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Discussion Starter #1
Having assembled too many great metal mouthpieces, I thought I'd try some non-metal (HR, ebonite, resin). The Aizen LR 7 is wonderful (I normally play 7*, but was warned to go down one), so I am now curious about other Link HR copies in comparison with the Aizen. I don't need them, but I am in the J Lima school of 'there may be something else out there I really would like', so advice appreciated.
What I like about the Aizen is that it is not too dark, but has that singing vocal quality one hears in good Links, and is very flexible. I have done a search, which turned up Philtone and a couple of others, but someone may know some others. Like the new, cheaper Wanne rubber mps? Thanks.
 

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I'm loving that prototype FatCat from Saxscape, best money I've ever spent on any jazz mouthpiece (although I haven't played that many). It's modeled like the reso-chamber link, and seems very nice if you like a darkish type tone. Tip is .102. Litte more resistance than my rubber Berg, and not as much buzz.

Was just practicing, with a reed that I tweaked to improve low register response. This mouthpiece has really helped me as far as getting a more focused tone, and it can still get a very fat sound as well when pushed.
 

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Distinguished SOTW Member, Forum Contributor 2012
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Ted Klum Focustone and Resotone Acoustimers
 

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Yeah, I may try one of those as well, GAS!
I love the profile of these mpcs, I just had to sand down the edges of my Selmer two screw lig some.
I play mostly r&b with them and they sing nicely.
They are similar flexible mpcs and the best resin or hr mpcs that I have played.

I prefer the Resotone. It has a larger chamber.
The Focustone has a chamber that is med/large I s'pose, still pretty big.
I can really wail on these too, with decent volume.

For my playing, the Focustone Acoustimer, as you may have guessed, sounds brighter than the Resotone when pushed.
The Resotone is not dark or tubby either, very rich and equal in loudness to the Focustone when pushed.
A lot is going on with my sound on the Acoustimers.

My STMs are .105, both my TK Acoustimers are about .108 and play great with various reeds,
as Sebastian had mentioned in another thread.
 

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While Ted's mouthpieces aren't Otto Link Tone Edge copies, the FocusTone Acoustimer will definitely appeal to players who have spent a lot of time on their old 60's Tone Edge style mouthpieces. In other words, for a player who has learned to play on a traditional piece and isn't looking for a mouthpiece to make them louder etc, they can already do that. The FocusTone Acoustimer lends a little more of everything that can be found in an old Tone Edge as the design is representative of Ted's concepts on what makes the large chamber mouthpiece play at its best. The baffle shape, rail profile and corners, and core shape and design is different but definitely is in the same spirit as a 60's Tone Edge. I just discussed this with Pat LaBarbera on the phone the other day as he was looking to replace his Tone Edge 6* with something that is replaceable should something happen to it.
The other advantage with the Acoustimer line is how much variation in sound you can get with different cuts of reed. One forum member mentioned the Marc Jean ligature as having a pronounced effect which is interesting because Marc is a fan of Ted's work!
 

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Discombobulated SOTW Member, Forum Contributor 201
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Tenney Jazzmaster and Slant, Saxscape Fat Cat or Xtra Dark (he lists the latter as the darker of the two on his website, but my experience is the opposite), Drake Son of Slant and Getz Signature,...

Are you sure you want to start down this path? :bluewink:
 

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Btw, I see Ken has a couple of those FatCat prototype mouthpieces listed on eBay....
 

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Discussion Starter #12
I've kind of answered my own question, and since nobody mentioned what I have tried and bought, I thought I'd mention it. Having heard so much about Theo Wanne mouthpieces, but baulked at spending so much, the appearance of the Performance Line gave me my excuse. I tried the HR Brahma 7*, and was knocked out. It has some qualities in common with the Aizen, but has a bigger sound and is generally more powerful. It is not quite as sweet as the Aizen can be, but has a beautiful Linkish kind of sound that fills the horn. I'll use both, and need to figure more about controlling intonation on the Wanne in the upper register, as it is a bigger tip (need to open throat and not push, as so much air gets through), but it is very reed friendly indeed. I now know what the fuss is about with Theo Wanne mouthpieces, and will have to stop myself going for the high end ones, though I really can't imagine they can be much better.
 

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Agree with Rackety on the Tenney Jazzmaster. It is, for me, the best tenor piece I've played.
 
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