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Forum Contributor 2015, seeker of the knowing of t
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Discussion Starter #1
I have two Otto links, both have been refaced by Mark Spencer. Both are 7*. On is an STM and the other a Tone Edge.

What I like about the TE:

Gusty full lows
A really nice tone, darker, which is good as I seem bright by default I think
Really responsive

What I don't like about the TE:

The top end is a bit gutless
It's a bit reed fussy
Not as much volume

What I like about the STM:

Great volume when needed
A really nice top end

What I dont like about the STM:

Can be shrill/harsh to my mind
Bottom end is not as responsive as I'd like

I wish I could combine these two pieces, I don't really want to go on another search... or should I?
 

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Doc Tenney's Jazzmaster might solve your dilemma. It did for me.
 

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Well, if we are all going to start throwing out suggestions: Get another Tone Edge, one that has as smaller tip than yours, and get it refaced and opened up to the tip that you want. Opening it up will give it a bit more baffle and your volume and upper projection issues will be gone. And it will be one of your cheapest options...
 

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Forum Contributor 2015, seeker of the knowing of t
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Discussion Starter #5
I have another tone edge in a 6 facing, are you suggesting I have that taken to 8?
 

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I have another tone edge in a 6 facing, are you suggesting I have that taken to 8?
Sorry, I just re-read your post. What did Mark Spencer do on the refacing jobs? Were they 7*s before? Or did he open them up?

My suggestion would be to have your 6 opened up to a 7*, if that is the tip you like.
 

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Have you asked Mark Spencer if he can help? A good refacer should be able to analyze each one and take a decent shot at getting you something in the middle. Either a 3rd mouthpiece or by adjusting one of the two you have.
 

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I think mouthpiece refacers have a difficult job trying to create a mouthpiece that matches what a player has in their "mind" as the sound they are looking for. I guess if a player was able to work in person with a refacer it might be possible. My hat is off to these craftsmen and their skill.
 

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Forum Contributor 2015, seeker of the knowing of t
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Discussion Starter #10
I'm not suggesting that mark has done a bad job, quite the opposite in fact. The issue is that as time has gone on my sound concept has changed...
 

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Doc Tenney's Jazzmaster might solve your dilemma. It did for me.
Same here, Tenney Jazzmaster 7*.
I don't know what Doc does that makes it blow so well for me, the notes are round and full.
pushes great, taking all the air I can give.

It does appear to have a longer facing.
 

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I'm not suggesting that mark has done a bad job, quite the opposite in fact. The issue is that as time has gone on my sound concept has changed...
It sounds like you are going through what I and probably some others are going through. When I returned to the sax, I had a sound n my head that I was shooting for but it seems that is "morphing" into something different. I am closer to it, but not quite there. Since this is a hobby for me, it is just part of having fun playing the sax. I will say that the Link STM I received from Phil has better low end response and sound that a stock STM while still maintaining the upper end quality. The opening is larger than I am used to so adjusting is a challenge.
 

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Forum Contributor 2016, Distinguished SOTW Member
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I have two Otto links, both have been refaced by Mark Spencer. Both are 7*. On is an STM and the other a Tone Edge.

What I like about the TE:

Gusty full lows
A really nice tone, darker, which is good as I seem bright by default I think
Really responsive

What I don't like about the TE:

The top end is a bit gutless
It's a bit reed fussy
Not as much volume

What I like about the STM:

Great volume when needed
A really nice top end

What I dont like about the STM:

Can be shrill/harsh to my mind
Bottom end is not as responsive as I'd like

I wish I could combine these two pieces, I don't really want to go on another search... or should I?
How long have you been playing these mouthpieces for. I have found that I will alter my playing concept over time to find the sound I want on a great mouthpiece. Many times a mouthpiece that is too bright will mellow out to my preference over time. A mouthpiece that is darker than I like will get brighter to what I like. It's all with how you blow and the oral cavity. I have a NY link like that. When I play it it is too dark but if I play it for a week I can go out and do a R & B gig with it no problem. It's like my body fights to get the sound I want. My JVW link is too bright when I play it but if I play it for a few weeks I can do a jazz gig and it sounds great. Something happens and changes for me to get the sound I am imagining. Many times it's not even something I can pinpoint or understand. My Lamberson J7 is always too bright when I pick it up. A few weeks later I'm think it's dark. I just mention this in case you haven't spent a lot of time on each mouthpiece. If you have........never mind.
 

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The other thing is whether you are playing out. The STM might sound shrill or harsh in a dead practice room but on a gig or in a hall it might sound killer. The video on my site of "Let's Get it On" on the bottom of this page http://www.neffmusic.com/steve-neff-audio-and-video-clips/ was done with a Lamberson 7DD. That mouthpiece always was too bright and harsh sounding at home or in a dead room to me. I was surprised to here it in this video and on gigs through a system because it didn't seem bright or harsh at all to me.
 

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Hey Saxpunter,

FWIW, I just got a Link STM-7 back from Phil Engleman this week. Got a phenomenal increase in performance from a very dead-sounding, stuffy old Link...particularly in the lower notes on my Martin. To my ears, in the practice room, it sounds brighter, although I think its the increased volume and resonance I'm hearing. Everyone else says its actually a darker sound than before! Like Nefertiti said, it might be the same for you.

Have you ever tried the Vandoren HR V16 mpc? I think they combine qualities of the STM and the TE. Nice edgy fat sound with good projection, not much resistance, good all-around mouthpiece.
 

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Forum Contributor 2015, seeker of the knowing of t
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Discussion Starter #16
Hi All

Here's pretty much where I'm at on the STM

http://www.blackfedora.info/autumnleavesfinal.mp3

I've played that piece for over 2 years. The Tone Edge I've had for about 8 months after I snagged a really cheap one with a 6 opening that I really liked the sound of.

I actually think the Tone Edge Mark did is closer to a 7 opening from memory, he also added a small rollover baffle to it as it was a bit gutless in the middle. I'm playing RJS in 2H on both, maybe I should try 3S on the tone edge? I might clip a few reeds later on and experiment a bit.

The only other pieces I've tried/owned were a Guardala LT, a Dukoff D7 (both in my "I can't compete with guitars" stage), a ZAGAR Hotschool 6, Rico B5. I've given up the quest for pure volume for tone instead!

Cheers
 

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Same here, Tenney Jazzmaster 7*.
I don't know what Doc does that makes it blow so well for me, the notes are round and full.
pushes great, taking all the air I can give.

It does appear to have a longer facing.
IMO, a Tenney anything is what you need. I bought a used STM 9 that the good Doc worked on. It's the most flexible piece I've ever played. I can get it play almost any 'style', from fusion to Fletcher, with a change in airstream.
 

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Forum Contributor 2015, seeker of the knowing of t
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Discussion Starter #19
Shameless Plug Follows:

The Phil-Tone (Model name unknown) ..releasing 10 weeks and counting.
Haha - How much is the new Phil-Tone "Shameless" ?
 
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