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I just got a Tenney Slant Link #7 from Saxaholic on the forum. Wasn't sure what to expect with this mouthpiece but I liked it so much yesterday morning that I wound up using it on the gig last night!! My reeds were broken in on a metal Barone but wound up working nicely on the mouthpiece. Ah, a rubber mouthpiece ye can trust! The most striking thing about the mouthpiece is that the altissimo is so clean and effortless, zipped in tune right up to a double E. No fancy baffles, rails thick as all hell, and the thing doesn't even look that great. Nice simple design by Doc Tenney.

I really recommend this mouthpiece if you're looking for a good all around tenor deal. I used it last night in the show "Hair" and would be just as comfortable taking it on a jazz gig or playing it in a sax quartet. The only peeve I have is that purchased new these mouthpieces only come in 7 and 7*, I might have it opened up to an 8 since it's so free-blowing but only if the .100 gets to feel too limiting even with harder reeds. Of course, more to come after I've spent more time and more reeds with it...
 

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I have a 7*. I like it a lot, but don't play it as much because my Barone Jazz 8 has taken over the tenor. But whenever I hanker for that warm rubber sound, I go for the Tenney. I use it whenever I record, too. I'm down to using only those two. It's soon time to sell off some of the others.
 

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I have 2 - sold everything else. The mouthpiece works great - low - high - not the loudest mouthpiece but that's why I spent the money for a good microphone. Very versatile mouthpiece - I'm glad you liked it Razzy.
 

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Al, I'm pretty much working in that direction also: JVW Barone NY and the Tenney seem to be all I need now for my tenor playing, but anyone who knows me and my tenor ways, knows that it might not be this way for long! :twisted:

I had been playing an awesome resochamber opened up by Mojo, but I recently changed tenors and the Reso no longer played in tune. So I traded it off... the Tenney and the Barone really fit the bill on my new horn, with the Tenney so far lining up a little better. It has a real Mark Turner sort of vibe to it which is what I'm going for lately with my jazz playing...
 

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Hey Razzy,

Glad you liked the mouthpiece! It was a pleasure doing business with you; class act all-around.

Enjoy the piece!

Saxaholic
 

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Razzy said:
I used it last night in the show "Hair" and would be just as comfortable taking it on a jazz gig or playing it in a sax quartet.
this is a joke right -- you would play a link in a saxophone quartet ?
anyway - i personally found these mouthpieces to play with some of the charachteristic nasty harshness of all modern links.

they do play and respond ok but just sound awfull.

but in a world of lowered expectations i guess thats good.
 

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Garyjones,

Interesting comment but having played many Modern Tone Edge tenor mouthpieces and 2 Tenney's, I have to disagree. I've notice NOTHING Nasal about these mouthpieces and they certainly have a different VIBE then the modern pieces. Perhaps you've tried the Modern Refaced Tenney not the Slant Version sold by Saxquest.

This may also be a horn mis-match situation. I just think to say the Tenney Slants play just like a modern Tone-Edge is not fair. And certainly saying ALL modern Links play with a nasal, harsh sound is also a BOLD statement. But we're all different.

A. Greene
 

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I must heartily disagree, as well. Doc's work is solid and most of his pieces play with a warm, beautiful sound.

Saxaholic
 

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garyjones said:
this is a joke right -- you would play a link in a saxophone quartet ?
anyway - i personally found these mouthpieces to play with some of the charachteristic nasty harshness of all modern links.

they do play and respond ok but just sound awfull.

but in a world of lowered expectations i guess thats good.
The Tenny Slant is HR. Have you played one?
 

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I own two Tenney Slant Sigs, one of them is phantastic with nearly every reed. The other one is very reed picky, with the right one it plays very good.
Both Sigs play different. Whereas the first one is bit brighter and louder with a lower baffle, the second one (the picky one) is darker and less louder with a higher baffle (I thougt it should be the other way round, but it isn't). With the wrong reed it sounds a bit stuffy, especially in the low end.
I like both, but originally bought the second one as a backup, now I have two not very different but they are.
Nevertheless they are very good mpcs. I don't want tho change at the moment, using them on a Ref 54.

Markus
 

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Discussion Starter #11
Don't feed the troll, folks :D I love when one person's singular bad experience translates to "you all must be full of crap" when others have a good experience with the same thing. Just makes my day! ;)
 

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Tenney is a master craftsman...period.

Tenney Slant Link...Woot!!!....indeed....

As it says on saxquest...you need a well developed airstream for this piece, and I have found this to be the case. Once you figure it out, this link is the most versatile, amazing piece I have played. I also disagree with folks who have been saying this is not a loud piece. The problem occurs when you try to support your sound with your embouchure (pinching) and not with your gut/air. It's all air on this piece (as it should be), and I feel, with all due respect, the detractors need to practice their long tones. I understand its not for everyone, but Tenney's work is straight up magic. Quality over quantity should count in the sound deparment as well.

In case you were wondering...after 6 months of experimentation (and a lot of money spent on ligs and reeds) I use a two screw selmer ligature (doc was right), and have found that although I did not care for superials with my florida stm, (chirping, from my own embouchure problems) they wail on HR pieces. DC's are a bit darker than the yellow tin superials. I use both, although I favor the 3 DC's. (RJS 3s/3m also sound pretty good as a cheaper alternative) If you had problems on metal pieces with superials, give them a try on HR....especially on a Tenney Slant ;)
 

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I have never played an HR link that was nasally, to my ear, even the stock ones are some of the darkest and fullest tones pieces I have played.
 

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I am currently experimenting with different reeds:
Rigotti Regal Queens, Vandoren V16 and Javas, AW Reeds and Alexander Superials. At the moment I like AW and Superials the most.
blue boy, regarding Superials I made the same expirience: often chirping on metal mpcs, superb on the Tenney Slant.
I am very happy with my Tenneys.

Markus
 

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I’ve been disappointed with the Tenney Slant Sig. In fairness to the Doc and Saxquest, they clearly point out that “This mouthpiece will appeal to players with well-developed airstream and embouchure form . . .” So is my air stream not sufficiently developed? Possibly, but all I know is that mouthpieces from Springer and Saxscape work better for me. No matter how good someone’s work is, it has to suit you. It’s like, what good does a well-made shoe do for you if it doesn’t fit your very own foot? I offer this post because there may be others like me who don’t want to sound critical and are reluctant to admit they have not had success with a piece like this.

Finally, in case it’s not already crystal clear, let me emphasize: I don’t intend these remarks as a criticism of the Doc or Saxquest, but only to give an account of my personal experience with the Slant Sig.
 

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A Greene said:
Garyjones,

Interesting comment but having played many Modern Tone Edge tenor mouthpieces and 2 Tenney's, I have to disagree. I've notice NOTHING Nasal about these mouthpieces and they certainly have a different VIBE then the modern pieces. Perhaps you've tried the Modern Refaced Tenney not the Slant Version sold by Saxquest.

This may also be a horn mis-match situation. I just think to say the Tenney Slants play just like a modern Tone-Edge is not fair. And certainly saying ALL modern Links play with a nasal, harsh sound is also a BOLD statement. But we're all different.

A. Greene
i never used the term NASAL i said nasty.
I'm just trying to compare it to an actual link slant early florida or so.
Those mouthpieces can sound SOOOO beautiful.
much different than modern rubber mouthpieces.

Its very hard for me to say whats wrong with the tone of the tenny slant compared to a good old slant. Or whats wrong with the tone of all modern links i have played compared to vintage ones.

The tenney piece (at least the one i have) has a lack of center.
The tone of a fixed and close set of harmonics with no one center and less color than a slant.
The core tone is more like a band of pitches than one note.
An old link slant has a beautiful center then the tone is enriched with a very broad and soft set of beautiful and sometimes spread harmonics.
 

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Razzy said:
Don't feed the troll, folks :D I love when one person's singular bad experience translates to "you all must be full of crap" when others have a good experience with the same thing. Just makes my day! ;)
garyjones said:
i personally found these mouthpieces to play with some of the charachteristic nasty harshness of all modern links.
i didn't actually say you guys are full of crap.
In relatonship to modern rubber links these pieces are amazing.
in relationship to vintage slants from say the early 60s these mouthpieces are frustrating and lame.
its just a fact.
i'm glad people are exited about them including you.
 

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Dr G said:
The Tenny Slant is HR. Have you played one?
yes i have been trying to play one as a backup to my vintage hard rubber piece but i think it goes on ebay and i have to find another vintage rubber piece.

I don't know if its material or internal shape but the difference is huge.

just because i speak openly and honestly here doesn't mean im a troll.

i did my first paid gig on tenor saxophone in 1976 so i have been honking on the darn thing for quite some time. I just have a different perspective.
 

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Discussion Starter #19
"This is a joke right?" and "in a world of lowered expectations..." in reference to my original post are very insulting, troll-ish remarks. Thanks for being a little more reasonable and taking the time to explain your observations the second time around.

That is good that you have a ton of experience. In my experience no one tenor mouthpieces is going to completely satisfy all of a player's needs and the Tenney slant is even more specialized. I also have a Barone metal worked on by JVW that I really love except for the tendency to be thin and feel bad on my embouchure up high; the exact opposite experience of the tenney hr mouthpiece. I switch off depending on the gig or my mood...
 
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