This is another Modern Otto Link Super Tone Master I received to try out. This one was originally a 7 tip (.100) but was refaced and oped up to a .110 by Eric Falcon. From what I understand Eric Falcon used to do mouthpiece work for Jody Espina of Jody Jazz. He now is refacing mouthpieces and also has his own line of HR mouthpieces that he makes at Warburton. ( I have an alto,soprano and 2 tenors sitting on my desk right now)
This otto link mouthpiece plays beautifully. This mouthpiece has a great jazz sound to it. Kind of that standard kind of link tone. Nice fat round sound that leans towards the darker side of the spectrum to me. It also has a bit of an airy texture to the tone that is really nice. Even though I am told this is a .110 it feels more like a .105 to me. Eric does great work and I’m looking forward to trying his Warburton mouthpieces shortly.
WOW! I listened to the Eric Falcon custom piece and this one, and Eric really seems to do something with having a THICK and FAT sound! Feels like you’re pushing a wall of sound towards me!
I’m REALLY wondering how his custom pieces are on Alto and Soprano. The only Soprano piece I could ever stand were the Slant Sig pieces because they had the same thick, fat sound, but burned a hole in the wallet. I’m a hardcore alto player so that settles that much….but just WOW!
You sound great in this piece Steve!
Have you tried one of the new Warburton STM NY links that Eric has worked on? Is this one or just a STM that he worked on?
No, I haven’t tried one of those. This is just a normal link that he refaced.
Steve, Thanks for the reviews, they were very helpful in helping me decide on a new mouthpiece. I called Eric several months ago and discussed some of the problems I was having with my factory link. He was very helpful and took the time to talk to me about it. After saving some cash, I finally put in an order and received my 7* refaced link last weekend. Man!!!!!!! I didn’t realize how much of an improvement it would make in my sound, and playing. I know that some of the qualities that people look for in a mouthpiece are subjective, but all I can say is that it is really great to get a mouthpiece that lets me sound the way I want to sound, and was well worth the money to me!!
That’s great to hear George. I love it when when a player can hook up with a mouthpiece that works for them and allows them to play to their full potential. You’ve put a smile on my face today….
Hi Steve,
Thanks for putting these reviews on your site. I really enjoy listen to the samples. You sound great on this link!
Hello,
I am playing MARK VI Selmer Tenor sax. I have always been looking for Stan Getz sound. I am currently using an 5* Otto Link mouth piece, having an increased facing length , which is approaching my target. However they are still some differences. I have often read that most of the mouthpieces played by Stan Getz had been refaced, by Ben Harrod as for an example. In your opinion what was the main modification ? Facing length or chamber volume ? Could perform such adjustments on some 5 * mouth piece ?
Thanks for your reply. Best regards. Alain Zachary
Hi Alain, I have no idea who worked on Stan Getz’s mouthpiece and what they did to them. Sorry. I did review the RSBerkeley Stan Getz model that was excellent. They even copied Stan’s teeth marks into the beak of the mouthpiece…………Good Luck in the search. Maybe someone on here with more personal knowledge of Stan’s mouthpiece and the work done will see this and respond. i know his daughter has posted on here a few times in the past. Steve
I have an old otto link # 6 that at times is hard to play and it takes a lot of air in very low end i use a # 3 rico reed . would refacing make it easier to play I play a yamaha yts62
Ronald, Yes, Refacing should make it easier to play in the low end if there is something wrong with the facing. On the other hand, if there are leaks in the saxophone or it is an issue with your playing then a refacing wouldn’t help. Steve
You sound great on this Link.
I bought a STM 7* NY 21 years ago and it wasn’t working for me. It didn’t seem consistent. So, I took it back to the shop (Scott Mandeville in Sacramento). He worked the rails and put an upward curve on the upper opening. It seemed to have the sound I wanted. I just recently had him order me a new identical piece and rework it the same, so I have an identical backup piece for my main backup tenor.