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The title of this thread is similar to many a thread already raised over the years on this forum alone let alone on every social media platform out there.
But hey,
I’ve been on a journey to find the magic piece like most and my journey has been so extended it actually, sub consciously became a major factor in the reason for picking up the sax as often as I did.
When I started out, All the seasoned players I came across just had advised that you couldn’t go wrong with an Otto Link. STM or Tone edge was more or less it in general but they would chime in that it didn’t have to be exclusively a link, maybe a Dukoff or Berg and at that time maybe this covered most of the spectrum of what considered as proffesional level mouthpieces that were for sale.
They didn’t have internet sensations and online advertising, sponserships and player endorsements in their face so much nor did they have the wealth of choice thats available today.
But the mouthpiece journey can be as fun or more fun than it is frustrating. So I bought a ticket.
I hated links, all of them that I tried for years and years. Younger players full of energy were playing something (take your pick from many emerging brands like Guardala) with higher baffles. Bright sounds kicked things along a level.
Each time I saw something new I wanted to try it. Some left me cold and some excited me and I ended up with many pieces as a result. Some I sold on, some I kept but each one you buy is because it has something different that the one you were playing just before I guess.
After many years of doing this and enjoying every moment of it, purchases were clearly influenced by what I listened to most and for sure what those players used, what music I was gigging and recording. There is no harm in that what so ever from a fun perspective and if you don’t go too mad with extreme baffles, chambers and tip openings its probably as good as giving you a healthy understanding as it is at distracting you from just playing to enjoy and improve. Some players just don’t even go there and tend to stick with one piece.
Personally I have tried old, new, refaced (Klum, Powell, Pillenger) and no regrets from me having owned hundreds over time with a current armoury of around 30 pieces.
Now heres the unforeseen truth of the matter, at least for Tenor sax, most of those pieces are now Otto Links or they pay tribute an Otto Link in so many ways.
Furthermore some cost £90 and others £800 and with the potential quality issues set aside, I have to say after such a journey that while it would never have been the case initially, I’m now as happy with a Rubber link in a 6* - 7* range as I have been with anything else I’ve ever had.
Assuming the facing is all good, I find them comfortable, middle of the road allowing me to be versatile and go darker and brighter, louder and quieter and all with a vibe that is classic saxophone from all era’s. I feel like I had to do the multiple stop off journey to get off at this destination.
You can screw it all up or make it tons better with a reed and the appreciation of the sound engineer.
But hey,
I’ve been on a journey to find the magic piece like most and my journey has been so extended it actually, sub consciously became a major factor in the reason for picking up the sax as often as I did.
When I started out, All the seasoned players I came across just had advised that you couldn’t go wrong with an Otto Link. STM or Tone edge was more or less it in general but they would chime in that it didn’t have to be exclusively a link, maybe a Dukoff or Berg and at that time maybe this covered most of the spectrum of what considered as proffesional level mouthpieces that were for sale.
They didn’t have internet sensations and online advertising, sponserships and player endorsements in their face so much nor did they have the wealth of choice thats available today.
But the mouthpiece journey can be as fun or more fun than it is frustrating. So I bought a ticket.
I hated links, all of them that I tried for years and years. Younger players full of energy were playing something (take your pick from many emerging brands like Guardala) with higher baffles. Bright sounds kicked things along a level.
Each time I saw something new I wanted to try it. Some left me cold and some excited me and I ended up with many pieces as a result. Some I sold on, some I kept but each one you buy is because it has something different that the one you were playing just before I guess.
After many years of doing this and enjoying every moment of it, purchases were clearly influenced by what I listened to most and for sure what those players used, what music I was gigging and recording. There is no harm in that what so ever from a fun perspective and if you don’t go too mad with extreme baffles, chambers and tip openings its probably as good as giving you a healthy understanding as it is at distracting you from just playing to enjoy and improve. Some players just don’t even go there and tend to stick with one piece.
Personally I have tried old, new, refaced (Klum, Powell, Pillenger) and no regrets from me having owned hundreds over time with a current armoury of around 30 pieces.
Now heres the unforeseen truth of the matter, at least for Tenor sax, most of those pieces are now Otto Links or they pay tribute an Otto Link in so many ways.
Furthermore some cost £90 and others £800 and with the potential quality issues set aside, I have to say after such a journey that while it would never have been the case initially, I’m now as happy with a Rubber link in a 6* - 7* range as I have been with anything else I’ve ever had.
Assuming the facing is all good, I find them comfortable, middle of the road allowing me to be versatile and go darker and brighter, louder and quieter and all with a vibe that is classic saxophone from all era’s. I feel like I had to do the multiple stop off journey to get off at this destination.
You can screw it all up or make it tons better with a reed and the appreciation of the sound engineer.
