[A Greene]

I really love my Tenney Link Tone Edge mouthpieces. It measures about .098 and has the typically thick rails found on Tenney pieces. It works great with softish reeds, medium volume and had been my favorite for years and years. About 4 years ago, I had just done a sax camp with Bob Reynolds who plays a 9 Tone Edge w/ 3 1/2 reeds. I was curious how a set-up like that would feel. Now all 4 of the Tone Edges I have are marked 7 or 7* but one measured .112 so I think someone opened it up a bit. After getting use to the tip, I really love the freedom both the bottom and top of the horn opens up nicely. Now I've been playing this mouthpiece for 3 years but recently in a recording I thought maybe areas were a bit harsh. (Of course this also might be the microphone)

So I pulled out the old mouthpiece - you know to revisit the 'pretty' but quiet days. It was indeed pretty but I felt like the sound was really small and my air just wasn't flowing. Although I loved this mouthpiece back in the day, I don't think I want to go back to smaller tip feel. I've decided to experiment with reeds on the more open piece to tame the harshness.

 

[1saxman]

This is a fairly common occurrence - you try something different and bond with it - then you go back, and guess what - you can't play the old mouthpiece anymore. That's okay, its perfectly natural and is simply a manifestation of a powerful ability to adapt. That is exactly why you have to be so careful in trying mouthpieces, because its possible you could lose your core sound in the process. Just don't dally too long on a mouthpiece you're not too sure about because you might lose your connection with your 'good' piece. In fact when I read you were playing a .098 and had to use a soft reed, I knew at that moment that the mouthpiece was too stuffy - you normally would be able to play at least a #3 on that tip and maybe even a #4.
On the big Tone Edge, try a #3 Fibracell.

 

[bruce bailey]

I had a dream about 3 nights ago that I got a vintage short shank C* mouthpiece and put it on my Mark VI that I haven't used in over 20 years and sounded great... I wonder what that combo would play like in real life! As to not having your old setup work, I would wonder if I just got better or developed bad habits over the years. Hmmmm.....

 

[Grumps]

I played Levelairs for decades. Then I got here and found a whole 'nother world out there. After a few years of playing on other mouthpieces, I gave those old Levelaires (one alto, one tenor) a go. I couldn't believe I could ever get a sound from them, they played that bad for me. So off they went.

 

[1saxman]

Man, that's exactly what happened to me. I played Level Air on tenor and alto, plus I had one for bari when i had a bari. When I discovered Guardala in the late '80s and established my sound with them, one day I whipped out the Level Air and...ugh. Now here's the strange part - it doesn't mean the old piece was bad - you can probably go back and play some old tapes and be pretty satisfied with what you were doing - it means you have adapted to something else. And this is strange too - I still play Level Air on baritone. I mean put down the tenor with a DG, pick up the baritone with a LA and go to town. It all depends on what you get used-to on each horn, believe it or not.

 

[Grumps]

Going back to old equipment can be unproductive. There's a reason we move on with our journey.

 

[turf3]

I will say, however, that the Selmer Soloist C* always rewards.

The Dukoff D7, not so much.

 

[skeller047]

I will say, however, that the Selmer Soloist C* always rewards.

I feel that way about a Link 6* on tenor...