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I have decided to get rid of some mouthpieces I have collected over the years. However, I have a brilhart tonalin alto and tenor and they both have a crack on the inside where the facing is. The cracks do not go all the way through and both are about an inch from the shank. I also have a Brilhart tonalin, tenor, that is the English version (ROC) with the metal band. It too has a crack similar to the others. I am wondering what they are worth as is, or if it would be worthwhile to somehow fix those cracks before they got worse? Any advice would be appreciated.
 

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Super Glue?
 

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And so, children, we see yet again why it's a bad idea to leave mouthpiece bores in the as molded condition to save the 50 cents worth of work it would take to run a reamer up there and make them cylindrical.
 

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When it comes to value, I believe you should not fix the cracks at all since they don't penetrate all the way through. It was thought that cracks in the shank bore of Tonalins was always due to being forced onto a cork that was too big, but now we know that they simply crack with age because the material is unstable. This is why they added the reinforcement to some of them which went ahead and cracked anyway. Depending on which versions you have, they could be valuable. I had a 'Streamlined' #3 when I was a kid that an older well-known player in my area graciously sold me when I asked him about how to get the rock and roll sound. :( It was cracked of course and I never played it. My mentor gave me a Berg Larsen 90/2 which was my first 'real' mouthpiece.
 

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All evidence is that the Ebolin and Tonalin (the non streamlined versions) are basically the exact same thing but the black material may be less prone to cracking (or maybe it's just that you can't see it.

So, if I wanted to play on a mouthpiece, I'd probably go for the Ebolin which will sound the same but not look as cool. (I actually have several and they're darn good mouthpieces once you ream the bore to make it cylindrical).

I can't comment how much of the cracking problem is due to the very poor choice not to ream the bores, thus guaranteeing high hoop stress that is dependent on how far you put it on the cork, and how much of it is due to gradual embrittlement of the material. I am positive that if the bores were cylindrical it would have helped with the cracking problem, but I have no way of gauging whether that would have eliminated 95% of cracks or 1% of cracks.

I have a white alto mouthpiece (not a Brilhart, market value is somewhere between $5.00 and $20.00) with a crack; I wrapped the shank with a bunch of turns of white thread (just like the eyelets on a fishing rod) and when I had tied it off, painted the whole thing with clear nail polish. This is inconspicuous and if for some reason I ever want to remove it I think it'll be pretty easy to do so. Again, as noted, this MP has no collector value. I can't comment on the effects on collector value of Brilhart Tonalins cracked and not repaired vs. cracked and repaired vs. never cracked. I only buy mouthpieces to play, so I don't pay attention to collector value (which is why none of my mouthpieces is worth much of anything, though several of them play really well).
 

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I have a Mineola-era Tonalin that came w/ an old Martin Handcraft tenor. Shank is banded and the crack runs into the
underside of the table a bit. Someone also appears t have dremeled into the chamber area to make it larger.

Plays ok with certain reeds but is obviously darker then my Great Neck Ebolin .
The Ebolin came w/ an old True Tone tenor I bought so they were both freebies, anyway .
 

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I think trying to glue them is futile. It might work if you open the shank bore some to reduce the stress.

I use a SS ring you can purchase on eBay from China. Size 12.5 fits alto. File down the end of the mouthpiece shank a little until it fits on tight. Use clear epoxy to keep it there. Looks nice and you can still read the engraving on the shank.
 
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