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Forum Contributor 2016, Distinguished SOTW Member
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So, long story short, I have this Florida Link that I have always felt has something special to it. I bought it when it had already been refaced once from an 8 to a 7. I then had it refaced back to an 8 and didn't dig it as much. Had it refaced to a 7* and really dug it but in a moment of stupidity decided to have it refaced back to a 7. Now I know that the best was 7*. It's already been refaced four times and I'm thinking of having it refaced one last time back to 7*. That will be five times. What are the negatives to having this done? I already feel like after the fourth time the piece is brighter than I remember it at the 7 tip. I assume this is because the baffle is closer to the table after the four refacings. I'm hoping having it brought to .105 will open it up and take a little of that brightness away. Besides me being an idiot, anyone have any useful input on how many times a piece can be refaced and the effects it has on the piece.
 

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TENOR, soprano, alto, baritone
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Definitely are limits to it. Fortunately, you want to open it a little which should be done without sanding on the table - that 'floor' has to be getting thin up at the end of the window. Then it depends on what's left at the tip and the tip baffle. Anytime you 'open' one, the tip baffle has to be blended back and this changes that area forever. The mouthpiece will be different - I hope in a good way. I suppose if you get the same guy to do it as in the past your chances of being able to use it would improve.
 

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Grafton alto | Martin Comm III tenor
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Theoretically it all depends on how it started and what is done. With a fairly thick tip rail and opening up and/lengthening the facing in increments is one thing, but going from open to closer tip or longer to shorter curve lengths then you'll start running into trouble sooner (especially when table work is done to allow the closing of tip.

It basically sounds like yours is refaced to within an inch of its life, screaming for mercy and begging to be put out of its misery.
 

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So, long story short, I have this Florida Link that I have always felt has something special to it. I bought it when it had already been refaced once from an 8 to a 7. I then had it refaced back to an 8 and didn't dig it as much. Had it refaced to a 7* and really dug it but in a moment of stupidity decided to have it refaced back to a 7. Now I know that the best was 7*. It's already been refaced four times and I'm thinking of having it refaced one last time back to 7*. That will be five times. What are the negatives to having this done? I already feel like after the fourth time the piece is brighter than I remember it at the 7 tip. I assume this is because the baffle is closer to the table after the four refacings. I'm hoping having it brought to .105 will open it up and take a little of that brightness away. Besides me being an idiot, anyone have any useful input on how many times a piece can be refaced and the effects it has on the piece.
Send me some pictures: [email protected]
 

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Definitely are limits to it. Fortunately, you want to open it a little which should be done without sanding on the table - that 'floor' has to be getting thin up at the end of the window. Then it depends on what's left at the tip and the tip baffle. Anytime you 'open' one, the tip baffle has to be blended back and this changes that area forever. The mouthpiece will be different - I hope in a good way. I suppose if you get the same guy to do it as in the past your chances of being able to use it would improve.
Pardon my refacing techniques ignorance, but for such small adjustment why can’t one just change the angle of the table to open the tip up, instead of mocking with and risking ruining the tip?
 

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Grafton alto | Martin Comm III tenor
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Pardon my refacing techniques ignorance, but for such small adjustment why can’t one just change the angle of the table to open the tip up, instead of mocking with and risking ruining the tip?
You can but then it can change the facing curve quite a lot and especially at the point where the curve meets the table
 

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Regarding "What is too much": I've seen a few Links where the bite plate was showing through to the interior - a sign that there is only so much baffle that can be removed/adjusted.
 

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Butt cutting can be a good start, but everything has to be adjusted properly.

Steve, send it to Sebastian. His work is phenomenal. I’ve had loads of pieces that he has worked on and saved, and I couldn’t recommend anyone any more highly.
 

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Mouthpieces do reach a point where they can no longer be refaced. Before they get to that point you can have the rails thinned as they get thicker with each reworking. You can also have the baffle deepened slightly to compensate for getting closer. I would have one of the great refacers look at it for their assessment. Sometimes they can be adjusted and made better than ever. Good luck and let us know how it goes.
 

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With vintage Links, you can run out of material in the sides to open it up. If the curved sidewalls are scooped out all the way up to the edge of the window, then cutting the facing further will make the window get wider. Do this too much and you will need to use a bari sax reed on it to cover the width.
 
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