine, I sound great and I can play softly. I may benefit from longer endurance and even more tonal flexibility dropping a smidge down to 4M

I'm also going to try Un-filed Select Jazz reeds. I'm excited to see how they differ, if I get a fatter more centred sound I'm laughing!
 

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Discussion Starter · #32 ·
Out of curiosity last night I tried a Daddario Select Jazz 3M ( Had it sitting around from when I used them, brand new never used ) It felt extremely soft, when I tried to play louder it sounded buzzy and thin. When I slowed my air, calmed things down in order to play it properly I felt like I had to hold back so much! The plus side was that my embouchure could last forever it felt like - Altissimo / Overtones still came out as per usual, but the sound and projection was not there.

Knowing how a softer reed plays I'm not slightly concerned about the 4M's when they come in. Never the less I will try them - If they feel to soft after a few weeks I'll bump back up to 4H, but its worth a shot! I can only play for a few hours on 4H before I need a break (Mind you most of that time I'm doing scale work in Altissimo, and Altissimo also kills my embouchure. We will see how she goes :)

I am surprised to hear of people playing 3's and 3M's on a 6* mouthpiece. The average combo would be 7* and a 3 or 3M, that would bump to a 4H once you drop to a 6*, am I out to lunch? I blow through reeds so quickly, I'd rather spend a week or two breaking my reeds in and then having them perfect for the remaining 4 weeks vs having a reed perfect out of the box and then they get to soft after 2-3 weeks, so we will see how the 4M goes. There also going to be unfiled, and I read that unfiled reeds seem to play a little softer than filed. Not sure how that works?

These time frames are using 4 reeds in rotation - 4-6 hours a day of practice/playing. Is it the norm to have 4 reeds last 4 weeks? Or am I still out to lunch on that as well?

Thanks guys!

I appreciate your input.
 

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I play a 3M Rigotti on a 6, Tone Edge and STM. I sometimes practice with my old Soloist E with the softest reed I can get to speak.
I think I get more color with the smallest tip and softest reed I can play. As much as I love Brecker, Grossman and Coltrane, I’ve always been a Joe Henderson fan.
 

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Discussion Starter · #34 ·
I've decided to get my Link re-faced. It came about because I initially looked into getting it re-plated,
I'm going to send it to Matt Marantz.

I'm going to have him do whatever he see's fit with regards to fit and finish. I'll probably open it up to a 7 or 7* as well as make it a little darker whilst keeping it as focused as possible - I'd like more of a John Coltrane Vibe. I'll then have her re-plated.
I'm very VERY excited!
 

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Read your first and your last post of your thread...what happened?
 

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Also, only four months of use. I hate to tell you but it takes longer than four months to learn the ins and outs of a good link.

Send it for a reface and you will indeed be right back to day one.
 

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Discussion Starter · #37 ·
I know it does. I simply feel that my mouthpiece can use some improvements. A re-facing should improve its playability. Making minor adjustments to the opening and baffle will be wonderful as well, and the re-plate ensures I don't play bare brass anytime soon.

I'm excited to get work done and I'm looking forward to how my mouthpiece will sound / play after.
 

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Discussion Starter · #38 ·
Quick update, I sent my mouthpiece off a while back to Matt Marantz. I should be getting it in the mail tomorrow! He opened it up to a 7*, made it brighter and improved projection / response significantly. He felt it was one of the nicer vintage links he has come across.
I can't wait! I've been playing on an early rabbit 5* link for the last few months, so this will be a breathe of fresh air! - Though I dug the loaner link I had.
 

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I thought you wanted it a little darker?
Very nice:) I love the added focus you get from a smaller size tip opening, I don't think I'll ever venture larger than a 6*.
I'll probably open it up to a 7 or 7* as well as make it a little darker whilst keeping it as focused as possible...
Quick update, I sent my mouthpiece off a while back to Matt Marantz. I should be getting it in the mail tomorrow! He opened it up to a 7*, made it brighter and improved projection / response significantly. He felt it was one of the nicer vintage links he has come across.
I can't wait! I've been playing on an early Babbit 5* link for the last few months, so this will be a breathe of fresh air! - Though I dug the loaner link I had.
Please let us know how it works out. Smaller/bigger, focused, bright/dark... The total package is what matters - that, and whether the client and tech are on the same page.

G'luck!
 
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