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Discussion Starter #1
Hello fellow members!

In the last months I've sold almost all of my mouthpieces as I wanted to concentrate more on my own gear that I made for myself. I'm refacing a bit for some years now and among the unexpensive pieces of my collection I brought many ducks to new life for my taste. My favourite one is my current main piece that I'm playing for almost two years now. It's a stock Otto Link STM that I bought for little money in used condition and redesigned it for my needs. This process has taken quite long and it's still going on. Sometimes I change some very faint details on the mouthpiece and play it for at least a month in different settings to see if it delivers what I want.

Characteristics:
At the moment I'm diggin' a sophisticated dark tenor sound à la Warne Marsh with some core in it that fits my horn well (a Conn 10m). The mouthpiece is a 7* tip with a long facing now, it speaks easily, it has some good resistance to blow against to develop the sound and it doesn't get harsh or overly bright when I push it - it always keeps the sophisticated character and the core. I like that and I haven't found these specifications in any other mouthpiece yet that I've played, so I'm calling my own model "the Otto Lind".

During the last years some guys here have asked me if I could make a mouthpiece for them and so far I've always politely declined. I think there are plenty of fantastic mouthpiece makers out there and I'm not willing to enter the market. I'm refacing just for fun actually. But since I got another request a couple of days ago, I now thought of maybe doing one single exclusive mouthpiece per year but not more as it's my hobby. And then as a professional player I'm very picky about a perfect playing piece.

Before I go further with these plans, I thought it would be interesting to know what other people (like you) think of my current Otto Lind main piece. Is it just me or do you like it as well? Does it sound ordinary to your ears? Do you prefer something completely different or could you imagine playing one of these one day? Feel free to listen to the soundclip of me noodling around with the piece and comment here. No problem if you don't like it - I know I do. :)

I recorded the clip raw at home with a backing track, no mixing, but I think you can still hear the tendencies and main characteristics of the piece. I'm using a D'Addario Select Jazz 3H filed reed here. Maybe I will put up another solo track next week with me standing in front of the microphone for more details soundwise.

https://soundcloud.com/jolind-1%2Fotto-lind-10m-rsj3hf
Thanks for your interest!
Jo
 

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Cool that you started to reface Johannes, it's something I'm also very interested in (but I don't have time and tools currently, it's a wish for the future).

I like the sound of your clip, because I'm also tending to a darker sound the latest years. I like the lows and mids of your clip the best, not sure about the higher register sound. I didn't listen too careful, but it seems a bit more restricted. Do you have the idea you can give your piece all the air you want, also in the higher register?
 

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I think the recording quality is really not good enough to do it justice. Obviously the piece plays well, but tone/sound is pretty subjective. I'd say if you have people around you that have played your piece and like it and want you to work up a piece for them, you should go for it.
 

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Discussion Starter #4
Thanks to the comments you both!

Peter, what you describe is exactly what I was aiming for: A little bit more restriction in the higher register to avoid the sound to thin out in that area. I've had this problem in the past with lots of mouthpieces (including lots of high end products and most of the Florida Links I've played): Very free playing pieces feel and play nice in the first moment but after a few weeks you adjust to that ease, meaning your body/brain forgets to support the tone via breath/airstream. Maybe the characteristics of my horn add to that, but I've noticed that problem with a lot of mouthpieces in the past and maybe that's one of the reasons why I never liked to play in that register on tenor that much: The palm key sounds always tended to get a bit harsh at some point in time. This is changing at the moment with my Otto Lind. It's the first time I play on a piece that speaks well in all registers and gives me that little overall resistance that reminds me of working/supporting the tone.

As I wrote, it's still in progress. I just had some extra time this morning and made a better track: solo playing a bit closer to the mike, trying to emphasize the characteristics of the different registers more. Here it is:

https://soundcloud.com/jolind-1%2Fotto-lind-10m-rsj3hf-p2
Again, thanks for listening and your comments on that subject!
Jo
 

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Beautiful sound on the second recording Johannes (in all registers), a very nice complex texture especially to the low and mid.

You wrote you increased the resistance. I know that can be done by a shorter facing length, but you also wrote you made a longer facing length. So how did you increase the resistance on your piece?
 

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People used to do what they called a "passaround" here with mouthpieces they wanted opinions on. Maybe you could make one (not your piece but a second one) and get a few folks to sign up to play and review it. The examples you posted are very nice, you have a beautiful sound, and I'm sure that other people would be interested in your take on the ubiquitous (and cantankerous!) Link :)
 

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Discussion Starter #7
Beautiful sound on the second recording Johannes (in all registers), a very nice complex texture especially to the low and mid.

You wrote you increased the resistance. I know that can be done by a shorter facing length, but you also wrote you made a longer facing length. So how did you increase the resistance on your piece?
Thank you Peter, I appreciate your comment.
I found that rule to be true for very short facings with breakpoints towards the tip. As you shift the breakpoint more towards the shank more of the flexible part of the reed can vibrate and the piece loses resistance because of that.
When you shift the breakpoint even more towards the shank the part of the reed that vibrates gets even bigger but that part of the reed gets thicker/stiffer as well (it's the end of the actual cut of the reed), meaning that more energy is required to get the whole system into vibration. So the player feels more resistance from that point.

Not sure if this theory is correct but I've observed that on several pieces I've played and made.

The best sounding one in that category that I had was a refaced Florida Link (not reworked by myself) in an 8 tip. The facing was ultra-long, it was so resistant that I couldn't play anything harder than medium soft reeds on it. I finally sold it as it was to hard to control overall. Maybe the refacing work had been done poorly as well, I don't know, it was before I got into refacing. But soundwise it was one of the best pieces I've ever owned.

People used to do what they called a "passaround" here with mouthpieces they wanted opinions on. Maybe you could make one (not your piece but a second one) and get a few folks to sign up to play and review it. The examples you posted are very nice, you have a beautiful sound, and I'm sure that other people would be interested in your take on the ubiquitous (and cantankerous!) Link
Thanks for the nice words skeller,

good idea, why not. As I wrote above I don't want to enter the market but this could be fun, just to see how the pieces work for other players.
I'll start a passaround thread when I've made one (so probably next year or so).
 

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Discussion Starter #8
Hello saxophone fellows,

as I wrote a couple of months ago (see above) I finally had the opportunity to reface another mouthpiece to my needs as a pro player in order to get opinions about it by starting a European passaround. It's a hard rubber Otto Lind that I perfected to my taste and it now plays better for me than any other hard rubber piece I've owned.

I will put some more info about the playing characteristics etc. later here.

If you want to be part of the passaround in Europe let me know here in this thread or via PM. I could also imagine selling the piece here if you're seriously interested in it.

As I wrote above, this will be something very exclusive, as I don't want to enter the market here. I spend most of my time playing, not refacing, so every mouthpiece that I reface will be a very special one with lots of dedication and perfection in it.

Thanks for your interest, I'll keep you updated!

Best
Jo
 

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Discussion Starter #9
Update:

I've decided to sell my current perfected mouthpiece here directly as I'm also selling some other pieces at the moment (see my current FS thread). There might be a passaround in the future when I find enough people that are interested in that. I'm not motivated enough to do that or create more hype at the moment as I actually don't want to enter the market with the very few pieces I'm going to optimize/redesign per year.

Feel free to contact me directly here when you're looking for something individual and very special that noone else or only very few people own and play. And trust me, it’s good. Really good. 🙂
 

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I’m curious after reading how you have lengthened the facing if the piece passes a suction test?
I personally don’t put much credence into the whole suction test thing, but have noticed in pieces I have refaced myself that those with a particularly long facing length often won’t pass this test even though they may play very well.
 

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I’m curious after reading how you have lengthened the facing if the piece passes a suction test?
I personally don’t put much credence into the whole suction test thing, but have noticed in pieces I have refaced myself that those with a particularly long facing length often won’t pass this test even though they may play very well.
Well, I've never used this test as a reference as I also think that it doesn't tell you much about the playing qualities of a mouthpiece. But I just checked it with my main piece (the modified STM) and it works. It pops and the reed seals for a short moment. I use hard reeds though, so the sealing time is probably a bit shorter than on other pieces. Obviously the facing is not that long on my main piece that sealing wouldn't work anymore. I've never measured the actual length because it didn't matter for me to know that. The thing is: It works perfectly and from my experience I go better when I adjust every single mouthpiece individually and see what length is best in combination with all the numerous other characteristics of the piece. I've never taken the facing length as a basis for my decisions as a refacer. I always start from feel and sound.
 
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