Floridated Link Reviews

[mfry]

Hi Guys. The piece has now made it to the first on the list so let's put the reviews in here. If anybody reading this is curious which piece we're talking about, there's a thread about it here (http://forum.saxontheweb.net/showthread.php?t=113659) and a full article about it on the website in my sig.

[CraigH]

Hi Everyone. I've had a couple of hours to play around with the Floridated Link so far. I'll use it on a big band gig tonight and a coffee shop gig tomorrow night and then I'll post a full review.

I had a sound clip attached here and have since removed it because of the limited space we are allowed to store attachments.

[arkansasRed]

Sounded pretty good.

Red

[magical pig]

You sound great man, especially if tenor is the instrument you're the least proficient with!

I think, though it is probably you more than the mpc, that it didn't sound like the typically harder to focus off-the-shelf modern Link.

What's more important : how does it play? If you have any experience with other Link-like mouthpieces, how would the mfry Floridated Link compare in terms of feel? Is the bigger chamber harder to deal with or does the epoxy baffle compensate? What about "air efficiency" and evenness of range.
There's a lot a good player can do to "hide" a piece flaws...

Victor.

[LampLight]

Nice job Craig and thanks very much. If you feel comfortable making comparisons, then I also would be interested in your reactions.

[MyMartinTenor]

Agree with the others, nice sound Craig. Unlike some modifications to Links, the sound in that clip still definitely has a link-vibe to it. (I've played a few baffled up links that lose the link core.) Also interested in your impressions re responsiveness, etc.

[CraigH]

Here are my impressions of the Floridated STM Link:
I tested this piece on a Yanagisawa T-901, Selmer Mark VII and Selmer Serie III. I used a Selmer 404 Lig and several brands of reeds including: Rico Orange Box, Rico Royal, Rico Select Jazz, Vandoren Trad, Vandoren Java, LaVoz, Hemke and Fibracell, all in the 2 ½ to 3 strength range.
All reeds and horns used in the test performed well with this piece. This is a VERY reed friendly/user friendly mouthpiece.
Appearance – Everything looks great. The tip and rails are clean & narrow but well defined. As a result, the window is more open than a stock STM. The epoxy is smooth and looks exactly like the picture on Morgan’s website. There is a nice rollover baffle and the floor is raised a bit. Sidewalls are scooped out under the facing and as a result, the chamber is enlarged. Again, everything is clean and well finished. If you haven’t checked out the process Morgan uses to Floridate a Link, check it out here:
http://morganfrymouthpieces.com/content/floridating-link
Sound – I have to admit that because of the raised floor, I was worried that this Link would be overly bright, but it was not overly bright at all. This is not a high baffle Link or a “Link on steroids” by any stretch. It has that great Link sound – fat, a little spread and plenty of power. I am no mouthpiece expert and I’m certainly not an expert when it comes to vintage (Florida) Links, but this Link has a great, classic, meaty sound. In addition, with a Fibracell reed, this piece can easily do R&B/Rock. This is a very flexible piece.
I have 2 tenor jazz pieces, a Morgan Excalibur and a Phil-Tone HR Link. The Floridated Link falls between the two in terms of brightness and projection. The Excalibur is the brightest and clearest with the HR Link being the darkest, buzziest, spread sound. The Floridated Link is right between the two.
Response – This is the area that impressed me the most. I found the response of this mouthpiece to be excellent. I’ve played several stock Links at various times and I always felt like I was fighting the mouthpiece. In terms of airstream, this is a very efficient mouthpiece. I was able to get quite a few reed brands to work well with this piece and the response was even from the low register to the upper register. Altissimo was very good as well. This is definitely a player’s mouthpiece. I was able to slap reeds on and play without worrying about whether or not the piece would respond.
Gigs - I had a chance to use the piece for a big band gig and a mid-week church/coffee shop (pop) gig. I used cane reeds for the big band gig and a Fibracell for the pop stuff. The piece allowed me to do what I needed to do within the framework of the styles of music and the makeup of the ensembles.
Final Thoughts - The Floridated Link is NOT the Holy Grail of mouthpieces, but it is a no-nonsense piece that plays/sounds/responds the way a good Link should. I highly recommend this mouthpiece if you are looking for that classic Link sound with beautiful response. This piece was a joy to play!
Now the piece is off to Steve Neff. Hopefully Steve and others will be able to compare this with Florida STMs and the new “Vintage” style Links that recently have been released.

[magical pig]

Thanks for the nice detailed review Craig!

Victor.

[Nefertiti]

I received the floridated link today. I hope to post a review of it tomorrow.

[Nefertiti]

I put up a review and a soundclip this morning of the Morgan Fry Floridated Link on my site at NeffMusic. You can check it out here (http://www.neffmusic.com/index.php?option=com_wordpress&p=282&Itemid=25).

[Rackety Sax]

I received the passaround on Monday and have had a few days to get acquainted with it. I've written elsewhere (http://forum.saxontheweb.net/showthread.php?t=112373) about my general satisfaction with my stock Millenium Link. I've also played some modern Links refaced by various of the refacers out there, but never a Florida Link, so I can't make that comparison.

This mouthpiece has raised a little doubt in my mind about the Millenium. I would describe the sound of the Floridated Link as a little darker than the Millenium, less buzzy, but most notably, "heavier", if that makes any sense. I don't mean louder necessarily, though I think it is a little louder, just stronger and more solid.

I also have to work a little harder on the Floridated Link, as the Millenium is noticeably freer-blowing. I could get used to that though.

Having played several variants of metal Links, I'm struck how much individual personality they have. The Floridated is no different, and as I played it more I could feel myself getting more dialed-in with it.

I agree with CraigH that this is not a flashy or glitzy mouthpiece - "no-nonsense" captures it well. But it is one that I could see taking my sound up a notch with some work.

I want to keep this for another practice session tomorrow and will get it mailed off tomorrow to the next participant so that he should have it by Monday.

Thanks for doing the passaround, Morgan, and for adding a little creative tension to my daily practice routine.

[Rackety Sax]

I cycled through a couple of slightly softer reeds yesterday and today and liked the mouthpiece even better with those. This is a .106"; my Millenium is .103", so that may account for some of the extra resistance I felt with the Floridated. With the softer reeds the mouthpiece was a little livelier, a little louder, and and just as full and strong - wonderful!

The passaround is on its way to the next participant - you know who you are.

[rhysonsax]

I am the first in line with Morgan's Floridated Link that is doing the UK and European passaround. This is an 8* that is marked up as MF 109. Very nice smooth work in the baffle and chamber area.

It arrived with me on Thursday and I have been doing some playing over the weekend. Playing it on my MkVI with Java 2.5 and 3.0 reeds, using a Vandoren V16 lig that works really well on STMs. I have also been comparing it with several other metal tenor pieces I play, including a refaced STM, a LAW LCD, my favourite Lawton and an AMMA piece that I have just bought from another SOTW member.

Intial impressions were very favourable, and I found it reed-friendly and with a full bodied sound top to bottom. I am not enough of a Link specialist to compare it wth other eras of TM and STM, but it certainly had more grain and weight to the sound than my 1980s STM. That may be due to the larger tip opening.

I would be very happy to play this, particularly on mainstream jazz - it seemed to want to do the Scott Hamilton retro-style thing. For me, and in only a brief trial, it didn't have the modern edge to the sound that would let it compete with amplified guitars and keyboards: I think the sound would get a bit swallowed up. But in an acoustic situation it would sound rich and flexible.

One more day and then I will clean it and send it on to the next point on its European journey - Holland next I believe.

Rhys

PS One think I noticed is that it tuned about 1/4" further out on the cork that my other STM (and all the other pieces I played at the same time). Could this be because of the extra volume of material in the chamber having to be compensated for by moving out ? Anyway, it played nicely in tune.

[magical pig]

My turn...

I've been playing exclusively the passaround mouthpiece for 3 days now. I've always found it is hard to really get what a mouthpiece is about in such a short period of time, but, hey, that's the rules of a passaround. I've practiced and rehearsed with it during this time.

I've recorded a quick comparison between Morgan Fry's Floridated Link and Phil Engleman's Phil-Tone Custom on my Zoom H2. Rico Jazz Select 3M Filed. Keep in mind that if you're a seasoned player you should sound way better than I do. ;)

Here's the Floridated Link (http://www.soundclick.com/util/getplayer.m3u?id=7778200&q=hi) and here is the Phil-Tone (http://www.soundclick.com/util/getplayer.m3u?id=7778211&q=hi).

The Floridated Link is everything you would expect from a mouthpiece refacer / maker. The quality of work is irreproachable. There's obviously been some attention paid to details. As Craig has already said, the tip and rails are very symmetrical and well defined. There is a lot of work that's been done to the interior of the mouthpiece. The inner side rails are deeply carved out as well as is the chamber. The inner shank has also been machined for a better fit on the neck I think - Morgan could maybe tell us more about this.

As expected, this STM delivers a somewhat dark-er sound due to the low long floor. I won't elaborate on sound as you can listen to the samples.

Now, how does it play?

The Link plays slightly more in tune with my Martin although I had to push it further on the neck - I think the larger chamber of the mouthpiece is the reason.

Although it has more resistance (because of it, maybe?) I found it was easier to push Morgan's mouthpiece towards a brighter sound. The Phil-Tone is in no way locked-in to a darker side, it's just that the Link almost asks for it.

Both mouthpieces are VERY easy to play compared to stock pieces. They are both very projecting pieces, although I perceived the Link as slightly louder. This is the 6th STM I try or have owned and this is BY FAR the one that has the best dark but loud ratio IYKWIM.

One thing I'm not so hot about is how narrow the piece is where the reed sits. It's not narrow enough to create a reed overhang problem but almost. This is typical of modern STM and I'm not sure there's anything that can be done about it or what the consequences are.

Overally, I think this Floridated STM would be perfect for someone who wants a darker STM sound but still very projecting. I haven't experimented with a lot of reeds but I'm sure a Java could be a great match to brighten up this particular mouthpiece. It is important to remind people that this type of mouthpiece requires a fair amount of air power in order to speak so it may not be for a complete beginner.

Hey Morgan, do you offer this mouthpiece with various shades of dark and bright? How would you go about making a piece that fits a player's need the best in terms of sound?


I will send the mpc tomorrow to the next person in line!!!

Thanks,
Victor.

[Rackety Sax]

Victor, both mouthpieces sound really good, but I particularly the Dexter-ish vibe on the Floridated Link - beautiful!

[magical pig]

Dexter Gordon? Damn, really?!?!! This is the first time I've been compared to the man...

Thanks a lot Glenn! :D

Victor.

[mfry]

Victor, both mouthpieces sound really good, but I particularly the Dexter-ish vibe on the Floridated Link - beautiful!

+1. Great sound, man. Just to chime in and answer a couple of thigs you raised, Victor --

I don't do any work to the shank, just take them as they come.

I'm not crazy about the narrowness of the tip area, either. FWIW the NY STMs are wider. I prefer not to have any reed overhang if I can help it.

do you offer this mouthpiece with various shades of dark and bright? How would you go about making a piece that fits a player's need the best in terms of sound?

Yes I do. This one I made to my personal preference, but the voice of the piece can be easily adjusted to suit. How I go about it is we talk about it -- your sound concept, history, goals, situations you're playing in, reeds, etc. and we figure out how to get you where you're going with your sound.

[LampLight]

Victor, both mouthpieces sound really good, but I particularly the Dexter-ish vibe on the Floridated Link - beautiful!

This is freaky. I had the same reaction.

Well done Victor.

[Rackety Sax]

Dexter Gordon? Damn, really?!?!! This is the first time I've been compared to the man...

Thanks a lot Glenn! :D

Victor.

No, I meant Dexter Jones, the guy who lives down the street from me ;).

Seriously, that's got definite strong shades of the "real McCoy" Dexter!

[wisedude]

Dexter Gordon? Damn, really?!?!! This is the first time I've been compared to the man...

Thanks a lot Glenn! :D

Victor.

Hey, sounds great man. Was that fast lick you did on the second recording something you memorized, or something you did on the spot? Just wondering

[milomo]

My turn...

I've been playing exclusively the passaround mouthpiece for 3 days now. I've always found it is hard to really get what a mouthpiece is about in such a short period of time, but, hey, that's the rules of a passaround. I've practiced and rehearsed with it during this time.

I've recorded a quick comparison between Morgan Fry's Floridated Link and Phil Engleman's Phil-Tone Custom on my Zoom H2. Rico Jazz Select 3M Filed. Keep in mind that if you're a seasoned player you should sound way better than I do. ;)

Here's the Floridated Link (http://www.soundclick.com/util/getplayer.m3u?id=7778200&q=hi) and here is the Phil-Tone (http://www.soundclick.com/util/getplayer.m3u?id=7778211&q=hi).

The Floridated Link is everything you would expect from a mouthpiece refacer / maker. The quality of work is irreproachable. There's obviously been some attention paid to details. As Craig has already said, the tip and rails are very symmetrical and well defined. There is a lot of work that's been done to the interior of the mouthpiece. The inner side rails are deeply carved out as well as is the chamber. The inner shank has also been machined for a better fit on the neck I think - Morgan could maybe tell us more about this.

As expected, this STM delivers a somewhat dark-er sound due to the low long floor. I won't elaborate on sound as you can listen to the samples.

Now, how does it play?

The Link plays slightly more in tune with my Martin although I had to push it further on the neck - I think the larger chamber of the mouthpiece is the reason.

Although it has more resistance (because of it, maybe?) I found it was easier to push Morgan's mouthpiece towards a brighter sound. The Phil-Tone is in no way locked-in to a darker side, it's just that the Link almost asks for it.

Both mouthpieces are VERY easy to play compared to stock pieces. They are both very projecting pieces, although I perceived the Link as slightly louder. This is the 6th STM I try or have owned and this is BY FAR the one that has the best dark but loud ratio IYKWIM.

One thing I'm not so hot about is how narrow the piece is where the reed sits. It's not narrow enough to create a reed overhang problem but almost. This is typical of modern STM and I'm not sure there's anything that can be done about it or what the consequences are.

Overally, I think this Floridated STM would be perfect for someone who wants a darker STM sound but still very projecting. I haven't experimented with a lot of reeds but I'm sure a Java could be a great match to brighten up this particular mouthpiece. It is important to remind people that this type of mouthpiece requires a fair amount of air power in order to speak so it may not be for a complete beginner.

Hey Morgan, do you offer this mouthpiece with various shades of dark and bright? How would you go about making a piece that fits a player's need the best in terms of sound?


I will send the mpc tomorrow to the next person in line!!!

Thanks,
Victor.

You have a very good sound on both pieces, but (with all due respect to Phil) i have to go with Morgan's Link. Good playing and excellent tune choice. Were you going for James Clay-ish thing on those cuts?

[magical pig]

Thanks guys! You've made my day! It's breaking some of the psychological chains that are attached to the self-appreciation of my sound (I'm sure they will come back very fast :twisted:)

Morgan, it would definitely be better if it was a bit wider. I know STMs from the 80s are. If NY STMs are also wider, it would IMO probably be a better starting point - but you mentioned this before. This passaround piece did not kill my lip like some others due to a reed overhang problem but a few millimeters more I'm sure would have created the issue.

One quick question : a NY STM being different internally, how does it change what you do to the mouthpiece? I mean, do you have enough "room" to work with, is it possible to yield the same shades of color and above all, what I've found the most impressing about the piece : would it still have this robust, ample but projecting sound? Edit : you have told me in a PM that you prefer NY STMs but now that I've tried an example of what you do and it was a regular bank, I wonder...

To answer the few questions : is the lick "rehearsed" or not? Well yes and no. The beginning part of the lick is a thing I composed as a micro study on certain approach notes on minor II-Vs then it goes to a scalar pattern - you could say it was memorized as well as I work on my scales - and the last part is just a classic 3/b9 phrase (that I've been working on in all keys). I'm pretty sure I've played a phrase similar to this one before. I try to get away from playing the same thing over and over again as much as possible, but I'm still in the learning stage and, especially at a faster tempo, my fingers and mind just go for what I already know. Hopefully, the more vocabulary I have the less "rehearsed" my improvisation will be. Did it sound "memorized"? Or did it sound like some brilliant outburst of creativity? ;)

And I'm heavily influenced by Fat Kid Wednesday's version with Michael Lewis on tenor. I don't have a lot of music by James Clay, except on Don Cherry's "Art Deco"!

Finally, yeah Glenn, Dexter Jones... Definitely one of my biggest influences. :D

Thanks,
Victor.

[Blueskiestenor]

I can't answer for Morgan. But, I guess, an NY starts out with a larger, so it should make it a bit easier to work with and have less work needed, from my view point.

[milomo]

And I'm heavily influenced by Fat Kid Wednesday's version with Michael Lewis on tenor. I don't have a lot of music by James Clay, except on Don Cherry's "Art Deco"!

I figured you had it, that's why i asked. I got that record when it first came out (on cassette, for my Walkman - God, that is so '80's!) and i've listened to Clay on that so many times, it felt like you were going for that. Good work!

and what record does Michael play it on?

[magical pig]

And I'm heavily influenced by Fat Kid Wednesday's version with Michael Lewis on tenor. I don't have a lot of music by James Clay, except on Don Cherry's "Art Deco"!

I figured you had it, that's why i asked. I got that record when it first came out (on cassette, for my Walkman - God, that is so '80's!) and i've listened to Clay on that so many times, it felt like you were going for that. Good work!

and what record does Michael play it on?
You mean one of these? :lol:

http://bp0.blogger.com/_jX9QklC3G4E/Rwy8Vxp7bQI/AAAAAAAAAVc/tgkXSNv7gmA/s320/walkman.jpg

Michael plays Art Deco on FAT KID WEDNESDAYS "The Art Of Cherry". Great album! Here it is on itunes (http://us.lrd.yahoo.com/_ylt=ArFm8NqJz4o.4MXqFlKMQ47xsyUv/SIG=16of5c7s3/**http%3A//click.linksynergy.com/fs-bin/stat%3Fid=vBdEp24GaYE%26offerid=78941%26type=3%26s ubid=0%26tmpid=1826%26RD_PARM1=http%3A//itunes.apple.com/WebObjects/MZStore.woa/wa/viewAlbum%3Fid=217549983%26s=143441%26uo=4).

I also have a live version on a bootleg I'd be happy to send you if you PM me an email address. And finally, you can check an excerpt of a live performance of the tune by the same guys on youtube HERE (http://www.youtube.com/watch?v=yxy4fRUvdu4). Unfortunately, it stops right when they start improvising. :(

Victor.

[mfry]

Re: which STM to use --
The NYs are maybe 10-30 minutes less work, and the beak is a bit wider at the tip, which is good. OTOH, they're too fat for the Selmer lig I like to use, but then so are some standard STMs (this one, for instance).

[MyMartinTenor]

I got it at the beginning of the week, and gave it a few good workouts.

Main thought: Very nice, even if it didn't jump to the "exceptional" level for me. Morgan did a very nice job maintaining a certain darkness in the sound and the good core Link quality. Responsiveness was fine, resistance was at a comfortable level. Nothing in the piece made me say "WOW", but certainly nothing turned me off either.

Comparisons: I side-by-side compared it with my current main piece, a Tone Edge 7* refaced by Brian Powell. I also have spent enough time on a stock, mid-90s STM piece, and a couple of refaced STMs (EZ and Mojo) to give some comparison thoughts. I do not have sufficient experience on any original FL STMs to opine whether its similar or different to those.

Appearance: I'm not much for caring whether the rails looked even or the tip perfect, etc. I've played pieces that looked like wrecks and played great, and very pretty pieces that were doorstops. I didn't notice anything that looked funky, but I didn't spend a lot of time staring either. I will say, though, that the epoxy interior looked cool. My wife, who is no musician but is used to seeing gear, said "oooo, that's pretty." FWIW.

Reed Selection: It had a nice adaptability based on reeds. I spent most of the time with Vando V16s, strengths 2.5 and 3. I'm usually pretty dedicated to the size 3 on my .105 tone edge, but the STM seemed to like a half step softer (I'm not sure how the facing lengths compare). With a reed change to a RJS 3M I got a brighter punch and a bit more response. With a Vando traditional it darked up and the edge went away. I consider that one sign of a good piece – it can play well and differently with different reed options.

Response & Resistance: It responded like a good STM, much like my good stock STM from the 90s. It wasn't the fastest STM I've played (that honor goes to EZ), but it sure didn't hold be back. The little resistance gave a nice back pressure to push against and into to form sounds (something that was lacking on the EZ piece). Volume was adequate, and again typical of STMs – not naturally loud, but can be pushed. As expected, naturally louder and more articulate than my TE.

Player Variation and Sound: This is as far from a pre-voiced mouthpiece as you will ever get. Changing airflow, embouchure, reed, reed placement, etc, all had huge differences. For me, it was generally dark in tone – darker than my stock STM and either of the refaced STMs I've spent time with, although brighter than my Tone Edge (no surprise). I had read that Floridas were brighter than typical STMs, so I was surprised by the darker tonal quality. But, different players may find more high harmonics in it, naturally.

I hope that's a good review, because it deserves it. It';s a very nice piece. I'm interested to hear those with more FL link experience state whether its representative of a FL – if so, it';s a nice value compared to the $$$ for an original FL, particularly once you price in a reface of the FL. Nice job, very interesting modifications, Morgan. On to the next player......

[JimD]

This has gone very quiet. Where've they all gone?

[mfry]

Good question. AFAIK the American one is in the post and ToughTenor still has the Euro.

[toughtenor]

I have played it for a couple of days and tried it with a couple of different reeds just to see how that would turn out.

The opening is a bit larger then I normally play but too my surprise that wasn't really a problem, I got used to it quickly.

My overall opinion/conclusion is that this STM is a lot better then many modern STM's I have played or tested. From time to time students ask me to find them a good Link so I have tested many in the past. I also have played some EB's and Florida links in the past.
The work is very clean, looks good.
The response of this piece is significally better then any stock STM I have seen. That is really the first thing that stands out.
The tone (colour) is slightly brighter to me then the usual STM without losing the depth of an Otto Link. Nice.
It also seems to have a bit more volume but I don't know if that's because of Morgan's work or me adjusting to the bigger tip.

Now the comparison to the florida's
The florida's I have played were a bit brighter still.
Especially the smaller tip openings ( 6, 6*, 7) were the best Links I have played. This one comes close but I would say it is somewhere in between a real good modern STM and a Florida. I have also played some Florida's however which were "not so great" I would prefer one of Morgan's over these obviously.

I wonder if Morgan could get even better results in taking this concept just a little further. ( don't know if that's even possible though) The raised floor is only raised slightly, maybe that could be a little higher still ?

Finally I think this offers a very affordable way to get a real good playing STM.
All the important parameters have been checked ( table, tip rails) , irregularities have been fixed and it does play better then your average STM, especially the response is better/ more quick.
There are probably some Florida's still out there which outplay these but when buying one of the web you never know if you are going to get a really good one or a not all that great one.
With one of Morgan's floridated links you spend considerably less money and you're getting a real good STM.

If I ever go back to playing STM's I would consider this option seriously.

[mfry]

I wonder if Morgan could get even better results in taking this concept just a little further. ( don't know if that's even possible though) The raised floor is only raised slightly, maybe that could be a little higher still ?



Thanks for the review. Just a note about the brightness and floor level -- I can make these brighter if anybody wants. The way to do it is to vary the baffle angle. This gives more or less edge while retaining the essential character of the Link. Raising the floor any more than I do makes the piece a bit nasal.

[CKsmallville]

I received the Morgan Floridated Link a couple days ago and have been playing it since then. I did get a chance to play it on a gig. I've attached a sound clip of it as well. Here goes the review:

Aesthetics – The hand work on this piece is great. I though I would be able to feel a slight edge between the metal and the epoxy, but it was perfectly smooth. The chamber, tip, rails, and table were all top notch!

Sound – I really dug it. Very close to other Florida Links I've played, with a great earthy core and balanced highs and lows. It didn't get too bright, like a lot of Link copies can. But, when pushed, I could get a good Brecker thing as well.

Response – The piece was a little more resistant than other pieces I've tried such as the Barone Jazz or the Lebayle LR, but I kind of liked that. The overall response was great and I could play top to bottom with no problem. I was using a Rico Jazz Select 3M and it felt like I could go down to a 3S and it would have been a little easier to play, but I like the heft you get with a harder reed.

Finally - This is a great piece! I would definitely recommend it to someone who doesn't want to pay high dollar for a genuine Florida Link. If you're looking for a versatile piece with a strong core, this is it. Thanks for the trial, Morgan! On the the next guy.

Sound Clip:
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[LampLight]

Thanks CK. Nice, clear review, and a fine clip too.

[magical pig]

Thanks for the review CK!!! Nice clip. :)

Sound – I really dug it. Very close to other Florida Links I've played, with a great earthy core and balanced highs and lows. It didn't get too bright, like a lot of Link copies can. But, when pushed, I could get a good Brecker thing as well.I think this is really accurate AFA was able to judge from playing the piece. I haven't played a Florida Link before so I can't comment on the similarities but considering what you said and my playing on M.Fry's mouthpiece, I understand why those mouthpieces would be so sought after.

Victor.

[Rackety Sax]

Thanks CK. Nice, clear review, and a fine clip too.

Yet such a different sound from Magical "Long Tall Dex" Pig's clip above. Very interesting!

[CKsmallville]

Thanks CK. Nice, clear review, and a fine clip too.

Thanks!

[CKsmallville]

Thanks CK. Nice, clear review, and a fine clip too.

Yet such a different sound from Magical "Long Tall Dex" Pig's clip above. Very interesting!

I think that is what is great about it! It definitely lets you get "your" sound on it.

[magical pig]

Thanks CK. Nice, clear review, and a fine clip too.

Yet such a different sound from Magical "Long Tall Dex" Pig's clip above. Very interesting!

I think that is what is great about it! It definitely lets you get "your" sound on it.Although both clips share the same STM Link hollowstuffymidrangeyness.

I wish I had it a little longer ( like maybe 6 months :twisted: ) to really get used to it - I bet it would have revealed a lot more of its flexibility...

Victor.

[LampLight]

Thanks CK. Nice, clear review, and a fine clip too.

Yet such a different sound from Magical "Long Tall Dex" Pig's clip above. Very interesting!

I think that is what is great about it! It definitely lets you get "your" sound on it.Although both clips share the same STM Link hollowstuffymidrangeyness.

I wish I had it a little longer ( like maybe 6 months :twisted: ) to really get used to it - I bet it would have revealed a lot more of its flexibility...

Victor.

Geez Victor. You already have two guys comparing you to Dexter Gordon. How much more time do you want? ;)

Anyway, all this just says to me that the Floridated Link is a great piece. As others have said, it lets you be you, and in some really pretty ways too.

[magical pig]

Geez Victor. You already have two guys comparing you to Dexter Gordon. How much more time do you want?:lol: You know, I'm the sort of guy who never has enough. I guess I should buy me one of these Floridated Link if I want to explore its sonic possibilities - but it's on my list...

Victor.

[Dr_sax]

Well, I got the mouthpiece today, smacked on a gonzales 2.25 reed and just let my iMac record a bit. http://www.youtube.com/watch?v=gH6Ai1Lvaic
After uploading I listened to the track and noticed that the mic seems too stressed for the sax output. Sorry for the poor quality. I just moved and don´t have my good recording mic setup yet. But I´l see if I can do another take later during the weekend.

Just from the short playing I´m really amazed by the ease this link plays. A bit more resistance than I´m used to. I´m enjoying the sound. Nice full body and just the right amount of brightness I like when pushed.
The respose is very good and quick. Plus altissimo is an ease to play.
The finish and quality of the mouthpiece is as posted above-just superb.
I´ll report back after a couple of days. Hopefully with a better recording.

Dr_Sax aka Boris

[blue boy]

Morgan Fry Floridated Tenor STM Link Review (.106)

I currently play a "no USA" STM 8* which was worked on and brought down to .105 by Brian Powell. I have played/owned too many stock links....and the following: EB STM 8*, Phil-Tone NY STM 8*, Phil-Tone STM 7, and a Millenium STM 7*. I reviewed the floridated link with Java 2.5/3, La Voz MH, and Rico Royal 2.5/3 using a Selmer 404 Lig on my 1948 The Martin Tenor.

I have to say that the floridated link is fantastic. I agree with all of the previous reviews in that the response and playability are exceptional. However, I am most impressed with the sound and with the fact that one can order their floridated link with a specified degree of brightness/darkness. Although this floridated link is considerably darker than my FL Link, it plays (response, flexibility, etc) most like my FL link....and without losing the linkiness that we all love. Timbre is even throughout the range (unless I don't want it to be) and altissimo is great.

I plan on ordering one (eventually) but I think I will go with the NY STM as the blank. The modern STM window is too narrow and feels funny to me. I will also go a step brighter as I prefer the sound of my FL link.

For me, this is tied with the EB STM 8* as the second best link I have ever played. This assesment is based off of my personal taste. The EB, my FL, and the floridated link are equal in quality, but they all sound a little different....they are links for sure.....just different. I guess it just depends what you like. I would put the floridated link at the top of the heap in the STM department. But again, it depends what you like.

[Bebopking]

Here's the Floridated Link (http://www.soundclick.com/util/getplayer.m3u?id=7778200&q=hi)


Hi Magical Pig, Because of this sound clip of you playing like Dexter on this mouthpiece-I went ahead and ordered one. You sound great! And I love Dexter Gordon. If this mouthiece will help me get closer to that sound I'll be so happy and my mouthpiece GAS will be over!! Thanks for playing so nice and posting that clip!!

CKsmallville-you sound great too, and you played my favorite song! I'm inspired hearing you guys play!!

[magical pig]

Hi Magical Pig, Because of this sound clip of you playing like Dexter on this mouthpiece-I went ahead and ordered one.Thank you very much, I'm very happy to have inspired you. It is one of the best things a musicians can hope for.

That said, remember that you will sound different on it. The proof is how different CK and I sound on this Floridated Link.

Finding the right mouthpiece is just like finding the right piece of clothe. It can look great on someone else but not so much when you wear it. You have to match mouthpiece and horn as much as you have to match mouthpiece and yourself.

However, it is a great playing mouthpiece, regardless of what sound you strive for. You can be sure it won't get in the way of producing a great sound. I feel that's the most important thing : when I play I don't want anything to get in my way so I can concentrate on what's wrong with me and not my equipment. :twisted:

I plan on ordering one (eventually) but I think I will go with the NY STM as the blank. The modern STM window is too narrow and feels funny to me.I agree. I think a NY STM would be a better blank and whenever I gather enough for one of these I'll ask Morgan to get a NY. It's my understanding he also prefers to use the NYs as blanks.

Victor.

[mfry]

I do prefer the NYs but it really isn't a big deal. The NYs more often have wider tips, which I like. Not always, though. A bit less chamber work needed as well, but there is always some.

[SaxerEd829]

I played this "floridated" link against my early babbitt "S"TM.


There are some really good things aboiut this piece -

It's easy to play and speaks very well both high and low.I would definitely have to say that the floridated link is more responsive than my early babbitt. I wish I could get that out of mine, but I know that my piece also needs to have some work done to it (rails are uneven and the table isn't flat)

It's brighter and more airy than the early babbitt, which is ok if you like that sort of thing. My early babbit is more mellow, but when you step on it really hard and push it's limits, it will get pretty bright.

I think it's a great piece, but not for me...Just need to get the best out of the one that I have.

[jacobeid]

I received this piece a few days ago. Unfortunately it arrived a day before I was able to start playing again after two weeks off the horn because of the removal of my wisdom teeth.

In general, I agree with everyone in this thread about this piece. I really really like it.

First off, it is easy to play in all registers and has an even sound throughout. Because of the baffle, it seems to be a bit brighter than a stock link but I love it. Definitely not a BRIGHT piece and keeps the link sound but does so without being stuffy like most modern links.

The piece looked great inside and out and you can tell much attention was paid to detail. Definitely first hand work. The response of the piece was excellent and almost instant.

On my yani, I was able to get a huge sound that even I was surprised at. I liked this piece much better than my barone 7*. I can't really compare it to my mouthpiece cafe because in general I prefer HR profiles and I've played that piece exclusively for over a year so it would be a bit unfair. The bergonzi slant was a bit darker and much more like a slant..so really they are just different pieces.

I really loved this piece and regret having to send it on. I was thinking about getting one but the price is a bit steep for me and I really don't need another mouthpiece right now.

Great job mfry! If anyone wants a link without having to buy vintage and wants a good one, don't sort through stock ones, just order one of these and be set.

[skeller047]

Preface
I eagerly awaited the arrival of Mr. Fry's "Floridated Link", because the previous reviews were so interesting - not completely 100% positive, but fair and balanced. I have never played a real Florida Link, though I own 3 STMs from the 70's (all have been heavily modified, with adjusted facings and baffles added).

My current mouthpiece is a no-name Babbitt hard rubber blank that I put a decent facing on; it's tip is about .102", and the facing is pretty long at 25 MM (50 on the Babbitt glass gauge). It's small for a tenor rubber piece with a medium size chamber; I use an alto ligature on it. I'm not finished working on it yet, it still needs some chamber work.

I am NOT a professional mouthpiece guy, though I have worked on my own pieces for years, and have done some work on some friend's mouthpieces.

First Impressions
This looks like a standard STM from the outside, but the chamber and throat has a large area that has been covered with black epoxy or something like it. The transitions from the metal to the epoxy are seamless - you can see them but you can't feel them, they are utterly smooth. Very nice.

The rollover baffle is a little farther down than i have seen on other pieces, and is very subtle - you can't really see it, there is no obvious transition point, but you can feel it with your finger.

The table and facing have obviously been worked on, because the plating is gone. The workmanship is excellent. The tip rail is superbly thin, as are the side rails.

Set Up
I tried to get several ligatures to work on this - a Rovner, one of the new Rico H-Ligatures that was designed for the metal Links, and an old Selmer silver lig that I use on one of my Links. What i ended up using was a standard Link ligature. The Rico did not quite fit right, due to the fact that the piece is a little lopsided (the rail on the top is not parallel to the table). The Selmer was too small (I removed the top rail of the Link that I use it on) and I just don't like the Rovner.

One of the main issues was that the table and rails are just a touch narrower than a standard (Rico) reed; this affected reed positioning for the Rico lig.

My tenor is a 100K Mark VI, that has recently been overhauled by Lee Kramka at Lee's Sax Worx.

Reeds
I adjusted several reeds for this piece (I use Tom Ridenour's excellent ATG system for this). I used two old brown-box 3 1/2 Ricos, a RJS unfiled 3H and a Rico Royal 3. The RJS was the best on this piece, with the Rico Royal 3 right behind it.

Conclusions
This is a really nice piece. Very solid, very easy to play, obviously reed friendly (the four reeds I tried all played well), nice solid core. It's a really really good Link.

One of the things I noticed right away was the upper range, which has always been a little weird for me on tenor, was very solid. Palm key notes seemed to have a really nice center and were strong. This is the weakest area for me and my tenor, so that was a very nice plus.

The tone is even throughout the range, altissimo is very easy (though I am not a very accomplished altissimo guy - I almost never play above A3, and rarely play that high). Low notes speak well.

There are only two nits that I would pick. One - the tone is a little brittle, for me. Two - the fit of the reed - while the tip rail is perfect, the side rails and table are very slightly narrower than the reed. Neither of this is a deal breaker, and I would gladly play this as my main piece.

That said, and apologies to Morgan, I still like my own mouthpiece better. Mine has a warmth that I like, even though it has a more spread pitch center. That just means I have to be conscious of my embouchure control, something I need some work on. (I haven't been playing a lot for several years, so I get that kind of late Sarah Vaughn wide vibrato... what's that note???? ) And I wish my piece had better response in the high range, a big plus for the Floridated.

I'm sorry to see it go, I have the feeling that if I played it for a couple months I would happily play it anywhere.

Examples
Following are 4 recordings - two on my piece and two on the Floridated Link. MOAOL should be obvious, DD is a modal tune of mine that I am working on right now. Recording was made with a R0de NT1 feeding a PreSonus FireBox, recorded into Garage Band and converted to MP3 by iTunes.

[Bebopking]

You sound great!! Thanks for posting the sound clips comparing the two mouthpieces. I like you better on Morgan's piece on DD and I like you better on your piece on MOAOL.

[skeller047]

Thanks for the kind words BB King :) Yeah, it's a very very good mouthpiece, and as i said, I was sorry to see it go. Morgan may be hearing from me...

[Rackety Sax]

... I was thinking about getting one but the price is a bit steep for me and I really don't need another mouthpiece right now. ...


JE, I don't mean to be argumentative, but in fairness to Morgan the "steepness" of the price is relative. It may be more than you have/want to spend, but I think most of us would agree that for the quality and amount of work he does, and certainly in relation to the vintage item he's trying to emulate, the price is not steep.

[Tryptykon]

JE, I don't mean to be argumentative, but in fairness to Morgan the "steepness" of the price is relative. It may be more than you have/want to spend, but I think most of us would agree that for the quality and amount of work he does, and certainly in relation to the vintage item he's trying to emulate, the price is not steep.

He said it was steep "for him". So, in that context, he is being fair.

[shmuelyosef]

Re: which STM to use --
The NYs are maybe 10-30 minutes less work, and the beak is a bit wider at the tip, which is good. OTOH, they're too fat for the Selmer lig I like to use, but then so are some standard STMs (this one, for instance).

The Rico Harrison copies fit incredibly well on the NY STMs. I have one that EZ fixed up for me and use the Rico "H" for it. In general, they work on all STMs.

[shmuelyosef]

As far as physical description, I agree with everyone else.
I tried a couple different reed types on this piece...unlike several others, I don't feel like RJS reeds brought out the best in this piece. I preferred Vandoren V16s, which I usually am not real fond of.

I compared the piece to an older Babbitt STM that Theo refaced well over a decade ago; no added baffle. It was my main piece for many years. Also, compared it with a Florida that EZ did for me a couple of years ago that is my main piece. I would be happy with all three of these pieces as my main piece. Used a YTS82Z for the test.

The MP piece was very responsive, quite similar to the Florida. The shank was a bit larger than any of my mouthpieces, so I had to use teflon tape and therefore couldn't A/B immediately, so these are subjective, but I played each for a half hour or so with the same reed. I agree with a comment made above that the MP piece seemed 'brittle' at first, but I quickly got used to it. It was a little brighter than either the Theo or the EZ-Fl, but still had a Link core to it.

After the second round to check my first impressions (more tape!), here are my conclusions:

Compared to the EZ Florida - The MP piece is a little brighter, responsiveness is nearly identical. The MP perhaps can play a little louder at the same effort, but does not subtone as well as the EZ (this is probably a facing difference, and subtone performance, I felt, was the weakest aspect of this piece). Also, the core tone of the Florida at medium volumes was much richer and more complex; not that the MP was thin, but the Florida developed more edge at medium volumes. At high volumes, they were very similar.

Compared to Theo STM - This piece has always given me the richest, fullest sound of any piece I've tried, and has amazing subtone capability. Again, this was where the MP for me was weakest. The MP, however, developed much more edge and was capable of lots more volume.

Overall,
Pluses: Great value, as good as many Floridas, huge sound, extremely responsive, great altissimo capability
Minuses: Core not as rich as other STMs I have played including both of my Floridas. Doesn't develop as much edge in medium volume as the Florida.

Will send it onward tomorrow

[skeller047]

The Rico Harrison copies fit incredibly well on the NY STMs. I have one that EZ fixed up for me and use the Rico "H" for it. In general, they work on all STMs.

I found that my Rico H wouldn't work on this piece because this particular STM is lopsided at the top, and the sides of the reeds overlapped the table just a little. If this were my main piece, I would bend the lig to fit; I like it on my own Link.

[mfry]

I found that my Rico H wouldn't work on this piece because this particular STM is lopsided at the top, and the sides of the reeds overlapped the table just a little. If this were my main piece, I would bend the lig to fit; I like it on my own Link.

Just a quick note about the 'lopsidedness' at the tip of this piece. The table and facing on this one was cut at a slight angle to the mouthpiece. This is not altogether uncommon with these Links -- they will sometimes be a bit off-center, or the table and facing will not be square to the blank. Sometimes you can correct this by angling the table, but sometimes there isn't enough meat in the tip to fix it this way and maintain the tip opening size, so you have to leave it. This creates a slight problem for the Otto Link ligatures and others that want to line up with the ridge on top. I'm partial to the Selmer 404 on Links, which doesn't have that issue.

As far as reeds, I like RJS filed and Alexander NY better than Javas on these, but everybody has their own preference.

[LampLight]

The Rico Harrison copies fit incredibly well on the NY STMs. I have one that EZ fixed up for me and use the Rico "H" for it. In general, they work on all STMs.
I found that my Rico H wouldn't work on this piece because this particular STM is lopsided at the top, and the sides of the reeds overlapped the table just a little. If this were my main piece, I would bend the lig to fit; I like it on my own Link.

I got a Rico H to replace a 404 and it worked great on the Floridated Link pass around. I used RJS and Gonzalez reeds. Perhaps there are some quality control issues with the Rico H ligature. :dontknow:

[LampLight]

This is a long overdue review of the Floridated Link. You should know that I don't have experience with vintage Links, and I evaluated the Floridated Link pass around in comparison with the following pieces:


STM 106: described by MojoBari as one that "plays like a good Florida"
Theo Wanne AMMA: A bright Link as far as I'm concerned.
Saxscape Uptown NF 102; Described by Ken Barry as a bright Link. This was my main piece for quite a while.

Some of these pieces cost more than the Floridated and others less, but none equaled the Floridated tone IMO. Either you dig it or you don't. I do. It's hard for me to put my finger on what exactly it reminds me of, other than that it is reminiscent of recordings I heard years ago. Like many reviewers, I think the Floridated Link had a "nice full body and just the right amount of brightness I like when pushed." (Dr Sax; post #41), and that the piece "speaks very well both high and low." (SaxerEd829; post #46). Plenty of volume is available too, and there was no shrillness or tubbiness. I will add that - for better and worse - I let myself go more when I play it. The weakest point for me is that the Floridated Link was difficult to control at the end of extended periods of playing (2+ hours). Some other pieces are more forgiving, but this may not be an issue for you.

I thought enough of the Floridated Link to buy one, and I still think it's well worth the price. But I must admit - somewhat sheepishly - that I seem to have become rather stuck on my Jazzmaster. Nevertheless, if you're looking for an STM, I would encourage you to check out the Floridated Link. Kudos to Morgan Fry!