Reviews of Phil-tone Tenor Pass-around

[Rackety Sax]

Our own Philip Engleman (Sigmund451) announced his new line of Phil-tone alto and tenor mouthpieces on the forum some time ago. These have been available from Phil directly or through Junkdude, and Phil has been threatening to make pass-arounds available for some time. Several months ago my patience got the better of me and I ordered a Phil-tone alto directly from Phil. I’ve been enjoying that mouthpiece immensely ever since (and wrote a little review of it here (http://forum.saxontheweb.net/showpost.php?p=604173&postcount=9)). Naturally I’ve been wondering about the tenor mouthpieces too, but since I’ve already got a tenor mouthpiece I am extremely happy with, a Kessler OL7Pro, I hadn’t gotten around to ordering the tenor Phil-tone. The pass-arounds are here, and I’m the lucky first one in line for the tenor model, so here’s my review.

A quick word about me and my equipment: I’m an amateur sax “returner” of a few years standing who has been playing exclusively alto until just a few months ago. I finally got around to spending some time with my B&S-made Chicago Jazz Series tenor and caught the tenor bug very quickly. On my good days, I think I get a pretty good sound out of the horn, especially given the limited amount of time I’ve played on it, which explains my extreme satisfaction with both the CJS horn and my Kessler mouthpiece. Some of the other mouthpieces that I’ve tried and liked but relegated mainly to my mouthpiece drawer (or sold) are a couple of Lamberson models, an RPC rollover, a Morgan Excalibur, a Niewood-reworked modern metal New York Link that I got from Shmuelyosef, a Barone vintage, a Barone metal New York, and a few others. That’s way more quality mouthpieces than my skill level deserves, but despite its modest price the Kessler has stood out from this crowd for it’s tonal beauty, its flexibility at both loud and soft ends of the dynamic spectrum, and ease of response throughout the horn’s range. Close seconds were the Morgan Excalibur and Niewood Link. Notably missing from this list are any of the high-dollar vintage mouthpieces.

Clearly the Kessler OL7Pro is my frame of reference for comparing the Phil-tone. I started my comparison by playing, but will start this review with a visual comparison. The two mouthpieces are made from identical Babbitt blanks, I believe – at least they sure look the same on the outside. The tip opening on the Kessler measures .102” and the Phil-tone’s is .101”. The finish work looks very good on both of them to my layperson’s eye, except for two issues. First, the tip rail is much better defined on the Kessler. The inside edge of the Phil-tone’s tip rail appears almost smoothed over. Second, if you turn the Phil-tone facing side up and look back through the mouthpiece from the tip end, you can see that the Phil-tone has some material removed from under the table. I think this is what Mojobari refers to as “undercutting the table,” and I believe it’s supposed to reduce the mouthpiece’s resistance. The rounded area here is somewhat assymetrical on the Phil-tone.

In addition to the undercut table, the sidewalls have been hollowed out a little on the Phil-tone and it appears there might have been some other chamber work done.

Given these physical similarities, it’s not surprising that the Phil-tone shares the Kessler’s tonal richness, flexibility and responsiveness. But there are clear-cut differences as well. The Kessler is no weakling, but the Phil-tone has even more power when pushed. In fact, even when not pushed it has a little more in-your-face feel to it. Depending on your tonal preference, you could say the Kessler has a more refined sound or the Phil-tone has a gutsier sound. This is particularly noticeable in the second register. As I descend above the bar line on the Kessler, the tone has a tendency to get slightly thinner and more precious, though this can be overcome with good air support and voicing. The Phil-tone insists on staying full and thick up there, and if you push it a little the horn just opens up and roars with the Phil-tone.

Given my experience with my alto Phil-tone, I was expecting a nice tenor mouthpiece, but I’ve also seen enough highly regarded mouthpieces come in second to the Kessler that I was expecting the same for the Phil-tone. It’s too soon to say the Kessler has been dethroned, but this is the most serious challenge it has faced yet. Suffice it to say that with an off-the-shelf Kessler available for a little over 100 bucks and the Phil-tone customized to your preferences for $150, even those with relatively modest financial resources can have a very fine hard rubber tenor mouthpiece to play.

Phil, congratulations on an outstanding product! I’m very eager to read the feedback from the others who will be play-testing your mouthpieces.

[ratracer]

Nice write up!

[Sigmund451]

Thank you for the kind review. Just to clarify the 0L7-Pro is now $139.00 vs the Phil-Tone Tenor which is $165 and the RPC which is $235. The Phil-Tone alto piece is $150.00.

Im not attempting to copy or dethrone any of the above. I hope that these prices will hold. I continue to maintain that a solid piece should be avaliable to players without taking out a loan. The Phil-Tone can be ordered as brighter/darker than the current passaround. It can also easily be tamed down in its presentation (i.e. less husky).

Another note: Be aware that Junkdude does carry these. However, I need to replace his current batch as I have made modifications that I feel make this current model a much more interesting item from a musical perspective.

I am really interested in hearing more input.


Thanks
Phil

[Claudio Marcolino]

Chitownjazz, tks for sharing... Very good review!

Phil, I sent you a PM... I live in Brazil... Am I entitled to take part in your list?

Best wishes!

[Rackety Sax]

Thank you for the kind review. Just to clarify the 0L7-Pro is now $139.00 vs the Phil-Tone Tenor which is $165 and the RPC which is $235. The Phil-Tone alto piece is $150.00.

Thanks for the correction.

Im not attempting to copy or dethrone any of the above. I hope that these prices will hold. I continue to maintain that a solid piece should be avaliable to players without taking out a loan. The Phil-Tone can be ordered as brighter/darker than the current passaround. It can also easily be tamed down in its presentation (i.e. less husky).

I know a mouthpiece comparison is not "Dancing with the Stars." I wrote my review from that perspective because I am extremely satisfied with my OL7Pro. That's been the "gold standard" for any other mouthpiece I've tried, including the Phil-tone.

In case anyone cares, I used my cheapo Vinson Equa-tone lig. I know they are the Rodney Dangerfields of ligatures, but I like mine and it worked fine on this mouthpiece.

Also, one thing that did not work was using reeds that were well broken in on the Kessler. For whatever reason, they just did not respond well on the Phil-tone. So I would like to strongly suggest using new or lightly used reeds when you do your test.

[Sigmund451]

I havent measured the Kessler but I would easiliy imagine the curves are different as well as the facing length. As reeds seem to have "memory" this makes good sense. Try taking a reed played on a Link and putting it on a Lawton....talk about UGLY!

Thanks again.

[Rackety Sax]

The mouthpiece is off to the next on the list, I'll let Phil notify the recipient that it is on its way. It was tough to let it go!

[BayviewSax]

Here's my take on the Phil-Tone, but first, a little history to give you perspective. I like fairly open, free-blowing mouthpieces. I played a Link (a *good* one) for about 20 years, but switched when I found I couldn't get up in the mix when playing with others -- it was too much work. I'll never give up that piece, but I just can't put the air through it like I did when I was younger. As a result, I've been playing high baffled pieces for the past 3-4 years.

All of that said, I find this piece a tad more resistant than I would like. The craftsmanship is impeccable, so this is not an error of the work, more it is my own preference. I felt like I was fighting the piece and had to push WAY on the neck to avoid being flat. I struggled with both the upper and lower end, but again, I think this has more to do with the comparitively small tip-opening. I'm also dealing with a cut on the inside of my mouth, right where my bottom teeth ordinarly rest, so that is not helping matters.

I recorded four 'grip it and rip it' takes of our band's "hit" song, with 3 improv choruses. There is little finesse here and I was not holding back for tone's sake; I tried to play this tune as energetically as I would with the band, so it's sloppy, but that's how I play (another point of reference for this test).

Naturally, the teacher in me requires that we make this a quiz. I tried four mouthpieces: The Phil-Tone, my Link 8*, an unmarked piece that Pete Gaylord refaced and opened for me (I believe around a .115), and my main piece -- an RPC .120B. All four were played with a Vandoren ZZ3 and FL Ultimate Ligs. I know which pieces sound most like me, and I know which were comfortable. What does your ear tell you?

Mouthpiece #1 (http://www.thomkeith.com/sotw/phil-tone/Phil-Tone_trial-Track%201.mp3)

Mouthpiece #2 (http://www.thomkeith.com/sotw/phil-tone/Phil-Tone_trial-Track%202.mp3)

Mouthpiece #3 (http://www.thomkeith.com/sotw/phil-tone/Phil-Tone_trial-Track%203.mp3)

Mouthpiece #4 (http://www.thomkeith.com/sotw/phil-tone/Phil-Tone_trial-Track%204.mp3)

I tried to stay right around the same neighborhood with each take, but they are NOT identical; I didn't want to be *thinking* when I did this, I wanted it to be an in-situ test. Naturally, my comfort level with each piece affected what I played. I'm interested in knowing a) which one you prefer the sound of (PLEASE PM ME SO AS NOT TO CLUTTER PHIL'S THREAD), and b) which one you think sounds as though I'm most comfortable.

If you like a piece with some nice resistance, this would be a good choice. I'd have to see what a larger opening would do, though, to assess what the piece would do for a big blower. Even with a larger opening, I would characterize this mouthpiece as fairly resistant.

[SactoPete]

Thom, are the mouthpiece soundclips in the same order as listed, i.e. 1-Philtone, 2-Link, 3-Noname, 4-RPC? Or are we supposed to guess? ;-)

[BayviewSax]

No, I shuffled them; you're supposed to guess.

[Rackety Sax]

Thom, how does the resistance and tone compare between the Phil-tone and the Link? I guess they are reasonably similar in design aside from the smaller tip opening on the Phil-tone.

FWIW, in my comparison of the Phil-tone and OL7Pro, the Phil-tone was a little more resistant but not enough for me to even note it in my review. I blew "at" a Buescher alto mouthpiece for quite a couple of years, so I may be impervious to resistance by this time.

[playitfunky]

I won't say which is which but to me you sound best with number 4 followed by 3. IMO you didn't sound comfortable on the first 2. What's ironic is you will probably say they exact opposite.

[BayviewSax]

Thom, how does the resistance and tone compare between the Phil-tone and the Link? I guess they are reasonably similar in design aside from the smaller tip opening on the Phil-tone.

FWIW, in my comparison of the Phil-tone and OL7Pro, the Phil-tone was a little more resistant but not enough for me to even note it in my review. I blew "at" a Buescher alto mouthpiece for quite a couple of years, so I may be impervious to resistance by this time.

The PT is the most resistant of the four pieces. I'm sure the tip opening is a factor, but it was exponentially more resistant than the Link, but then, concerning the Link, I've got a good one.;)

[BayviewSax]

PiF -- PM sent.

[StittsIt]

I like 1 and 4. Why don't you just tell us which ones they are?

[SactoPete]

I don't want to derail the thread, but I've heard different definitions of "resistant" in the past, and perhaps the reviewers could clarify their meaning of the word. In some cases I've seen people use "resistant" to signify that the horn won't take a lot of air, you build up pressure and the mouthpiece pushes back (this is the definition that I would use), and the other definition I've sometimes heard is that the mouthpiece "resists" making a sound, i.e. you must build up some pressure before it will play (I would call this "response" but it doesn't seem to be a consistent term). Obviously very different characteristics, so I'll ask you to clarify (unless I'm crazy and I'm the only one that's heard people define it both ways - which is possible because my wife says I make **** up all the time)... thanks.

Pete

[BayviewSax]

Pete: Your first definition is what I'm talking about.

Stitt: I don't want to derail Phil's thread with discussion about the clips -- I'll PM.

[fballatore]

I've had the opportunity to try out the Phil-Tone tenor piece for a couple of days, and here are my impressions.

As a comparison, I've been mostly playing an AMMA 7* (.102) and a Dukoff D8 (.115). My initial reaction based on opening the package was that it appears very similar to my Barone Vintage 7* piece. Visually, the craftsmanship looks excellent, and it appears to be a well finished piece. As does Thom, I also prefer less resistance in my mouthpieces, and found the Phil-Tone to be more resistant than I'm comfortable with using a ZZ 3 reed. (Pete, I also define resistant as you do, with the sensation of the mouthpiece "pushing back".) Stepping down to a ZZ 2.5 made it quite a bit easier to play, and I found it to have a nice lush sound, especially in the lower register. For me, the sound I still had a little trouble with thinness in the upper register, but I can say that for all my tenor mouthpieces. That's more a function of my lack of experience than the mouthpiece. Unfortunately, I didn't have any other reeds around the strength of the ZZ 2.5, sound I couldn't compare to see if that would help me up top. Intonation was very acceptable throughout the range of the horn, and it had nice power when I pushed it.

Overall, considering the price and the craftsmanship, I'd say that for those who like pieces with a bit of resistance, the Phil-Tone is an excellent choice, and one that compares well with more expensive choices.

The Phil-Tone is now off to its next stop on the trial list.

[Sigmund451]

I will certainly look into this issue of resistance. I would add to not to be shy about trying different reeds...even those slightly lighter than played on some other pieces. Ive played a number of different reeds on this piece and my favorite strength for response and tone seems to be a 2.5 or a 3 in softer tip reeds like some of the Alexanders. Of course everyone has different tastes and are after different sounds.

Anyway, give it a whirl and see what happens for you.

Thanks for the feedback and keep it commin!

[Sax Hut]

Phil, could you put me at the end of the list?

[Sigmund451]

Send me your data (and a large check if your feeling generous) and I will put you on the list.

[Nefertiti]

I just got the Phil-Tone tenor model yesterday. I put up a clip and a review on my website. After reading the comments on resistance I had a bad feeling that the piece would be stuffy or hard to play. I was very surprised when I slapped on the reed I had been using and it played great. It felt just as comfortable as the HR link I had been using. I tried 4 other Java 3's with it and every one played well. The peice is at .101 so it is smaller than my normal .110 so that is a big difference to me. the mouthpiece is brighter and more powerful and focused than my links but not overly so I think. I stood where I always do to do the recording and I think a couple of times it peaked the recording level when I blew a bit harder. At the end of the recording I went into a R&B type playing style but it was distorted on the recording so I had to cut it. I think this is a great piece for the money. I might try the R&B thing again later standing further from the mic. I also have to say that I can get a lot more volume out of this than I can a usual .101. That's usually my complaint with smaller tip openings is that I blow full force and feel like I get to point where the volume just hits a wall and won't go further. This piece takes a lot more than I thought it would. Great job Phil. Steve

[Nefertiti]

I put up another recording with more of an R&B type feel to it. This piece has some great power to it. If the tip was a little more open I would love it on a funk gig. I had to this recording in my garage because the mic kept clipping in my studio. I think the added reverb is kid of cool for that style anyways.8-)

[Razzy]

Hey Phil, I sent you a private message but didn't hear back. Any chance I could be placed on the list for the mouthpiece? You already have my address ;)

[Mike Cesati]

I'd love to get on "The List"

[Rackety Sax]

Nice clips, Nef! Unfortunately I didn't sound quite as good as that when I tried the mouthpiece. ;)

[Kelly Bucheger]

Here was the plan: first, I was going to play long tones and overtones for about 30 minutes or so on the Phil-tone mouthpiece that's making the rounds. For me, spending some quality long tone time with an unfamiliar mouthpiece is like reading the owner's manual -- it provides me with the key operating instructions for playing the piece.

But: I found myself distracted by the fact that it felt pretty comfortable and familiar right off the bat. So I'd play a couple of long tones, felt pretty darn good, then, curious and distracted, I'd play over some changes, noting how the upper register felt vs. the lower register, looking for evenness in timbre across the horn, trying to get a sense for how well the piece "stayed out of the way" and let me do what I wanted to do. And, for all of the above, again: it felt surprisingly good right away.

Then I'd think I should really do some more long tones before I go off ("builds character"), and I'd play a few long tones ... and then I'd go off.

So, with that in mind, here's my take:

(Well, before my take: For a reference point, my current set-up is fairly bright -- a stainless steel Berg 110/2 with a custom facing by Doc Tenney. Buying that piece directly from Doc several years back literally changed my life. Instantly, almost every reed I ever bought became ... better. From that point on, it became clear that shortcomings in my playing were problems *I* needed to deal with, not equipment issues.

However, these days, thanks in part to a bit of a crush on players like Rich Perry, I've been flirting with The Dark(er) Side, even messing around with a Soloist style C* opened to a G by JVW, which is about as far from my SS Berg as you can get without a prescription.... In spite of this dalliance, my Berg remains "it" for me right now.)

So: first off, Phil's piece is bright and extroverted: when I was in college, this would have been a *dream piece* for me as a first tenor player who wanted to be heard. Lots of cutting power. It's definitely brighter than what I'm shooting for these days. At the same time, I had the impression the piece was flexible enough that, given some quality time with it, I'd be able to find the darker colors in it. (And, as Phil pointed out to me in a PM, for the cost of postage to and fro he'd be able to adjust the piece based on the player's feedback. And that's pretty hard to beat...)

There are mouthpieces that seem to deliver less than you put into them (perhaps this is in part what some folks call resistance) and there are mouthpieces that seem to deliver more: you give it a nudge and it's ready to roar, you push into it and it's right there, maybe even a step ahead of you. The latter are the sorts of mouthpieces I prefer, and Phil's piece is definitely of this sort.

In response to previous reviews charactering the piece as resistant, Phil intercepted it before it made its way to me and made some adjustments. I have no idea what he did, but I will say that the mouthpiece I got was not resistant for me. It was fun to play -- so much so that I forgot my all-important Long Tone Rule and just started blowing.

I spent a bit more than an hour or so with the piece, trying a couple of different reeds. I really *should* have tried more, but because things felt pretty good pretty quickly, I decided to just stick with the reeds I had rather than futz around. So the clip below, put together rather quickly at the end of my tryout session before students arrived at my house to put an end to the fun, represents that level of investment into the piece.

The piece felt comfortable and even in tone from top to bottom, except that perhaps I felt the top end was potentially a bit shrill -- and I *entirely* felt that that characteristic would get under control with more time on the piece.

I'll also say this, and this is high praise from me: if I were told that from now on, I'd *have* to use this piece and no other, I'd be fine with that. I'm pretty confident that a couple of weeks with this piece would reveal a lot of flexibility and potential. And, if this is representative of his work, I wouldn't hesitate to recommend one of Phil's tenor pieces to my students....

So, here's the clip, recorded on my perky little Zoom H4... (Well, before the clip, I'll just say I toyed with adding a bit of reverb. No. Let me put that another way: I REALLY REALLY wanted to add reverb. But I left it exactly as it was recorded, in my dry carpeted living room, because I thought that was probably the best way to really hear attributes of the piece as I played it....)

Phil-Tone Tenor (http://www-cs.canisius.edu/~bucheger/philkadots.mp3)

[bfoster64]

I'm enjoying reading the reviews and listening to the clips. Can someone post a photo or photos showing the shape of the baffle and chamber on this piece?

[Giganova]

I received the Phil-Tone tenor yesterday and had a chance to play it today. I will play it more tomorrow (to be more familiar with it) and will post a review, along with pictures (if Phil doesn't mind!).

[Nefertiti]

I likes mine so much I bought one from Phil. A great playing mouthpiece. One of my favorites. Steve

[saxphil]

I likes mine so much I bought one from Phil. A great playing mouthpiece. One of my favorites. Steve

Steve, did you get your preferred .110 tip or the .101

[Giganova]

... and did you get a custom bright or dark model?

[Nefertiti]

i got a .105. I don't know if it is dark or bright model. It seems like it's in the middle to me.

[Giganova]

Here are some impressions of the Phil-Tone tenor mouthpiece that I received from Phil a few days ago and played for a couple of hours yesterday and today.

First off, this might not be the same mpc that is reviewed by others here as the tip opening is engraved as "PT .015" (others here said that they tested a .101). I measured .104 on my gauge, which is within the error one can measure. Mine is a stock model, not one of the customized ones. However, I can clearly see that Phil has worked on the tip, rail, baffle, side-walls ... (see pictures below) so that's a good sign that this is indeed a hand-finished piece. The craftsmanship is very good, underlining that this is a high-quality mouthpiece.

I played it with a Alexander NY #3 reed, Zonda #3, and a Rico Jazz Select #3. The Zonda and Alexander didn't work for me (why on earth do I keep buying Alexander reeds? I guess the pretty tin boxes trick me every time I order mouthpieces! :?), but with the Rico it plays sweeeet! It is not particularly bright, not is it dark. A touch brighter than my Links, but not much. The low register notes pop out as crisp and easy as can be and the sound is very full. High register is easy to control, too, and I didn't have any intonation problems. Also, that piece has a lot of power & projection. I did not notice a high resistance as others have reported, just the right amount to control the notes without feeling restricted. So overall, my impression is very positive.

Here are a few minor things I have to criticize:

I am having problems sustaining notes at low air speed. There seems to be a minimum required air speed. If I am below that air speed, the notes die off. Don't ask me why that is, but it bothered me. Hence, subtoning at a whisper was difficult for me (unlike on all the other mouthpieces I play, which are more open pieces (8*), so it's clearly not a "lack of chops" on my side.).

Also, there is a rather cheapo little sticker on the mouthpieces that says "Phil Tone". After sliding the lig (a stock lig that I had) a few times on and off when I tried different reeds, the sticker almost came off (Phil -- don't kill me when you I send it back to you!). Hence, don't expect that this mpc will have any sign of brand/maker on it after a few months. I think Phil should replace the sticker with something more durable.

Overall, I felt very comfortable and think that this is an excellent "all-round" mouthpiece with a medium/medium-large chamber, somewhat reminiscent of the Barone "Vintage" line.

Phil -- thanks for making great mouthpieces affordable again!

http://mouthpiecemuseum.com/Misc/PhilTone/PhilTone1.jpg
http://mouthpiecemuseum.com/Misc/PhilTone/PhilTone2.jpg
http://mouthpiecemuseum.com/Misc/PhilTone/PhilTone3.jpg
http://mouthpiecemuseum.com/Misc/PhilTone/PhilTone5.jpg
http://mouthpiecemuseum.com/Misc/PhilTone/PhilTone4.jpg

[Sigmund451]

Ooops! I forgot to tell you before you photographed to take the sticker off.
Its clear tape that is covering the inked on label...which unfortunately wears off faster than the blank maker told me it would!

It is a different piece. I used some of the feedback received from others to make a few minor changes.
Sorry for spoiling the "scientific" nature of the pass-around game.

As for the logo Im looking into heat stamping or engraving since the ink doesnt last long.

Thanks for your input.

[Giganova]

Ooops! I forgot to tell you before you photographed to take the sticker off.

Its clear tape that is covering the inked on label...which unfortunately wears off faster than the blank maker told me it would!
Sorry about that -- my fault! LOL

[Sigmund451]

A review on a stray thread:

http://forum.saxontheweb.net/showthread.php?t=78489&highlight=phil-tone

Thanks Razzy

[saxmanglen]

Hi all,

I've had the privilege this last week to play the Phil-Tone tenor piece.

This piece is a much easier blowing piece than I expected based on the early reviews. Obviously, Phil has corrected the concern others had from back then.

It blows easy with an even tone and good intonation over the entire range. I mainly tried it using a 3 or 3.5 Java reed. I threw a Plasticover on it briefly but it was too shrill for me. It seemed to perform best when putting a lot of air through the piece and as I played it more it became easier to control even at low levels. Controlling and bending notes became very easy.......A very good all around piece at a fair price!

The only concern, if any, I noticed was if I let the reed dry out a little (IE took off the piece to play a different piece for a while) when I came back I'd have to re-wet the reed and make sure it was sealing again.

The piece is now in route to the next contestant.

Thanks Phil!

[standingwave]

I liked 1 and 4. Maybe it was simply the way that you were playing them, or the particular pattern being played, but 1 in particular sounded to me as if it was more effortless.

[Sigmund451]

Hi all,

The only concern, if any, I noticed was if I let the reed dry out a little (IE took off the piece to play a different piece for a while) when I came back I'd have to re-wet the reed and make sure it was sealing again.

Thanks Phil!


Glen, were the reeds you played fresh and broke in only to this moutpiece?
Also, were they played on different mouthpieces and then placed back on the Phil-Tone?

Im curious becuase it seems that my mouthpieces only indulge in safe sax practices. They dont like to share. A few other reviewers have noticed issues that only occur in these instances.

Thanks for your feedback

Phil

[Al Stevens]

The Phil-Tone tenor piece arrived today. It caused some confusion here, because (1) I read today that Glen just sent it on so it shouldn't be here, and (2) I have an PRC ordered from Ron, which is due at any time now, and I thought the piece I got in the mail today was the RPC.

The logo is very dim, and I needed a magnifying glass to read it and realize that it is the Phil-Tone.

There are no instructions about who is next on the list, and this piece came directly from Phil in Oregon, so I wonder whether this is the passaround piece.

I've played it briefly on three tenors, and I really like it. It has the nicest and easiest (and loudest) subtoned low Bb of any tenor piece I've played so far. Intonation is spot on, and the piece projects beautifully.

Phil, can I just send you some money and keep it? :)

I'll give it a workout in the next several days and do a better review and maybe some sound clips, but first impressions, I really like it.

[saxmanglen]

Al,

It came from me. You'll know from the trusty Miracle-Ear bubble wrap. (wink wink) I just left the same return address on it that Phil had in case it got routed back it would go to him. I sent it out Wednesday. That's pretty good cross country service.

Oh, Phill will probably PM you the address of the next contestant. That's what he did for me.

Glen

[Sigmund451]

Ok guys. Im completely confused now. Ive been shipping out a lot of mouthpieces but I dont recall doing this. Let me do some writing to people and try to figure it out. Meanwhile, Im glad you like it AL :D


Ok...you guys are messin with my fragile mind....

[Al Stevens]

Got that cleared up. I have the passaround Phil-tone tenor piece sent to me by Glen.

I playtested the PT on the Mark VI. I do not like the rubber tooth guard but did not think I ought to remove it. Since it was on there, it might be part of the product.

First impressions are reported above. I like the piece. Intonation is comparable to my other favorite pieces on my four tenors.

I compared the PT with the two pieces I use the most. I used the same reed on all mouthpiece tests, an Alexander Superial DC 2.5. I tried both a two-screw conventional ligature and a Rovner dark, settling on the Rov as giving a more even response, whatever that means. It just felt better.

The most obvious comparison to make is with a Doc Tenney slant sig 7*. These pieces, although both are rubber with the same opening, are quite different. The Tenney is darker and mellower. The PT is more flexible, going dark when you want it to, bright when you want it to.

The rubber PT sounds to me very much like the Jody Jazz ESP without the baffle, odd becaues the PT is rubber, and the JJ is metal. The PT is a bit easier to blow in the lower register than the JJ. The JJ nails F3, whereas with the PT, F3 sometimes doesn't want to speak.

This is a fine tenor piece for jazz. Good subtones, easy to blow, better projection than any of my other pieces, and jumps between high and low notes easily. This is the first piece I've tried that lets me consistently play the low Ab-Bb-Db-Ab line in the 2nd measure of bridge to Smoke Gets In Your Eyes without any skips. Something I need to practice.

[saxmanglen]

Al,

It was me who put the mouthpiece patch on there. My top teeth are fairly sharp and I didn't want to scratch the piece. Take it off, if you want to... It wasn't there when I received it.

Glen

[Mike Cesati]

Al,

I think I'm next in line. Don't get too into the mpc :)

[Al Stevens]

Al,

I think I'm next in line. Don't get too into the mpc :)

As soon as Phil tells me who gets it, off it goes. I'll miss it. I removed the bite pad and like it even more now.

Al

[Reedsplinter]

My top teeth are fairly sharp and I didn't want to scratch the piece.

Glen

It's a squirrel thing.

[gary]

It's a squirrel thing.

Squirrels have teeth?! :yikes!:

[Sigmund451]

Here is another review that strayed from the thread:


http://forum.saxontheweb.net/showthread.php?t=81601&highlight=phil-tone

[Mike Cesati]

Re: Phil-Tone Tenor Mouthpiece Pass Around

--------------------------------------------------------------------------------
I posted this in a different thread because there seems to be more than one. Sorry for the double posts but this seems to be the right thread I think??

I got to use the Phil Tone over the last few days and this is what I can say.

As far as tone with the right reed it was a strong sound not stuffy at all . Not dark like some Tone edges I've tried but dark with some cut and grit. good volume.

Very even playing through the whole horn. I don't play tons of altissimo but I play enough to know this mpc allowed the notes to speak very easily which is not true of all rubber Link style or tone edge mpcs I tried. Even ones that were refaced by so called experts.

It wasn't overly reed friendly for me but I got 2 Lavoz meds to play well on it. The thing I noticed was the rails were wider than the reed or at least seemed to be. I don't measure mpcs but when I put a reed on my Saxscape the sides line up perfectly with the reed. The Phil Tone I can still see the rails on the sides. Don't know if this is in the design or what.

I could have played on this mpc no problem , it wouldn't make me switch out from my main mpc but it's a good mpc , not stuffy and the price is right. It probably plays better than many of these killer vintage mpcs that sell for stupid money. I tried a few of those in the past and some were nothing special .

I think Phil is making a good quality and affordable Link style mpc. Thanks for letting me try it and it's on it's way to the next person in line.

[tjontheroad]

So here's my turn on the Phil-Tone tenor example I've received.

I'll quote myself from the alto review thread (http://www.saxontheweb.net/vbulletin/showthread.php?t=75102) as to my backround...

But first, the obligatory statement about me. I'm a avid hobbyist playing tenor and alto about equally in concert band and my Jazz duo act. Sometimes I'll do a rock/pop gig when asked. Technically, I've been playing saxophone since I was 10 years old (I'm 41 now) since my Mom rented me one for school band. Although I switched to guitar at age 14. I picked up the sax again about six years ago and have made it my main instrument over the last three to four years. I take lessons twice a month. I am now in my third year with the same great teacher. That said, I'm just an intermediate player at best. So there's your grain of salt ;)

For tenor, my setup is comprised of two horns and three mouthpieces I use regularly. My tenors are a Cannonball Stone Series Mad Meg and a silver Selmer Series III. I use a Bilger-Morgan for legit, a Lamberson 7L for Jazz, and a Lamberson DD7 for rock/pop gigs. I use Roberto Winds 3 soft for all mouthpieces and most settings. I use a VanDoren Optimum ligiture on the Bilger-Morgan and Lambersons.

So on to the review...

First impressions;

I wasn't as exited at first glance with this tenor model as I was with the alto I reviewed. The rails looked a bit wavy near the tip and there is some gouging on the underside of the right rail. As you'll see below, my impressions changed as I played the piece. It still has the fine quality rubber. The tip was near perfect. Overall, the workmanship shows best in the results and I'm not judging this "book" by it's "cover".

Responsiveness;

Very much like the alto, the tenor model blows easy and every note comes with a pop throughout the horn's range. Phil is on to something here. These mouthpieces shine in this area. They don't lack the sense of push-back type of resistance and yet I didn't need to blow real hard either. Whatever issues posted prior in this thread are gone. Each note comes through crisply and quick. A+

Tonality;

I could say it in two words, "YEAH BABY". But, I should be more descriptive for the sake of this review. Just keep your throat open and big-and-bold "link" like tone comes out. Deep lows and crisp high particles. Plus a nice roundness in the mids. Spending some real time with this piece would surely yield great classic jazzy tone. Only complaint is it can get buzzy when pushed. But, I think that's just me and the little time I've used it. I didn't get the sense like others this was an overly bright sound. For me, it was full and spread.

Overall thoughts;

Phil has come up with something very workable for me. The piece plays great and has that deep tone I like to hear. I'd like to keep it.

Sound clips:

I've recorded a couple clips on my Tascam DR-1 portable recorder. I'll post them tomorrow when I get back to my home computer.

[tjontheroad]

Sorry for delay... Here's the clips as promised;

Click here for Phil-Tone tenor clips (http://web.mac.com/tjontheroad1/iWeb/tjontheroad1/Phil-Tone%20tenor.html)

After listening a few times, I hear some more buzz than I originally thought. Still I like the piece enough that I bought it. Phil did warn me about this GAS attack :twisted:

So the next tester will get a new example.

[drakesaxprof]

I recently had the opportunity to play-test a Phil-Tone .105" mouthpiece. I was very favorably impressed with the mpc, as it held its own against my two current favorites, the Tenney JazzMaster 7* (I still need to post a full review on this outstanding mouthpiece), and an original Brilhart "Hard Rubber" 7*, at $350 and $550, respectively. Like the Tenney and Brilhart, the Phil-Tone had many of the positive qualities of a very good Link, including a robust core tone, flexibility of tonal color, responsiveness to player input, intonation, etc. However, it also shares with the Tenney and Brilhart examples an efficiency of tone production that many Links seem to lack.

The tonal flexibility is an important attribute, in my opinion, as I was able to considerably brighten or darken the tone, depending upon how I chose to manipulate air speed/direction. I am a fan of mouthpieces that are, more or less, blank slates that allow the player to create and manipulate their own personal sounds, rather than providing one for them via extreme design characteristics. The basic Link design is the prototypical example--and the Tenney and Phil-Tone pieces both offer different takes on this, while also being very carefully crafted. At a glance, both appear to have a bit higher floor than a current-production Tone Edge, and more baffle material, though the specifics of the baffle design are visibly different.

Sound was even and powerful throughout. Intonation was excellent.

Altissimo response is very good, creating no issues to 2nd altissimo G.

Testing (and recording) was done on my late 234K Mark VI, 1954 King Super 20, and 69K (1957) Mark VI, with a Rico Jazz Select Unfiled 3M reed.

I won't hesitate to recommend the Phil-Tone to colleagues and students, as it has, in my opinion, few competitors at its current price point. I've send this one along, but may very well pick one up at some point for my own use.

[Jordan VanHemert]

Recently, I play-tested the Phil-Tone .105" tenor mouthpiece and I was really quite impressed. In tune throughout the range of the horn and full-bodied in sound as well, I really loved this mouthpiece. The highs didn't get thin and the low end was vibrant and beautiful. However, the best characteristic of this mouthpiece is, as Dr. Romain said, its flexibility and responsiveness to player input. With this mouthpiece, I did not feel restricted to someone else's sound--I really felt like it was my own "voice" coming through the mouthpiece and as a result of that, I felt a great deal of freedom. I think that this is important, because every person is different and will therefore want a slightly (at the very least) different sound. Another great characteristic of this mouthpiece is that it was very reed friendly, as I played 4 Vandoren Java 3's and played just as well with all of them.

I play-tested this mouthpiece on a Yamaha Custom Z tenor saxophone, for the record. In the middle of the week, this mouthpiece will be on its way to the next person, and I think whoever it is should be in for a real treat. Oh, and a note to whoever happens to get it next, I thoroughly washed the mouthpiece before packaging it up. I'm really glad to have tested this mouthpiece, because Phil is making it so a truly great mouthpiece is available and affordable. I recommend this mouthpiece without hesitation.

[trowpa]

Ok - got this mouthpiece (unfortunately) while i was traveling and didn't get home to it until yesterday. Here are my impressions-

I should say this from the outset - i've never liked playing on HR tenor mouthpieces - i've owned a few HR links but never was comfortable on them. My tonal concept for jazz is definitely more on the Dexter side than the Henderson side. Also, my typical work requires me to play a lot of funk and rock which steer me away from this type of mouthpiece. So i may not be a HR aficionado as others here may be...

That being said - this is a really enjoyable mouthpiece to play! It is not overly dark or stuffy as i find some "linkish" HR pieces. It gives a wonderful warm traditional sound - with plenty of flexibility and projection when needed. I found myself getting lost in the new colors available to me. particularly I notice a "roundness" and even "flute-like" quality of the upper register.

Response, intonation, evenness of tone all very good. I tried multiple qualities and relative strengths of the V16 3.5's I use - and the mouthpiece seemed to be quite "reed friendly".

I have to say this is a great straight-ahead mouthpiece! I would not hesitate to recommend it...and someday if my my tonal concept migrates back to this style, I would pick one up myself.

Phil - just let me know who the next lucky recipient shall be and I'll send it off!

[Lenny]

OK I'd like to try this piece, how do I get on the list. this is a great idea.

Lenny

[Sigmund451]

PM sent, check your mail.

[fballatore]

Here is my long overdue review of the Phil-Tone tenor mouthpiece. (Sorry Phil.)

This was my 2nd go-around on the tenor trial. Here's the background about why I tried it again. When I originally tried the piece back in January, overall I thought it was a good piece, but I found it had more resistance than I like in a mouthpiece. When I play, I don't like anything pushing back at me. I then tried Phil's alto piece and absolutely loved it; so my so that I bought one, and it has become my main alto piece over my Meyer LTD and Morgan Jazz. Phil asked me at the time if I'd be interested in trying the tenor piece again after he reworked it a bit, and I said yes.

I played the piece exclusively for 3 or 4 days, then played it side by side with my modified AMMA on my Ref 36. Stanley Turrentine is my tone model, and I'm pretty happy with where I'm heading with the AMMA. My initial reaction of the Phil-Tone was extremely pleasant. It blew much more freely than I remembered on the original trial. (Keep in mind that my trials were almost 6 months apart and I've had another 6 months under my belt with the Ref 36.) Tone was very lush and smooth, but could get edgy when pushed. I found the intonation very good, better than most mouthpieces I've tried over the years. It has a comfortable feel to it. As far as fit and finish, it's very similar to a Barone jazz piece I have, but it's not stuffy at all as my Barone can be. I put the Phil-Tone through its paces using a V16 2.5 reed, and playability was excellent across the range of the horn, especially at the low end where the notes popped out effortlessly.

At the price point of the Phil-Tone, I don't think there's anything out there that can match it. Phil obviously takes a lot of pride in his work, and it shows in his mouthpieces. I wouldn't hesitate to recommend this mouthpiece to others (and already have!) I prefer metal pieces on tenor, but at some point plan to pick up a Phil-Tone as an alternative piece.

[rsclosson]

Well, I am finally posting my impressions of the Phil-Tone .105 tip opening I received last week. It is hard to add anything to the previous fine reviews that have already been posted. My points of reference are my Morgan 7EL and my vintage Link New York 4*. As later posts indicate, I had no resistance issues with the piece and was very impressed by it's flexibility. I loved the fact that I could go from a very dark and rich tone to a paint peeler with just a little adjustment in embouchure and air stream. All in all, every tone, from dark and smoky to bright and growling seemed to represent the best of each kind of tone. I felt no compromises anywhere on the chart. Like some others here, I like low resistance and this piece was very satisfying to play. While not quite as powerful as my EL, all in all there was slightly better tones all over the horn.

The only thing that keeps me from buying one at this time (other than money) is the fact that I have gotten so used to the thinner beak of the Excalibur as well as my Link, that it is just slightly uncomfortable to play. This, of course, is a very subjective issue and does not at all detract from the fine quality of this piece.

[magical pig]

Here's my take on this Phil-Tone passaround.

I compared it to 2 other mouthpieces : a Barone Vintage 7* and a Link STM refaced by Phil

It's difficult to pick a winner between those mouthpieces. The Phil-Tone seems the most balanced to me though. Anyway, it is very easy to blow, has a big balanced sound over the whole range of the sax (which is not really the case with the Barone) and has a great midrange presence.
It's also very versatile in that it will respond to the slightest change in air stream.

I don't know how a good vintage Link is supposed to sound but this Phil-Tone mouthpieces are a great hand-made pieces at a fabulous price. Buying a hand made mouthpiece means - as it is indicated on Phil's website (http://www.phil-tone.com/tenor.html) - you can get him to make the mouthpiece to your specifications - though I guess it would have to remain in the general design of the piece.

Victor.

[magical pig]

A little update with some more playing time on the mouthpiece.

I've been playing the Barone and the Phil-Tone back and forth as IMO they compare best to each other. I find the Barone a tad easier to play in the lower register but not by far. Phil's mouthpiece has a presence in the midrange that makes it livelier without any adjustement. It also makes it a little buzzier, "brassier" - I wouldn't say brighter because it's definitely not the case. The barone has almost a hollow sound quality to it that needs adjusting to center.

Although this is very subjective, I find that Phil's mouthpiece has a dirtier, more inviting and human quality to it - like the kind of girl you meet at a festival, (barely) dressed very casually who instantly engages a surprisingly interesting conversation with you. You keep noticing little details in the way she moves and speaks that makes you feel "confused" inside. Anyhow, you're having a great time and you just think to yourself that you don't have to pretend you're anything but who you are and that's one of the only time you felt like this so fast besides a girl.

The Barone is an astonishly beautiful woman sitting still and alone at a table in a dim-lit non-smoking bar. She seems to be staring at something you can't seem to identify. Her tidy hair, expensive dress and jewelry reinforces the severe look in her eyes. Or is it melancoly? If you want to know what lies behind her severe upper-class outter image and bring her back home, it's gonna require more work. But maybe will it be more rewarding by the end of the night.

Back to more technical terms, those mouthpieces are 2 very distinct beasts except for the fact that they need you to push a lot of pressure and have a very relaxed embouchure.

Victor.

[Kelly Bucheger]

Although this is very subjective, I find that Phil's mouthpiece has a dirtier, more inviting and human quality to it - like the kind of girl you meet at a festival, (barely) dressed very casually who instantly engages a surprisingly interesting conversation with you. You keep noticing little details in the way she moves and speaks that makes you feel "confused" inside. Anyhow, you're having a great time and you just think to yourself that you don't have to pretend you're anything but who you are and that's one of the only time you felt like this so fast besides a girl.

The Barone is an astonishly beautiful woman sitting still and alone at a table in a dim-lit non-smoking bar. She seems to be staring at something you can't seem to identify. Her tidy hair, expensive dress and jewelry reinforces the severe look in her eyes. Or is it melancoly? If you want to know what lies behind her severe upper-class outter image and bring her back home, it's gonna require more work. But maybe will it be more rewarding by the end of the night.

Victor!

You appear to become aroused while playing these pieces! I hope you will thoroughly wash the Phil-tone before passing it along....

It's good to finally have a chance to hear you play.

I actually think I preferred the sound of the Phil-tone amongst the clips, though for me it might have been a toss-up between that and the STM. Both seemed a bit more "present" and focussed in tone, to use a couple of terms that provide little actual information and seem to mean different things to everybody, but are all I've got.

It would have been nice if you hadn't subtoned on the low notes quite so much on the clips, because I think the subtoning kind of averages outs and diminishes the differences amongst the pieces. You let more of the lower notes ring out on the STM clip, and it was nice to hear that aspect of the piece....

[Keith Ridenhour]

I played it and posted in the wrong thread, my bad. It , to me plays like a student piece. I trialed it against a HR House Blend piece and like I said it plays easily but doesn't have the core of the House Blend. My reg piece is a CE metal (like a good link) . Who should I mail it to, thanks for the trial opportunity. K

[Nefertiti]

I played it and posted in the wrong thread, my bad. It , to me plays like a student piece. I trialed it against a HR House Blend piece and like I said it plays easily but doesn't have the core of the House Blend. My reg piece is a CE metal (like a good link) . Who should I mail it to, thanks for the trial opportunity. K

Wow! This pieces must be very different than the one I trialed awhile ago. The one I tried was great. I still have the one I bought from Phil. I had a student try it the other day and he sounded great on it. I'm trying to figure out if I want to sell mine or have him order another one from Phil!:?

[Keith Ridenhour]

The Phil Tone plays easily but when I compared it to the House Blend it wasn't nearly as good. K

[Nefertiti]

I don't think I ever tried the House Blend. I tried the Bergonzi piece. The Phil tone is very different than the Bergonzi Slant. More in your face kind of sound. That's what I liked about it. Very Powerful. I don't know anything about the House Blend.

[Keith Ridenhour]

Now you've peaked my curiosity . I'll check it again. K
I did do a quick play through of all my tenor pieces. I still like my CE metal piece over my Ponzol M2 120 and Barone metal. And this Phil tone isn't a bad piece. I've played alot worse meyers or bergs right from WW and BWs but like I said this House Blend has a much better core to the tone than the Phil Tone. Let me know where it goes next. I do favor a metal , soul tone ala Brecker,Sanborn so thats where I am coming from. I was listening to As She Wept off the Out of the Loop CD and thats what tonally I love. And I do sound like "me" on all of these pieces. Its just a matter of how easy it is to get to that point with the piece. K

[blue boy]

The following is a review of a .118 phil-tone tenor:

Some background: As I said in my phil-tone alto review, I have been playing for over 20 yrs, just finished my DMA in saxophone (last Dec.), and am currently employed as an assistant prof of music at a small college in GA. (not that any of this means jack, but I like to play :) ) I perform in all kinds of groups in any style....and I'm the kinda guy that likes one piece to do it all. cue RPC Rollovers.....

My frame of reference: I play a black letter RPC 125R. It has everything I have always wanted in a piece. I can get the brighter thing going or get my link on.....so to speak. I like the design so much that I have a blue letter
125R on the way to compare it to. (I think I am at 7 months and waiting, I figured someone would ask.) Anyway, on to the phil-tone.....

First, I would like to praise Phil. What a great businessman. Great communication, accurate quote on the wait (only two weeks), and most importantly a great piece. I have recommended him to all of my students and fellow saxophonists. If you order from him feel confident that you will receive 100% professional service and an outstanding product. In fact, I asked for a .120, Phil suggested a .115 which I was cool with (due to his design), but ended up making it work at .118...how is that for customer service and craftsmanship!

I must admit I liked the piece ok at first. I thought nothing special, but I knew there was something going on that I really liked. I waited about two weeks to write the review and went through a bunch of reeds
(Superial D.C. 2 1/2 are gold on this)....and now that I have spent some time with it, I must admit it is a keeper. I just needed to get used to it.

I think the best comparision would be a cross between, now stay with me, a Tenney Slant that I used to have and an RPC rollover (when you push the piece). The phil-tone has loads of projection. Not the kind that will knock down a wall laserbeam style, but the kind that fills up a room and rattles your gut. It reminds me of the sound you hear when a good baritone vocalist speaks. They can usually fill up a room with their boomy voice. It's darker than I expected (which I like), but can get brighter when pushed or with a softer reed (Yellow tin Superials 2 1/2 make it sound RPC-ish.) It could be used in any style.

The response is fantastic. My only "compaint" is that the low end is not as "cavernous" as the RPC 125R....few are, but man, I love that RPC low end, so I'm biased. The low end on the phil-tone reminds me of a good HR link (Tenny-Slant). Altissimo and intonation are dead on.

As I said in the alto thread, I don't know how he does it, but the phil-tone brand is where I'll be sending all of my students. If you want a "blank slate" type piece (where the player molds the sound as drakesaxprof has mentioned) at a steal, then this is it. I can't recommend this piece, or the phil-tone alto, highly enough. A professional piece at a reasonable price.

Thanks again Phil!

[MyMartinTenor]

I spent the evening last night switching back and forth between the Phil-Tone tenor and my main piece, a hard rubber Otto Link Tone Edge that was refaced to a 7* (from an 8) by Brian Powell.

Background/reference: I am a hobbyist player. I was a much more serious player years ago, and used to make a few bucks on the horn playing dinner gigs and the like. But I'm not and never have been a true professional player -- just a good old fashioned enthusiast. I'm always a fan of darker, spread, fat, round sounds, but I do like just a bit of either splatter or buzz for personality. My ideal sound (and I'm not there, but getting just slightly closer with every long tone session) would land somewhere between Sonny Rollin's sound on Colossus and Lovano's sound on Joyous Encounter.

Equipment: I play a 1954 The Martin tenor, and have used different mouthpieces through the years – my main pieces (the ones I've used enough to offer comparisons) have been a 120/2 Berg stainless, a Link STM 7*, and my current Tone Edge. I also have a Guardala King that I play with for a funk/blues sound.

The Phil-Tone: Definitely a nicely crafted piece. The effort and workmanship are obvious, and it came in great condition with tips/rails/etc. The rollover baffle was higher toward the reed than I expected based on the descriptions above, but it seemed proportional and well made.

I used a variety of harder and softer reeds, new and broken in, of different makes (Hemke 3.5, Hemke 3, Vandoren V16 3, Vandoren V16 2.5, DC Superial 2.5), and did not find a huge difference in sound after a second of getting used to. I think that's a good sign – reed friendly and consistent.

The sound is definitely dark, which I like, particularly in the mid-register. In terms of darkness, I'd say the mid-register is similarly dark to my STM, darker than the Berg, but still slightly brighter than my Tone Edge. C3 and above I found it to brighten considerably, although it was not a "pea shooter" brightness, but more of an edge, dirt, or buzz brightness. I just found more higher-end overtones present there. Low (E1 and down) was more than adequate – the notes sounded more easily than with my Tone Edge, although there was less clarity on those notes than with the Guardala, STM, or Berg.

Although I'd describe it as open blowing (particularly compared to my Tone Edge), the PT has just a slight resistance, which I like, that can be blown into and manipulated. Overtones and altissimo response are wonderful, particularly for a lower baffle / medium chamber-style piece.

Its most notable characteristic was its focus. I could generate almost no spread or splatter to the sound, which is rare for me in a dark piece like this with my horn. Volume was adequate – equivalent to the STM, more than the Tone Edge, (obviously) less than the Berg and Guardala. Buzz and edge were possible, and easier higher in the range (as mentioned), but I would not describe the piece as "buzzy" or "edgy."

Overall thoughts: I'm sticking to my Tone Edge because it has a bit more quirk and personality, spread and splatter. And, although I didn't find the Phil-Tone "hollow," the Berg and Link offered me just a little more meat in the core. But, the Phil-Tone will definitely make converts looking for a dark but very focused, reed-friendly, hand crafted piece at the right price. I'm quite impressed, great work Phil! I'll blow on it again tonight and this weekend and post if anything changes – otherwise, let me know who to send it off to beginning of next week.

[coolnote]

I've been playing a Philtone 0.100" for several weeks in rotation with my Morgan 8L and Lawton 7*BS. I have Rico Royal 2.5s on the Lawton and Morgan, Superial 3s on the Philtone. I use an old Yamaha 2 screw lig on both HRs, the stock lig on the Lawton. Most of the play time has been on the Buffet Expression tenor (early Keilwerth SX90 clone), some time on the Ref 36.

Sound: The Lawton is the brightest, a big gap darker to the Morgan, small gap to the Philtone, but it picks up cut & edge when pushed. I find the Philtone a little too spread for my taste when played on the Buffet, but it's a great match to the Ref 36, especially in the high range. I like the low range of the Philtone best on either tenor, it's dark, deep, and lush.

Playing: The Morgan is the most free-blowing of the three, the Philtone is a bit more resistant than the Lawton (although I'm also using a stiffer reed on the Philtone). Both HR pieces seem more reed tolerant than the Lawton and are not prone to squeaking. They're all pretty responsive pieces. I don't have a strong altissimo technique on tenor to start with, so I find the Lawton easiest to deal with for now.

Intonation: I don't have any particular problem playing these pieces in tune.

Physical: The Philtone is biggest in overall size and beak profile. The tip and rail finish are good, the chamber is pretty rough; the Morgan and Lawton are very finely finished throughout. They all have nice roll-over baffles, Lawton has the highest, Philtone the lowest. The Lawton and Philtone have fairly round chambers, the Morgan looks like a wide oval. The Philtone and Morgan both have large chambers, Morgan is probably slightly larger in volume, while the Lawton has a medium chamber.

Overall: This particular Philtone is not finished as finely (which would probably cost $$$), but in terms of playability and tone it stands tall with some pretty nice competition - it's just different. The Philtone is my favorite of the three on the Ref 36 (it's versatile, complements the beautiful low end of the Ref 36), but seems too spread and a bit stuffy in the high range to me on the Buffet compared to the other two. The Lawton is my favorite on the Buffet, it brings some focus & brightness to the Keilwerth sound. I'm happy to play the Morgan on either horn, but it isn't my favorite on either one.

I'm curious as to the customization that was requested for this piece in the original order, I'm guessing Phil could tune this puppy up for a Keilwerth if that's what wanted. Overall, I'm very happy with my Philtone tenor purchase.

[petersax]

Wow! I've just spent an hour reading reviews of the Phil-Tone passaround Tenor piece - and I'd love to try it myself. How do I get on the pass around list?

Thanks,
Peter

[MyMartinTenor]

Wow! I've just spent an hour reading reviews of the Phil-Tone passaround Tenor piece - and I'd love to try it myself. How do I get on the pass around list?

Thanks,
Peter

Send a pm to Sigmund451.

[carr]

This review is not of the Phil-tone that was part of this pass-around, but of a Phil-tone .095 tenor piece that I puchased from Phil 2 or 3 weeks ago. I purchased one based on the reviews I read here, particularly the one by drakesaxprof in post #54. The bottom line is that this a fantastic piece at a very reasonable price.

I really don't have much to add, because it has all been said already, but I would like to echo the comments of drakesaxprof, especially the ones regarding tonal flexibility, ease of tone production, and qualities of a very good Link. It is not often that you find a piece that is robust, vibrant, resonsive and flexible with great intonation at this price. I would not hesitate to recommend this piece!

[IPLAYDABARI]

OK so I first must say I am sorry for being so late in writing a review for this wonderful mouthpiece and also I apologize for not sending it out on time....its been a hectic week and my weekend was just has hectic.....well I have had the Phil Tone .105 pass around mouthpiece for too long and I had a chance to play it with some of my friends and some of my teachers at school and we all have come to an agreement that this is no doubt a great mouthpiece....

A quick background info on me...I am 21 and I have played sax for 11 years. Been in college for four years majoring in Music Performance. Mainly play straight ahead, rat pack type big band, latin, funk, and almost everything else. As my Name implies I am a baritone player but as of three years ago I started to branch out and get my other horns up to par because my ultimate goal is to someday become a studio musician. My current setups are as follows
Alto...OLEG...Morgan 5E...RJS 2H Unfilled
Tenor...Cannonball Vintage...Barone Hollywood 7 from 2000...RJS 2M Unfilled

I am also learning how to reface mouthpieces and do chamber modifications also so my Hollywood isn't a normal Hollywood. I have a problem playing larger chamber mouthpieces therefore I shrunk the chamber of my Hollywood and elongated the baffle just a bit to get what I want out of it....well with that said this mouthpiece has a Med Large chamber and it works great for me. I can get that rich, dark, PHAAAAT, sound out of this mouthpiece but what I like most about the Phil Tone is that it has a centered focused sound, something hard for me to do when I when I used to play a Link type mouthpiece. I could feel my horn vibrating under my fingers just like my Hollywood and could get almost as much volume too. It was extremely reed friendly. I tried Javas, ZZ, RJS, and Alexander DCs all of them played well but the RJS brought the best out of this piece. I could totally get that Redman vibe out of it and push it to get more of a brighter Mintzerish sound just by changing how I leaned into the mouthpiece. I am definitely gonna invest in one of these pieces but maybe his "brighter" version he offers on his site. The only downside I have with this mouthpiece is the beak height. I play on more duckbill style beaks and this mouthpiece just feels large and cumbersome but plays just as well as my other mouthpieces. Great Piece Phil and THANK YOU for this chance to play this piece. Again I am sorry about holding on to this for sooooo long. I will send it out tomorrow for sure.

THANK YOU

Just something I forgot to mention is the finish work is great. Everything is clean, rails and chamber was nice and smooth with no file marks. I used a Francois lig on it that I used to use on my old Bari set up which was a HR Berg. The combo looks great with my horn....Phil Tone, Francois Lig, Unlacquered Cannonball Vintage....I was really channeling Redmen but didn't have the SBA or the chops....

[MartinMusicMan]

I currently have the Phil-tone tenor pass-around marked .105. I PM'd Sigmund451 when I received it a week ago to find out where to mail it next and I haven't heard back from him. Perhaps he's traveling? Too busy making mouthpieces? I hope he's not ill. Anyway, I'm posting to this thread in the hopes that he will see this and tell me where to send it. I got it from Mike in San Jose. I'll post a review after I gig with it this week.

-MMM

[Sigmund451]

I was away and Im busy but my fingers got a badly needed rest. Im posting less too because of some tendon pain....not too bad though.

Im back to work and I will get you an address.

Thanks

Phil