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Discussion Starter #1
Ok guys. I am in a dilema. I have four tenor mouthpieces and want to keep one or two. I don't know which to keep and which to sell.

Otto Link 4**** 5 facing being refaced to 7 - Pros: I love the warmth and tone. cons: not loud enough to be used for all types of my playing.

Guardala King Silver Plated - Pros: Edgy sound with fat low end, screaming altissimo. Cons: Thin tone in higher register. More apporopriate for only funk/rock gigs.

Selmer Soloist Style D - Pros: Love the tone I get out of this, very JoeHen like. Cons: Very resistant, very quiet.

Leabyle LR rubber - Pros: Versatile, can be used for all types of music. Cons: Not very unique tone. Doesn't enable me to sound very characteristic.
 

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Hi SaxColossusJR,

I'm thinking that when you are ready, you will know which mouthpieces to keep.

My D.G. L.T. King is a keeper. It is my favorite at rehearsals and gigs with Double Scale, the 10 piece Blues, Rock Blues, and R&B Band I play in. It cuts through when needed, it blends well with our horn section, and it has plenty of volume. I enjoy it's full sound across the entire range of my horn.

For practice time, or playing along with a backing track, I enjoy my MB II. It offers me a fat sound with nice complexity and some edge.

I also own a Studio, which can put out some serious volume. I like to play it on occasion for extra variety, and I also like having it in my collection as a backup.

You might consider contacting Phil Barone. As I understand it, Phil can enhance Links to to play louder and with less effort. That might turn your Link into your favorite piece.
 

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A lot of people may say to keep just one piece for everything, that approach just never quite works for me--so I have (on tenor at least) figured out that I have one piece that appeals to me for jazz and general playing and also a mouthpiece that is flexible enough to switch to it for louder gigs. It happens to also not be an offensive sound to me either, but can get loud and edgy if need be. For me thats a better alternative, and I feel I can be more expressive on each piece gieven the setting/style of stuff I am playing...
 

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Discussion Starter #6
Dr G - I'd love to know some mouthpieces that are crosses between links and guardalas?
 

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SaxColossusJR said:
Dr G - I'd love to know some mouthpieces that are crosses between links and guardalas?

Custom baffled Links, depending on the baffle.
 

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Dr G said:
Alternatively, get a pair of Lambersons - a J and a DD. Mk VIs love Lambersons.
Can you talk more about the Lamberson/VI affair, George? I love my upgraded VI (didn't care for my 139xxx) and it performs very consistantly with my Tenney mpc. But I'm always on the lookout for gear that will enable me to be the best I can be. Not looking for miracles or to sound like so-and-so. Just me, as good as possible.
 

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Bill - When I first met Fred, I was visiting to buy a tenor. I bought a most fine BA that I played for many years. Fred offered me my choice of it or his main horn, a well worn Mk VI. Maybe I should have gone for that one but the BA was a great match for me for 15+ years. From the DD to the J (and more recently the Fmaj7), I am convinced that Fred has evolved his mouthpiece designs on Selmers. I haven't asked him explicitly in the last several years what he playing but whenever I play his pieces on my Selmers, they just all work really well.

Sax Col' - I didn't say a "cross between a Link and a Guardala", I suggested that you find something between the two - a middle ground. There are a great many versatile that will fill the bill - my experience base is mostly Barones and Lambersons. I favor non-metal pieces these days - mostly for comfort. That is not to say that you cannot get a tightly focused sound with lots of edge just because you forgo metal. Listen to what Tim Price can get out of his setup (soundclips at Tim's website) - he usually fields a Selmer Serie III with a Lamberson DD. I also find Fred's pieces to give a little more character to the sound so it's a mouthpiece that gives me more to work with when it comes to shaping my own sound.
 

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The Fmaj7 is not only a good match for a Mark VI. It sounds great on my Ref 54 as well.
 

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i think, keep the soloist for sure, and choose between the DG and the link, or as G said, find an intermediary, or get a baffle added to the link to give it the volume necessary.
 

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SearjeantSax said:
...get a baffle added to the link to give it the volume necessary.
Note that his Link is a 4****, not an STM. I'd either use the 4**** as it is or sell it.
 

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Dr G said:
Note that his Link is a 4****, not an STM. I'd either use the 4**** as it is or sell it.

Good point.

I wasn't thinking about him getting his Link baffled, I meant buying a new one and getting it baffled, but I guess it didn't come out like that.
 

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Martinman said:
I wasn't thinking about him getting his Link baffled, I meant buying a new one and getting it baffled, but I guess it didn't come out like that.
If you are going to have a baffle added, there are many options. Since I don't use a huge baffle, I would get a mouthpiece in a slightly smaller tip opening and have it refaced to a larger tip opening. In the process of cutting back the rails to achieve a larger tip, more baffle comes up - larger tip, more baffle. It creates a fair balance. Thin the rails and tip if you need to enhance response but I wouldn't go as thin as a Guardala as the 'piece may become too temperamental (reed picky and chirpy).

Yes, if you need to go that route, buy a current Otto Link NY and have it tweaked by one of the resident SotW refacers.
 

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Discussion Starter #15
you can also use some of the tip material that was taken off to add slightly more baffle
 

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SaxColossusJR said:
you can also use some of the tip material that was taken off to add slightly more baffle
Huh? Tip material that is taken off is filings, dust... That is not going to make a baffle. You'll get far more baffle just by removing material from the tip. It's a geometry thing, don't ya know. ;)

Or maybe I'm the one that is baffled?
 

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Discussion Starter #17
oh, I guess I misunderstood Mojobari when he told me what he would do to my piece.
 

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You say your piece is being opened to a 7. I'd say wait until you get that back to make any big decisions. Also try la voz reeds on the link when you get it back, maybe medium or medium hard. I was struggling for ages with my Tenney link opened to .105 by Brian Powell until I switched back to the reeds I hadn't used in years: La Voz medium. BLAMMO. I can use this mouthpiece for most any gig.
 
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