Phil-Tone Link passaround review

[Nefertiti]

I thought I would post thie and get the reviews going. I believe I was the first one to get the PT link piece. The piece plays great compared to other modern links that I have played. It has a nice dark sound to it that is very even through out the range of the sax. It doesn't have the volume that I normally like in a piece but I think that might be because I'm use to blowing a .110 tip and this is .105. Phil does great work and I would feel great recommending these pieces to my students who need a HR link that plays well. To be honest this piece played much better than I anticipated a modern HR link to play. Instead of just having my students just order a random link that might not play well at all I would feel much more comfortable sending them to you to get a great piece. I put a sound clip up on my website. Steve

[Twombles62]

How can you compare it to your other Links?

[JJ]

I ordered one earlier this week. I will give a little review later. Living in Denmark it could take a while before it arrives here though :)

[chknbon]

I traded for a Phil-Tone Tone Edge 7* several months ago. I tried alot of reeds on it, & recently discovered that Brancher Opera 3 & Alex. Class. 3 give the strongest sound & feel. The Branchers are brighter.

[Kelly Bucheger]

I'm the next guy on the Phil-Tone Link Passaround Extravaganza. This is a hard rubber 7* that's very different from my current piece, a stainless steel Berg 110/2 SMS, with the step baffle and a custom facing by Doc Tenney. The Tenney piece changed my (tenor) life and has served me well, but lately I've been beguiled by notions of the
dark(er) side ... and Phil's piece gets me into that neighborhood.

As Neff noted in his review, this piece is a .105 opening, and like Neff I'm a .110 kind of guy, so I'd probably be shooting for an 8 if I were buying one of these numbers (and that's a distinct possibility down the road...). At first the piece felt a bit dead to me -- then I bought some harder reeds and gave it another shot, and that made all the difference.

It's a dark piece, a bit quieter than what I might be looking for, though I felt I could push it comfortably. It's more resistant than my Berg, but it's a good resistance that I could push into and mess with. (I've been a sort of "zero resistance" guy on tenor, but my experiences on alto are making me rethink this as well...)

All in all, I'm impressed once again with Phil's work. This is a great piece, and one of these might very well be in my future....

Here's a quicky clip using my trusty Zoom H4: Generic Noodling on the Phil-Tone Link (http://www-cs.canisius.edu/~bucheger/listen/phillink.mp3)

[RootyTootoot]

I love the sound of that Link. It would be interesting to hear the Berg against it recorded solo with the H4. Presumably you tried that, Kelly? The Berg does sound absolutely fantastic on "In A Sentimental Mood" but i'm presuming that the recording conditions there are a bit more sophisticated than just pointing an H4 at the band? (?? question marks to indicate my level of ignorance of recording techniques)

[Kelly Bucheger]

Rooty: your ignorance of recording techniques is matched by my own. However, a few weeks ago I was at a recording session and paid attention to the placement of the sax mics, and replicated that to the degree I was able with the Zoom. I think that the Phil Link clip really is the best representation of the sound of the thing that I could do with that unit.

The Sentimental Mood clip in my sig captures my Berg in the following conditions: I was playing very quietly, and the Zoom was actually *behind* the group. Both of those conditions "mellowed" the Berg a notch. I also added reverb after the fact, just because it was an otherwise-dry-as-dust-outside-on-a-patio gig, and I figured as long as you had to listen to all those people talking, you'd want to hear them in 'verbed stereo. (By the way, did you notice the woman who came up to me and asks for "Happy Birthday (http://www-cs.canisius.edu/~bucheger/HappyBirthday.mp3)" *while I'm playing*, during the bridge on my solo? I body-englished her to our drummer, who took care of her...).

As I stated in another thread, I can get a "budget Getz" out of my Berg in quiet conditions, but it's not the natural predilection of the piece as far as I'm concerned. To my mind, Phil's Link here wants to go in that Sentimental Mood direction on its own -- and if there were an easy and painless way I could commission an 8 from Phil without my wife finding out, I'd likely go for it! (Honey, just kidding, heh heh!)

[JJ]

Hi Kelly, what a great player you are! And your sound on the Link is lovely.

What reeds did you use?

Kind regards,
Jan

[Nefertiti]

How can you compare it to your other Links?

It was comparable for sound but my EB Link and SP Link .110 I can get much more volume out of which is what I like and need many times.

[Kelly Bucheger]

Hi Kelly, what a great player you are! And your sound on the Link is lovely.

What reeds did you use?
Thank you, Jan!

Used a Vandoren Jazz 3 1/2 on the Link clip... (3 is what I typically use on my Berg.)

[trowpa]

Ok I'm the next guy on the list.

Background: I played on a sugal (gasp!) JB1 8* for 10 years and just recently switched to a JJDV 8* (.116). I use V16 3.5 reeds. so yeah as the other two posters i'm at least a .110 type guy (more of a .115 i guess). I've never been a fan of HR mouthpieces on Tenor - but keep an open mind and will try anything. I do own a HR link - but to be honest it never got much playing time as it wasn't my "thing" tone-wise. I really enjoyed the phil-tone tenor hr I reviewed about a week ago (think it was a .108) - it really surprised me how much i liked it, so was anxious to try the modified link.

Impressions: This does play better than my HR link. However I was bummed that it seemed just too closed and too quiet for me to get comfy with. I looked for the hardest v16 3.5 i could find, but was still feeling awkward. Wish i had some 4's to try it with- might have helped. The tone of the mouthpiece was wonderfully dark and even. Fair amount of resistance (especially coming off the jjdv!) to get used to, but i think that is normal and expected for this style.

Conclusion: I think this is definitely a nice mouthpiece for the right player and if you are looking for a modern hr link, it would be a good choice. Just didn't fit me. I much preferred the phil-tone tenor!

[ranma503]

I've bought a couple of these Links from Phil. The first one was a .105, the second was a .090, which I bought because I wanted to try a closer tip opening, and so far I think I'm going too stick with that for a while, but I'll probably go back and forth.

Long story short, I think these are great mouthpieces, especially for the money. It beats stock links by a mile, and is cheaper than most high end pieces.

[warp x]

I can't wait for the EU passaround!

[tjontheroad]

I'm back. Well at least for this review. 8-)

It's posted on my new "ToneCast" section on my website (http://web.mac.com/tjontheroad1/iWeb/tjontheroad1/ToneCast/E2639A71-CA1B-438F-B641-201ADF36948D.html).

Best,
TJ

Edited: I was asked by Phil to copy the text from my website to here. You can listen to the soundclips mentioned by clicking the link above.

Today I got a surprise package in the mail. I didn't know who sent it to me nor was I expecting it. I opened it up and it was an Otto Link Tone Edge 7* tenor mouthpiece inside. “Oh yeah”, I figured, “the pass around mouthpiece tryout has come up at my turn for me to review”. It hit me when I looked “under the hood” and saw the custom work done on this piece. Looked nicely done. This is the work of Phil Engleman. Maker of the Phil-Tone line of hand finishes pieces. I previously reviewed (and later bought) another mouthpiece of his handywork that I do like. So, I was glad to get the chance try another.

I slapped the latest tryout piece on my sax as soon as I could. Pros are it's darkish tone color without being stuffy. It pays easy with little to no resistance. Cons are it felt hard to control the intonation over the other Phil-Tone I have. It's also not as full with overtones.

I can't say I liked this mouthpiece enough to want to buy it. Just wasn't my cup of tea. To be fair, I only played it for about an hour or two.

Posted are sound clips from Charlie Parker's “Yardbird Suite”. Top one is the Phil-Tone Custom. Next two are for comparison purposes. The Phil-Tone HR and a Jody Jazz HR. The tip openings are all roughly the same for all three pieces. The same Roberto Wind #3 soft reed and a VanDoren Optimum ligiture was used on a Selmer Series III tenor.

Thanks for listening,
TJ

[magical pig]

[Edit: nevermind. Other threads on pass-around cover this...]

[drakesaxprof]

I received the Link last week, and had some fun playing with it. I play-tested it in a series with six other mouthpieces, in order to provide a reasonable context for comparison.

The mpcs are:

1. Stock 7* Tone Edge
2. Another stock 7* Tone Edge
3. Tone Edge, possibly early Babbitt, 7* refaced by Brian Powell .105"
4. Phil-Tone 7* Link
5. Tenney Jazzmaster 7*
6. Brilhart Hard Rubber original 7*
7. Link 'double-ring' STM 6, opened to .104" by Brian Powell

As anticipated, the mouthpiece plays very, very well, blowing the stock Tone Edge mpcs out of the water. It's very even throughout the scale, and doesn't lose focus in the upper register, which is a neat accomplishment, working from that blank. I may also prefer it to #3, though the jury is still out.

My most-played mouthpieces are the Tenney, Brilhart and, more recently, the double-ring BP .104". Naturally, I'm most comfortable on those, but I would have NO problem playing Phil's mouthpiece on a regular basis, and recommending it to colleagues and students, which I've already done. I do prefer the Phil-Tone mouthpiece, as the higher floor and perhaps more baffle material give it more 'pop' and put it closer to the Tenney and Brilhart pieces. The double-ring is just a fun comparison, as it's an entirely different (and very nice ) animal.

In conclusion, if I were looking for an outstanding hard-rubber Link or Link-like mouthpiece, and had to stay within a reasonable budget, I would certainly consider a Phil-Tone Link. The Tenney Jazzmaster remains my 'gold standard' point of reference for jazz tenor mouthpieces, as it has, for me, the best balance of depth of core, resonance, even tone, power, and intonation on all horns. However, for a player looking for a hard-rubber (modern) Tone Edge, the Phil-Tone joins the Tenney BP10E as a very viable option.

[Rackety Sax]

I received the passaround Phil-tone Tone Edge last week and have spent some time on it every day since.

The best comparisons for this mouthpiece might be the "gold standard" Slant Link on the one end and a stock modern Tone Edge on the other. I've never played the former. I have played the latter, and didn't like it at all and no longer have it. My personal "gold standard" HR Link style piece is a Tenney Slant that Brian Powell refaced to a .105" (it's "BPT" below).

To cut to the chase, I think the BPT is a great mouthpiece, while I think the P-T is half of a great mouthpiece, notably excellent in the bottom half of the horn. In the first register this mouthpiece has the richest, darkest tone of any mouthpiece I've played; it even surpasses the BPT in that register (though not by much). I was less enthusiastic about the second register. Whereas others above have commented on the evenness of the tone in all registers, in contrast to the BPT I found the second register difficult to voice clearly. On the BPT, I feel I make little or no adjustment to get the tone clear and focused in the second register. On the P-T, I have to adjust, and even my adjustments don't seem to bring the sound quite into focus. Above the staff I even feel that the tone is a little "quacky."

Could I adjust to the P-T and get a better sound in the second register? I'm certain I could, and if I didn't already own the BPT I'd be trying to buy this one from Phil and start working on it, because its bottom register is the sound one lays awake nights dreaming about. Heck, even with the BPT I'm debating, just because I hate to mail away that bottom register.

In relation to my recollections of the stock Tone Edge I played, the P-T is great. For the price, I can't see how you'd do better for a HR Link style piece. For any price, I don't know how you'd get a better low register, but as I've said, I've never played a vintage Slant.

[Kelly Bucheger]

Chitownjazz:

I'd love to know how the Phil-Tone and your BPT piece compared to the Bergonzi Slant you just sold.... Any observations along those lines?

[Rackety Sax]

With all due respect to Mouthpiece Cafe, I did not like the Slant Supreme nearly as much as I expected to. My major problem with it was that I heard a distinct "buzz" (I'm groping for the right word here, and this is the best I can do) in the tone, which is in part the opposite of my understanding of what a Slant should be. I hate to say it, but I think what I was noticing was the material, though I'm obviously a long way from proving that. I just didn't see anything in the design that would account for its distinctive tone. I'm not dissing the mouthpiece, but when the BP Tenney goes on the neck and gets me most of where I want to go - and I know a lot of practicing is what will get me the rest of the way - there isn't much motivation to work with a mouthpiece that doesn't readily get me nearly as close. In another six months or a year I might get another one and spend more time with it; for now, it would just be a needless distraction. As always, of course, other's mileage may vary.

[Sigmund451]

Im wondering if the passaround needs to come in for a quick checkup and adjustment?

[Keith Ridenhour]

I just got the Phil Tone. I'll buy a lig that fits and then post. Might be a week or so. Then I'll need to know who's next. K

[Sigmund451]

Keith, you cant have the Phil-Tone Link Passaround. Its sitting in my studio and was just fine tuned. Is it the Phil-Tone tenor piece you have instead. If it is post it on that thread. I have 2 tenor pieces...my own and a reworked Tone Edge.

...Or did you buy one from someone?

[Redwood_Lenny]

Who's next on the link list? Can I get in?

[toughtenor]

is this one ever gonna come to europe ? :shock:
preferably this year ? You got me all curious ;)

[Sigmund451]

Someone still has my second sample set. When I get it I will. I have not timeline..sorry.

I will sell you one though :D

[Keith Ridenhour]

It says Phil Tone on the piece? Whatever it is I'll check it out and send it off. K

[Keith Ridenhour]

I got a lig and played it briefly tonight. It plays easily and would make a good beginners mouthpiece. I played it against a House Blend and I can hear the dif in tone immediately. The House has a nice core and plenty of pump. The Phil tone is easy to play and can get loud. Just that core issue. Where do I mail it ?? Send me an email with the address. Kride18576@@yahoo.com

[Sigmund451]

Keith, it is not the link you have, nor is it aimed to play like one...its also placed in the wrong thread.

Anyway, I will get you the next player for the passaround.

Sorry you didnt like it...Glad some folks do. ;)

Thanks for taking it for a spin.

[Twombles62]

Phil, can I just make a general comment for your mouthpieces. As you might remember, I've got one for alto. While it is an amazing piece, its pretty different than the standard on alto. The tone is incredibly thick and full, but I feel that this might make projection suffer. Just a thought, but I'm pretty sure that most people (myself included) prefer a little more focus, at least for alto. Your alto piece is great, but I think that a little more focus might aid projection.

[Sigmund451]

While I do really very much appreciate everyone's time and effort in these reviews lets try to get them in the right thread.

This is the Custom LINK Tone Edge thread.

There is also a Phil-Tone Tenor Thread

There is also a Phi-Tone Alto Thread.

For people looking for information it would be helpful if we can get them in the right section. No offense intended. Just trying to tidy up a bit ;)

Again, Thank you:

Phil

[ratracer]

Okay, now I know why I was confused. Keep'em on topic Phil!

[Rackety Sax]

I received the passaround Phil-tone Tone Edge last week and have spent some time on it every day since.

The best comparisons for this mouthpiece might be the "gold standard" Slant Link on the one end and a stock modern Tone Edge on the other. I've never played the former. I have played the latter, and didn't like it at all and no longer have it. My personal "gold standard" HR Link style piece is a Tenney Slant that Brian Powell refaced to a .105" (it's "BPT" below).

To cut to the chase, I think the BPT is a great mouthpiece, while I think the P-T is half of a great mouthpiece, notably excellent in the bottom half of the horn. In the first register this mouthpiece has the richest, darkest tone of any mouthpiece I've played; it even surpasses the BPT in that register (though not by much). I was less enthusiastic about the second register. Whereas others above have commented on the evenness of the tone in all registers, in contrast to the BPT I found the second register difficult to voice clearly. On the BPT, I feel I make little or no adjustment to get the tone clear and focused in the second register. On the P-T, I have to adjust, and even my adjustments don't seem to bring the sound quite into focus. Above the staff I even feel that the tone is a little "quacky."

Could I adjust to the P-T and get a better sound in the second register? I'm certain I could, and if I didn't already own the BPT I'd be trying to buy this one from Phil and start working on it, because its bottom register is the sound one lays awake nights dreaming about. Heck, even with the BPT I'm debating, just because I hate to mail away that bottom register.

In relation to my recollections of the stock Tone Edge I played, the P-T is great. For the price, I can't see how you'd do better for a HR Link style piece. For any price, I don't know how you'd get a better low register, but as I've said, I've never played a vintage Slant.

Ah-em, back to the subject - Phil-tone HR Link passaround reviews. Anyone still confused?? :twisted:

I've copied my original review above. In the meantime I sent the piece back to Phil and he adjusted the baffle a bit. I'll let him "Phil" you in on the details. He was kind enough to send it back to me for another test run. As you can see, I was honest in my original review when I was less than completely enthusiastic, so I'll try to be honest again.

Phil's adjustment addressed the concern I had with the second register. The piece now plays easily and uniformly for me across the horn without having to make inordinate voicing adjustments. In fact, I can't tell that I'm making adjustments at all, which is the way a good mouthpiece should play. I can now enthusiastically recommend this mouthpiece for anyone looking for an excellent HR Link at a very reasonable cost. Let me rephrase that - I enthusiastically recommend it for anyone looking for a great HR Link, and as an added benefit the cost is exceedingly reasonable.

I tried it with two reeds, a 3 RSJ Filed and a 3 Java. With the former, the sound was very heavy and dark, perhaps a little too much so. The latter lightened the sound slightly and reduced the resistance a bit. The choice between the two was a matter of preference. In addition to the sound of the mouthpiece, which I love, I now notice that the low register response is excellent, too, right down through the low D and E which seem to cause me problems on many other mouthpieces. Not this mouthpiece - it plays better down there than any other mouthpiece I've tried. I don't know if this is different than before the adjustment or if I just didn't notice the first time around.

Well-done, Phil, if you can consistently turn out a mouthpiece like this for the price you are asking you should have a big hit on your hands.

[warp x]

is this one ever gonna come to europe ? :shock:
preferably this year ? You got me all curious ;)

^ What he said.

[Rackety Sax]

One more small comment. I played the Phil-tone Link back-to-back with my Brian Powell refaced Tenney Slant. The sound is slightly different, but there's less difference between the same reed on the different mouthpieces than there is between the Java and RSJ on the same mouthpiece. I perhaps prefer the sound of the Tenney Slant, but I can't even state that categorically. I would say the response is a tie or maybe there's even a tiny nod to the Phil-tone. When you consider that the full cost of the Phil-tone won't even get you halfway towards the Tenny Slant purchase price without the BP work on it, you start to get an appreciation for what Phil has accomplished.

I hope Heath sees this. :)

I'll be looking forward to reading other's reviews of this mouthpiece.

[Rackety Sax]

Is a passaround still being passed around? Just curious, I'd love to hear what others think of this.

[Sigmund451]

I have get one back out there. Im busy making them so squeeking out that extra one just isnt happening as quick as Id like.

[Rackety Sax]

I have get one back out there. Im busy making them so squeeking out that extra one just isnt happening as quick as Id like.

Glad you are busy, Phil! I hope some of the people buying them will chime in with reviews.

[larose]

First of all I have to say that I am NOT involved in the passaround which is the topic of this thread. If my post in in the wrong place I would like to apologize.

I bought a custom Link 108 (between 7* and 8) from Phil and I´m really impressed.

I told him to make it really dark but not stuffy. It´s like that. I told him that I would like to have a Link which could be played really loud without getting awful. He did it! It is colorful and has a lot of character.

For me it is amazing that this "new" Link is much better than a lot of vintage Links that I have tried - even if they had been refaced. I also tried a Tenney Link (no Slant) but I prefer my Phil-Tone Link much more!

Thanks to Phil and his good work!