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Message: <blockquote data-quote="Tonehole" data-source="post: 628807" data-attributes="member: 9647">Trying to get info on the change - Coltrane may have been on a 5* or a 6 in 1967 but he was working on his pieces constantly no one knows where his last mouthpiece is but his favourite was a NY Tone Master that apparently was destroyed - damaged - lost? Nothing verified that I can find they think he may have even been playing an early slant link at times in the 60s. He had a case of mouthpieces.Dukoff started making his Super power chamber in the mid 60s.Theo's museum states Link made very rare 7 & 8 Tone Masters in the 1940's. I had a pristine 8 and it played very poorly so I sold it as the 7* Tone Master Dr Tenney opened played so much better. Upon reading Theo's blurb I now understand why.- "They did, on rare occasions, make larger tip openings, such as a 7 or 8. However, these mouthpieces still retained the very long and deep facing, which curtailed their responsiveness."From my experience the 1st generation Slants are not great players as well, the ones with the knurled shank.The Florida STM I just bought is free blowing and that is likely aearly 60"s.My Double Ring was originally a 5* and not an impresive piece compared to my Tenney Tone Master. Once Sebastian Knox opened it by bending it which raised the floor to give it a nice baffle. Same method Dr used on my Tone Master. The Double Ring is a piece I will be buried with just a wonderful piece.From this info maybe it was the learning curve, pun intended on facing specifications that slowed the movement to more open pieces? Just postulating. Plus adjusting chamber sizes and the demands of the new styles of jazz and the advance with amplification?Reason Babbit is joining with Theo to make the Wabbits, the Babbit staff is not capable of producing a reliable product. The industry has advanced.</blockquote>

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