What do you guys think of the HR Otto Links for soprano? [Archive]

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yillb

11-11-2003, 10:09 AM

what do you guys think of the HR Otto Links for soprano? Have been playing a YSS-62 with the supplied yamaha piece and am ready to get rid of that pinched tone. Can't afford a Tenny Link. Using a FL STM 5* Link on the Tenor but the Yamaha sop. is so bright already I'm thinking HR. Am thinking an 8 but have been using the supplied 4 and am worried about adjusting to it... any other suggestions in the under $100 price range that work well w/ YSS-62. Tonewise w/ current setup is sorta' Paul Winter while I'm diggin on Wayne Shorter's tone, (but who isn't)

retread

11-11-2003, 03:31 PM

I use a HR Link 7 on a Yani S990. Like the sound and the way it plays. My Link is a Tenney. My experience has been that when I try to save money on mouthpieces I just end up buying a lot of mouthpieces and not using most of them. It's worth saving longer and getting better pieces.

Steve J.

11-11-2003, 03:43 PM

I suggest a HR Wolf Tayne. Very nice very inexpensive soprano piece. It will surprise you.

paulwl

11-11-2003, 04:16 PM

My mainstay for years has been a rubber Link 6. If I could have only one soprano piece, this would probably be it. Tunes nicely, tone warm, easy, and right down the middle.

yillb

11-11-2003, 08:27 PM

Paul, your suggestion of the 6 Link is spot on, I have a line on a used HR Link 8 for $50 so thats one reason for the interest there...I like the idea of an edgier sound, but is my head gonna pop off when i try to use it? Living in the mountains of Virginia doesn't really afford me the opportunity to try a bunch of pieces and I really don't wanna order a bunch and send them back... Steve, can't seem to find a HR Tayne online. Someone here made a post on a very cheap Bari they liked alot...not really opposed to metal either if I can find a warm one... thanks for your time guys.

super20dan

11-11-2003, 11:05 PM

cant go too far wrong with a rubber link on sop.

yillb

11-11-2003, 11:40 PM

O.k. guys, here's my reserch, the Yamaha 4c is at .047. Others listings here have mentioned a supprisingly good cheap student Bari Espirt sop. piece which is at .057. (anyone out there tried this one?) The Link 8 is .070
I do like the idea of saving for a Tenny but need more exp. w/ different pieces anyway to see what really works for me... can't stand the 4c any longer, at this price, I can get the Link 8 AND the cheap Bari, experiment, perhaps work my way up to the 8. Does this sound smart?(am i not dunb now?)

Dave Dolson

11-12-2003, 03:13 AM

For what it's worth, I recently tried a HR Link for soprano. It didn't come close to my Super Session J. But, to each his own. I'm sure there are players who have had exactly the opposite reaction. DAVE

MojoBari

11-12-2003, 01:43 PM

Modern HR Links (made by Babbitt) do not compare to vintage sop HR Links at all. The new ones are longer, the chamber is smaller and the sidewalls are straight instead of concave. They can be altered to be similar to vintage ones (like Doc does) since there is a lot of material there that can be ground away. The facing work on a modern Link is hit or miss.

If you are not planning to get them reworked, there are better choices.

Mike Ruhl

11-12-2003, 01:51 PM

O.k. guys, here's my reserch, the Yamaha 4c is at .047. Others listings here have mentioned a supprisingly good cheap student Bari Espirt sop. piece which is at .057. (anyone out there tried this one?)I have one of the Bari Esprits, and use it regularly. I got it on a whim, because I wanted to try something in approximately that tip opening. It plays very well - better (for me) than a couple of Vandorens I've tried. I can't bring myself to buy another hard rubber soprano mpc, because this thing plays so well and was so cheap. Give it a try.

Mike Ruhl

11-12-2003, 01:52 PM

Oh, and fwiw, I convinced no less than Dave Dolson to try the Esprit, and he agreed that it was surprisingly good for $10.

Alan K

11-12-2003, 07:45 PM

yillb, You probably will go through a lot of pieces you don't like. Do you know, you can get a new HR Link for $57 and return it if it doesn't work for you. I have way too many pieces in my drawer now.

I don't have much too offer, just don't throw away your 4C. I only got my first soprano sax, Antigua 682, two weeks ago. It came with a no-name 4C mouthpiece. I bet it's made by Yamaha, because it looks like an old Selmer Soloist copy. The piece actually sounds very good, easy to blow, palm key notes are a bid shrill, but all notes are perfectly in tune. Without any hard work, all notes are plus or minus no more than a few cents. (Thank you, Paul R. Coats, Thank you, Paul R. Coats, Thank you, Paul R. Coats) Even my son, who has only been playing alto for 3 years, can just pick the soprano up and play with good intonation. He thinks he is ready to use the soprano sax in church. I don't have time to practice soprano, so this 4C piece is the best lazy man's mouthpiece.

BUT, due to G.A.S., I had tried the following pieces and they are on their way back to the vendors:
Selmer Super Session I ($89): Chamber, baffle, table and facing are handworked. Dark, full and very quick response. Because the tip opening is too big for me, it sounds too loud and too focus. Can't control the intonation on the high notes. If the soprano is my main piece or I have time to practice, I will keep this one. I might get an E or F facing to try it.
Bari 64 ($64) : it sounds a bid mellower, but the notes don't response as quick as Super Session I. I can't control it either.
Link 7 ($57) : The vendor was out of Link 7, lucky me.

yillb

11-14-2003, 02:07 AM

I first want to state for the record that for someone that none of you know, the thoughtfulness and time you guys put into helping folks like me blows me away. YEAH! for the communitity!! thank-you x100. Now, after reading thru most of these posts, and archives, it seems that the Super Session in general, w/ J at the top, wins the popularity poll for sop. pieces under $100 out of the box. (perhaps a good new thread?) MojoBari's explation of new vers. old Links was most informative. Why they would change a good design is beyond me. Unfortunatly for me, my e-box didn't notify me of the new posts and in my haste to save (lose?) money have ordered a (non returnable) Link 8 for $50. This may have not been a good move but maybe I'll get lucky. (Oh, the lessons to be learned...) Also ordered the Bari Espirit. I'll post the results after I've had a little time with them. Thank-you one and all.

By the way, if any of you guys double on flute (or want to) I make, and hand tune, high quality simple system bamboo flutes, in all keys. My site is down and I won't list my (very reasonable) prices here because that would consitute an ad. Billy Novak owns several. my e-mail is yillbrillem@earthlink.com

yillb

11-14-2003, 03:40 AM

Sorry! I meant Billy Novick, the sax and jazz pennywhistle player.

Bootman

11-14-2003, 12:43 PM

They play great on most Sops, they are seriously under rated as a Sop mpc. I use a metal 7* and have done for years on a wide range of sops. Intonation and tonal colour is fantastic. These are well worth checking out.

yillb

11-14-2003, 07:20 PM

Bootman, I will probably check out a metal link for my sop. when get out of this po-dunk town, (we're talkin' "Outback USA" here) and can get to the "big city" where I hope to try several. By the way, I plan to check out your reed drilling technique. Seems all the rage. You have a nice site, thanks.

T.S.

11-14-2003, 10:51 PM

I have a transitional 8* Florida HR that plays beautifully. The closest in response (speaking HR that is), is the Ponzol HR traditional and the Bari HR (with the metal band on the shank). The Ponzol being the closest tonally of the two.
The metal Links, as Bootman attests, are quite good as well, though they are somewhat small and for me, not as comfortable, though they have a nice, centered response (I have a 7* Link metal).

Straightsax

11-16-2003, 02:26 PM

Just recently tried a few pieces at a local music store. Personally, I can't handle the online mail order scene.

Currently using a Meyer 7M. and have a Berg Larsen .80 short facing. Consequently, these are the pieces the following were compared to.

B. Selmer Super Session, E facing. After viewing several discussion boards and reading about how fantastic this piece was, well one just has to try it. It isn't a bad piece, but I don't share the enthusiasm of Dave Dolson and those who think it is "the best." It did look for a J facing and they didn't have one. Maybe Dave, built up my expectations a little too high, after reading post after post. But I fail to see "how much better this piece is supposed to be. Maybe, I thought that this piece was supposed to sound a little better after reading each post Dave submitted. That's my problem not Dave's. Dave as long as you are happy, that's the main thing. A large tip opening would have helped this piece, but then that could apply to some of the others listed here.

C. Otto Link HR, 5. I had previously rented an Antigua sax with this piece on it and it was great. However, this was a new piece out of the box and it didn't play the same as the one on the rental. I was expecting more based on my past experience. Must have been playing one of those older piece on the rental that Mojo Bari is talking about.

D. Bari HR, .68. A good piece that I could probably learn to love. It's still in the back of my mind. I found this piece to be far more expressive than the Super Session. But then, Dave Dolson and I don't have the same embouchure. I'll give him the benefit of the doubt and figure that he is miles ahead of me.

E. Dukoff 5, D Chamber. (Metal-Silver) Gotta tell you. If there is any players out there that want to sound like Kenny G, this is it. Kenny plays a D7 which has a wider tip opening than the D5. Plenty of brightness in the upper register and real full in the bell notes. So, for a moment, I was Kenny G. The problem with the D5 is that this piece is not as open past C# three, where the Meyer can go all the way to F#3 and beyond without any problem as with the Otto Link on the rental. Since these pieces belonged to the store, it didn't want to force the notes (bite) and have to wind up buying them anyway. Besides, if there was a tendency to bite at the store, what was going to happen in the shed at home. But, I would imagine that the D7, or even D8 would do the trick. The Dukoff has an S shaped baffle, so when one gets higher, the tolerances get real tight. The tolerances on soprano are tight anyway, but this was something else. This was a metal piece and it was a cold rainy afternoon. Man, was that metal cold. Let me just add that what gives the Dukoff it's brightness is not the metal, it's the S shaped baffle. After reading about the inconsistencies of Dukoff pieces expressed here, I was leary of how this piece would play. But the piece appeared to be fine. No squeaks, or any other anomolies. Was definitely checking for a flat table and how the reed lined up with the tip. Then the rails and the tip itself.

E. In the final analysis, I stuck with my old Meyer. I just couldn't see spending the additional $$$. Maybe, it's a mental thing, but every metal mouthpiece I have ever tried has always sounded a tad brighter than a HR. I agree that the design probably has more to do with it, than the material. But, the material is still part of the equation. To what degree? One of these days we'll have the answer.

Eventually, I will move on from the Meyer. But not just yet. Good only knows, that I have studied mouthpiece charts inside and out. Further, I have read everything you good folks have written here on this board. And yes, it has been a great help. It has given me direction and wealth of knowledge that otherwise I would have never possessed. And a round of sincere thanks is in order, whether or not I like the Super Session. This board is more than a valuable resource.

Consequently, let me finish by saying this. Sure, go ahead and read all of the mouthpiece charts you can. Read everything on this board there is to read about the mouthpieces you might want to purchase. Check out the manufacturers web sites. But, in the final analysis, try before you buy. If that means taking a trip to a major metropolitan center, so be it. In mouthpieces, there are just too many variables, including your embouchure, throat position, and air support which has nothing to do with the piece itself. To strictly purchase a piece strictly on scientific data and manufacturers claims and what somebody else likes, is a measure twice cut once proposition, unless you have their embouchure and so on.

Caveat: Once again. Try before you buy. That is the acid test.

Thanks for letting me share.

Chris.

Dave Dolson

11-16-2003, 07:17 PM

Chris: I'll post more detail in a day or two, but I spent some time at Kessler's in Las Vegas yesterday (along with "vegaschris" and Dave Kessler). I tried two metal Yanagisawa sop pieces and a Morgan Protone plastic piece (along with several sops, and alto pieces).

None of the sop pieces held a candle to my Super Session J, FOR ME! I think vegaschris and Dave Kessler will concur. The Morgan Protone was a pretty good piece but compared to the SS-J (when I played them), no contest.

We are all different . . . and trying to achieve different results. DAVE

Paul S

11-20-2003, 01:00 PM

i really would advise against buying ANY new unmodified link untested.

I play a Tenney HR soprano link - exquisite :lol: I had a strong feeling I would like it as on tenor I have a superb Theo Wanne modified early babbit.

I've first tried my luck on a few stock STM's and toneedge's (both tenor and soprano) that were aweful to mediocre and eventually figured that I may as well spend the money and get a tenney. Well worth it i think :)

Alan K

11-20-2003, 03:09 PM

I just got a HR Link 6, it looks really bad, the tip is thick and is cut at an angle. It "looks" like the reed table and rails are tilted. Also, the shape of the reed tip doesn't match the shape of the tip rail.
But I like this Link's sound better than the Selmer Super Session "I" and Bari 64 I just tried, they are too loud for my taste. The Link gives soft and mellow with foo foo kind of spread sound and make the soprano sound really sweet. I will just keep this piece, I have had enough, don't want to try any soprano piece for a while.
Some of you might not like it the Link, because the response is not fast, not free blowing, and very difficult to play loud.
Try before you buy.

max

11-20-2003, 04:29 PM

Some of you might not like it the Link, because the response is not fast, not free blowing, and very difficult to play loud.
You might want to try some more then - I find my sop HR Link to be quite responsive, free blowing, and plenty loud! Of course, mine is Tenney-modified, but still...

While Links probably won't appeal to folks who like big wedge baffles, they don't deserve the "stuffy, dead" rap they get. Well, at least not the ones that are well-made. :wink:

Alan K

11-20-2003, 07:47 PM

I like the sound of this HR Link, even it "looks" like it's badly made.

I only wish the shape of the tip rail will match the shape of the reed tip on this Otto Link. I tried Selmer Super Session I , Bari 64, Caravan, and Vandoren S25, they all have nice looking tip rail. I don't like to see 1/3 reed tip sticking out.

I'll like to try a Morgan 3C or 5J after I log a bid more practice time on soprano.

yillb

11-20-2003, 09:21 PM

Just got my HR Link 8 on Monday. At first I was a bit dissappointed w/ it but in anticipation of the larger tip opening (my only experience w/ this sop. was the supplied Yamaha 4C) I had gotten some lighter reeds (switched to 2 rather than 3-2 1/2). That helped alot but I still found it to not blow as freely as the 4C. Last nite tho I had the oppourtunity to try it w/ an electric band and quickly adjusted my approach. By taking in a little more of the piece and letting off on the pressure a little, I was able to get alot closer to the sound I've been after, and the volume was good, barely needed the mic. Intonation was good, just had to give it a little more air and support. The piece (and the music) made me want to play more balls out and less pretty, just the ticket. After I get more accustomed to it, I think I'll be quite happy with it but still feel that there's room for improvement. Don't think I'll buy any more pieces blind but it's really quite a good piece for the money. Still can't get "wisper quiet" w/ it but I have the 4C for that. I still would like a piece that combines the qualities of both these pieces, but I'm waiting untill I can get to a larger city and find a store with alot of pieces to try. Thanks for everyone's imput... at least now when I go into a store ready to buy I'll have a much better idea of what to try and what I'm looking for. You guys ROCK!

MojoBari

11-20-2003, 09:46 PM

Alan K, consider trimming the reed to match the mouthpiece.

Straightsax

11-22-2003, 03:14 PM

Yillb: Don't despair. First, because you didn't by a Selmer Super Session J and Dave Dolson can't understand it. And, secondly from what you had to what you just bought is going to take some adjustment. It's normal so give it some time. The good news is that your embouchure will eventually adjust to the wider tip opening.

I believe it helps to know one's limits when trying out a mouthpiece for the first time. This is not a bad thing, but acknowledging reality. And, in the long run, one is far better off coming to that realization that hoping that mouthpieces play like reeds, right out of the box. The wider tip opening one tries from what they current have will take more time to adjust to it. The demands on the embouchure muscles has just been raised to the degree in the variance of the tip opening and the embouchure muscle do not adjust or "build up" as fast as the brain would like them to. It's normal, it's human and must be allowed for. You may find that after becoming familiar with the Otto Link that your performance on the 4C will improve, maybe not.

Taking more of the mouthpiece in on any make will make it sound a bit brighter. Additionally, the more air support you give a piece will increase it brightness respectively. I totally agree that waiting and going to the "Big City" is the way to go. Unfortunately, you may not find the selection of soprano piece as you would alto or tenor pieces. But with a little investigation, the price of the trip will buy you piece of mind for years to come when you find the right "Big City." Focus in on a music store that sells a lot of soprano pieces and the selection will be larger.

Again, the acid test is try before you buy. You may find it necessary to try a piece more than once before you get serious about purchasing it. If it is a piece that you just can't, in time, learn to love, then return it and wait till another day.

Now Mr. Dolson: As you can see in the first sentence of this post I took a mild crack at you. It was nothing personal, believe me. But Dave, I jus gotta tell ya, in all due respect, when one searches for "Super Session" and Dave here on this board we come up with quite a few post. So, the question is how much commission is Selmer giving you? After a while one just has to wonder. I'm totally enthused about your enthusiasm over this piece. No one could be happier that there is a saxophone player out there that is just "so in love" with the mouthpiece he or she uses. And, to use your words, no one "holds a candle" to that position that you so offer.

Dave, we are saxophone players. In order words, we are used to blowing our own horn. But, when it comes to the Selmer Super Session, no one plays louder than, well…three guesses and the first two don't count. So, in all due respect, I think you are overdoing it a little bit, right down to the facing.

This is not all bad news Dave. After all, if it wasn't for you, I may not have tried the piece and had given it the serious look that I did. So, at least you got me to try it. Since I own a Selmer, trying a Selmer mouthpiece was high on the list of expectation. As a matter of fact, I was looking forward to it for years, going back the old board. Unfortunately for me, I fail to see what all the excitement is about.

There is one thing that we can agree on here. The mouthpiece that we had played the best for us. This should be no surprise since both of our embouchures are more intimately acquainted with such pieces. I respectfully offer that this is what you, Vegas Chris and Dave Kessler heard. There is no argument here that you sounded better on a piece that you've been playing for years versus the "first date" pieces that you tried at the time. I believe we both have to allow for that and doesn't make the other pieces less acceptable by design nor the Super Session that far superior by it's design or material.

One of these days, I'll try a "J" facing, and who knows maybe I'll become a believer. But the E facing just didn't do it -- at all. I found it to be closed and stuffy, trying to imagine how a wider tip opening would help the situation. The only assumption that I can make at this time is that the J facing is a horse of a different color. Otherwise, what you are talking about really escapes me and I do not find that the Super Session is that far superior to other pieces on the market. It's not bad, just not that great as you present.

Somehow, I feel duty bound to play the devil's advocate here. Why I do not know. Please do not let me take anything away from your enjoyment of the Super Session. I doubt that would be the case anyway.

Now if you had the same enthusiasm for Antigua horns, that I could understand. And that's from a Selmer owner. For the $$$, Selmer should be hearing footsteps.

Please take this post with a grain of salt Dave. This is not a put down, just an observation. I just found your appraisal of the situation to be more subjective than objective. And that is not a bad thing in itself. However, you do deserve the title of "Super Session" Dave. Anytime, you feel like toning it down to a low roar, I personally will not object.

As always, Peace.

Chris

yillb

11-22-2003, 07:44 PM

yillb

11-22-2003, 09:40 PM

Forgot to mention, Dave, I spoke w/ Theo Wanne (theo@mouthpieceheaven) about a trade for a Tenor piece I have. He say's he has a Selmer Soloist copy, (an "improved" Selmer Soloist) by an English chap named Pillinger. They're not cheap, ($190) but have you, (or anyone else here) tried one of these? Still stickin' w/ the Link for now...

shmuelyosef

11-23-2003, 04:44 AM

One of these days, I'll try a "J" facing, and who knows maybe I'll become a believer. But the E facing just didn't do it -- at all. I found it to be closed and stuffy, trying to imagine how a wider tip opening would help the situation. The only assumption that I can make at this time is that the J facing is a horse of a different color. Otherwise, what you are talking about really escapes me and I do not find that the Super Session is that far superior to other pieces on the market. It's not bad, just not that great as you present.

I play a Super Session 'I' on soprano...Dave makes me feel like I am really missing something, but it works 'for me'. If there was a 'K' facing, I would buy it immediately because that's like having an amp that goes to 'eleven' (LOL)

shmuelyosef

11-23-2003, 04:44 AM

If you miss the point...check out the movie 'Spinal Tap'

yillb

11-23-2003, 07:04 AM

Are you kiddin', last time I had to fly, they checked to see if I had a cucumber in my pants! :shock: But i swear i didn't! ( well, to be perfectly honest, it was a zuccini...)

rollen

11-23-2003, 07:29 AM

yillb,

The current prodution Links aren't bad pieces at all. I had WW&BW through one in when I was tested a few Barone pieces. Sent the Barones back and kept the Link. It's the best playing sop piece I have played to date. I am currently using it. It's a little on the britght side, but wow is it easily to play. However, a Buescher (vintage) piece I have plays really really nice, but it's too closed. If I ever get it opened up it would probably (most likely) be my main piece.

yillb

11-23-2003, 08:06 AM

Hi rollen, glad to see i'm not alone here. I will freely admit that i'm an idiot, or maybe just not "experienced" (as Jimi would say) with all the options availiable out there. I only realized my mouthpiece was really holding me back in a jam session this summer, when i tried to be heard over two of ex-roadies for Spinal Tap... that yamaha piece plays easy, but i have to admit that easy is not nesessarily best. Still gotta' think that there's that "holy grailpiece" out there. But i know right now it's like going to a harder reed. It's at least easier than the time i had to use 3 1/2 reeds on the yamaha mpc. when that's all the store had... I'm actually pretty dam ned syched to know I can make these sounds now...

yillb

11-23-2003, 08:30 AM

Just gotta' add that Chris, you certainly write some awfully thoughtful posts. (not to mention lengthy, but, hey, i've enjoyed them. We're all learnin' from each other my brother...)

yillb

11-23-2003, 09:01 AM

and thanks.

Straightsax

11-23-2003, 02:25 PM

Hey Chris, tho I did find Dave to rave, so to speak, about the SS-J, to his credit, he always put the qualifier "for me" in his posts. God, after visiting the Runyon/Jody Jazz section here I'm hot to try a few Runyons, but one thing is clear, we all have our favorites. I only hope that when I find my favorite, I'll love it as much as Dave loves his.

I couldn't agree more, except I wish that Selmer would throw a few bucks in SS-J Dave's way. You would think by now, he deserves it. I'm just waiting for "close second" instead of "can't hold a candle" to it. However, I took my shot and I'll leave it rest. Yillb, you bring out a great point, "I only hope when I find my favorite, I'll love it as much as Dave loves his." Don't we all. And that part of it definitely inures to Mr. Dolson's credit. It was never my intent to beat up on Dave Dolson, just a head's up. But then, he probably doesn't need my advice. Forgive me Dave, it was just an observation and not a value judgment.

The only problem with Runyon is trying to find a local dealer that carries them. In my recent search, their web page doesn't show dealers at all. I wish they would. My problem is I'm not real big on mail order. I tried a used Custom and found it was pretty close to the current Meyer that has been the old standby for all these years. Had I had a stock piece on the horn, I definitely would have thought about getting the Runyon. It would appear that no mouthpiece search is complete without checking out Runyon pieces in whatever shape or form. Especially, since Grover played one. And one source states he did it with #5 reeds. Must of been heavily broken in, don't ya think.

Well, I better stop now, for fear of being labeled long winded. One must save that for the shed. Glad to hear that the Link is working out.

Thanks for the compliment, Yillb. I just do the best I can. And every once in a while I even might get it right. We are always learning, you got that right, Bro.

And Dave, we still love you.

Ar always, Peace.

Chris.

max

11-23-2003, 04:18 PM

Hey Chris, tho I did find Dave to rave, so to speak, about the SS-J, to his credit, he always put the qualifier "for me" in his posts.
Absolutely. I don't see any problem with Dave generously offering his experience when the question arises.

I've often shared my experiences that the SSs don't really do it for me, and he always acknowledges that it's all very personal.

When someone asks a question like this, all we can do is say what works for us and what doesn't. SSs work for Dave, and he says so - what's the problem? It's not like he's trying to sell you anything...

11-25-2003, 07:34 AM

Hello all,

I've had an interesting experience with an SR Technologies "Legend" polycarbonate (whatever that's supposed to be...), soprano mouthpiece. I played a 7* HR Link for many years, tried far too many before that. Anyway, the SR Tech felt too close, a little stuffy, for me at first, but after trying it with a #3 Vandoren V16, it felt very good, and I'm still playing it. It only responds in the way that I like with those V16's, nothing else works on it nearly as well. It's a dark, round sound, plenty of edge & projection for me, I have a Yani/Elimona model, use the curved neck. It's a very comfortable piece, and is quite flexible in tone & feel, may be worth a try for you. I did just receive a Selmer SS "I" in a horn deal, and found it to be very responsive, but a bit stuffy with those same V16 reeds, and look forward to trying a different cut/style reed, it's a nice piece, what reeds are other SS players using out there?

cheers, DC

11-25-2003, 07:36 AM

ving

11-25-2003, 05:09 PM

Hey DC,

I have had the same experience with my SR sop piece; thought it was a little tame at first, but the sound is the most centered and with the right reeds it works great--I no longer have felt the need to try any others! Anyhow, a student of mine has an RPC tenor piece w/roll over baffle--would you be interestd in trying it out? (I know you had asked about those earlier) Hope all is well...

cpufahl@yahoo.com

11-25-2003, 11:55 PM

Ving,

Hey, yeah, I'd like to try the RPC, thanks for asking. I'll email you directly. So, same experience with the SR Tech sop piece? Yeah, it was weird, at first I was grossly dissapointed, now, it plays like crazy for me, and I have a Morgan 8 as well as the SS "I", the Morgan sounds great everywhere but up high, gets really unstable up there, but the SR is a breeze in the upper register. I'll email you, hope you're surviving the big snow dump up there!

cheers, DC

Straightsax

11-26-2003, 12:14 PM

Max: I believe if you re-read the above there is no problem. No one is trying to make an negative assessment on the SS-J nor Dave Dolson. As a matter of fact, we are all happy for Dave and the fact that he is a satisfied customer.

However, there is a difference between a discussion and a constant product endorsement right down to the facing. The difference may be subtle for some, but there is a difference. After all, if all of it boils down to "For Me", without any comparative analysis except for nothing "holds a close second" then there is no reason to discuss anything, lest we are in a one-way conversation.

Some of us are trying to acknowledge that there is life beyond a Selmer Super Session. The first group that doesn't have the embouchure for such a facing and the second group that may want a different tone style.

This discussion originated from a person who went from a 4C to a HR Link 5. At least it started out that way. Don't we owe a duty to the poster in so far as trying to figure out where that person is before we start telling that person where it is at? There are people who have been playing for years here and people who have been playing for weeks. So, shouldn't we take the time for figure out where that poster is coming from rather that saying, "No matter who you are, this is the answer and there is no close second.

It not what Dave Dolson is saying. It how many times he has said it.

On the other hand, Dave Dolson is a valuable contributor to this board. I will be the first to acknowledge that. To suggest otherwise, is simply not the case. I just think that he is overdoing it a bit on one particular mouthpiece. And I believe it's a fair shot.

How one can make a problem out of that is beyond me, Max.

Anytime, Dave Dolson wants to start a Super Session thread, I will be the first to applaud. After all, we have a whole section devoted to Runyon here, why not Super Session?

If anyone is up to the challenge, it's Dave.

Otherwise, to turn every thread into a discussion about SS, leaves no room for anything else.

And now back to our regular programming. End of commercial. I've said what I have to say and it's time to move forward.

No blame, no regrets.

As always, Peace.

Chris.

Toni Linder

12-09-2003, 11:03 AM

I have been using a HR Link 8* with Hemke #3 reeds on my Selmer Series II soprano for some time now. I bought the mouthpiece in 1987, I think ... don't know if you would call it an "old" or a "new" Link.

This equipement gives a full, rich, warm tone and is easy to play. (Easy for a soprano, that is.)

I sometimes use a Sugal Super Lieb copper mouthpiece which has more edge of course and gives a slightly richer sound. The drawback for me is that I don't especially like metal mouthpieces.

I've also a Beechler HR # 8 I use from time to time. I probably would use it more if it had the same bore as normal mouthpieces! To me, the Beechler sounds too "clean".

max

12-09-2003, 01:51 PM

Straightsax, I just saw your reply now... :roll:

OnyxSax

01-04-2004, 01:29 AM

Sometimes sax moutpieces work better on some sopranos. I had a square-chambered HR Selmer E that I used for years on my Mark VI and WW&BW sopranos. I liked the E, it gave a warm tone, good intonation and had no real vices. I put the E on my straight Conn and it is just horrible. I purchased a hard rubber Otto Link 5* for the Conn and it was about as close to a perfect match as you could come, so much so that I sent the Mark VI packing. I kept WW&BW around as my emergency spare or "stunt double" soprano.

dolphyo

01-09-2004, 01:09 AM

staying on the original topic, yes the otto link soprano mpcs can be very good. but the babbitt links in rubber are very uneven. your better off refacing them to get better response. the slant signature link is simply the best period. i have examples of both and customized. of course its also a matter of what you hear on soprano. most guys hate them and say they sound too DUCKY quack quack. i don't hear that imho. :Rant2:

bruce bailey

01-11-2004, 11:52 PM

I agree about the Selmer vs. Conn. I used an E on my Selmer and when I put it on the old Chu Curved, it was terrible and gurggled down low. I got a Link 5* and it was a different world. This was 35 years ago and the Links were a lot different in the side rail dishing, but it is worth a try. A Vandoren is not bad either and I just bought some BARI cheap (esprit) mouthpieces and for $10, they are pretty good.

01-15-2004, 07:10 PM

I received a HR Otto Link (Doc Tenney's BP 10E) #7 for Christmas, and WOW - it's fantastic. Great playing mouthpiece - warm, resonant, easy to play, and it stays out of the players way!

Bootman

01-16-2004, 11:32 AM

I still dig the metal Link sop pieces more, but each to their own. I have an SS J and a HR Link or 2 as well as Ponzols, Runyons, Standard HR models and a few other oddities, even Lawtons... i still prefer the metal Links due to clarity of tone and purity too.