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* Phil-Tone & Theo Wanne Tribute Reviews *

122K views 228 replies 65 participants last post by  Sigmund451 
#1 ·
The early thread I trouncing this mouthpiece and discussing its progress (as well as my medical issues) has become a very large thread. It seems at this point logical (and I hope it's ok) to make a thread where people using the piece can post reviews, impressions, sound clips etc..

The first review is by our esteemed Steve Neff. I will post a link to his site.

Thank you Steve, and thank you all for your support and encouragement.

http://www.neffmusic.com/blog/2013/06/phil-tone-theo-wanne-tribute-tenor-saxophone-mouthpiece/
 
#82 ·
I've read the other reviews now. I see that a couple of folks have noted that when they took in more piece and played with a looser embouchure the piece really started to sing for them: I find that interesting because I think that's pretty much my default embouchure (in fact, I had to put a new patch on the piece, because my teeth went beyond the patch that was there when I got it...).



Thanks, Eye K! Alas, I lent my trusty Zoom to a friend, who returned it with the settings screwed up, unbeknownst to me. As a result, my recording of the piece is clipped and distorted and useless -- something I didn't know till I sat down to write the review, and the piece was out the door on its way to the next person...
 
#83 ·
I have spent a few very interesting days with the new Tribute mouthpiece from Phil-tone/Wanne. Like other reviewers, I was struck by its appearance. It's a Link copy, so the shape is pretty much a given, but whoever came up with the visuals combined a silver matte finish, clean block lettering, the script Wanne "W" logo, standard shank rings, and a heavy but balanced feel into a presentation that radiates refinement and quality.

By way of playing reference, I've been using a Morgan Fry Floridated modern Link in a 7 tip for a while, and have been very happy with the sound of it. I also have a Florida Link here, refaced by Brian Powell to 7* - not original obviously, but I assume it retains enough of its original sound to give me a sense of the difference between vintage and modern. The Floridated Link has more innate buzziness than the BP/Florida model, and I really love that aspect of it. It's also a little livelier in general - "zingy" is the word that comes to mind - and also hollower. When i first blew the Tribute, I found it to be pleasant sounding: even smoother and more restrained than the BP/Florida - especially so in the second register - but with a really solid core, especially in the low end, that I really liked. That's pretty much where things stood in my assessment after day one - excellent mouthpiece and core sound, but a little too polite for my tastes and clearly less aligned with my tonal concept than my current mouthpiece.

That assessment gradually evolved in days two and three, almost by accident. First, I happened to start blowing a little harder on the Tribute, and that seemed to have a dramatic impact on the sound - not making it brighter or edgier but filling it out. Later, by accident, I left the reed a little short of the tip of the mouthpiece. I usually detect that problem quickly by the unwanted additional buzz in the sound, but in this case the buzz was something I missed when the reed was "properly" placed. I experimented more with my air support, and found that the more support I provided, the more the beautiful core sound of this mouthpiece just seemed to blossom. That feature might not appeal to everyone, but for me it was an interesting dimension that I haven't experienced to such a dramatic extent before. It still didn't have quite the zip of the Floridated, but it made up for it some with a gutsier, more complex core. I can't say I like the Tribute more, but it sure holds its own against an old favorite.

I'd agree with others that this is a flexible mouthpiece, but I wouldn't apply Kelly's "transparent" characterization, because that gutsy core sound was a constant for me. I also wouldn't describe this as an easy-playing mouthpiece. It's not that it's finicky. After several hours on the Tribute I'm beginning to realize that I haven't been working hard enough with my air support, that the Tribute handsomely rewards the extra effort, and that applying that same effort to the Floridated enhances its sound too, though not to the same degree as the Tribute. At one point, I found myself playing fortissmo low Bb's on the Tribute for a few minutes, just to see how much sound was there, and it easily accommodated the limits of my effort. After a fascinating few days of discovery, I'm left wondering how much unrevealed potential the Tribute might have in store. Well done, Phil and Theo!

I tested with 2 1/2 and 3 Javas and a standard Link lig. Regrettably, the Enlightened Ligature wasn't included in the passaround, not that I'd expect it to significantly affect my review.
 
#87 ·
... I tested with 2 1/2 and 3 Javas and a standard Link lig. Regrettably, the Enlightened Ligature wasn't included in the passaround, not that I'd expect it to significantly affect my review.
I've been playing the Tribute for a month now, mostly with Javas 3s (red), and with both the Enlightened Ligature and an FL. The Tribute sounds just as good to me with the FL, and your post reminds me very much of my own experience: The strong, beautiful, gutsy core is always there. For me, the Tribute is not a mouthpiece that knocked me off my feet, but it is a mouthpiece that to an unusual degree makes me increasingly want to play it again, ... and again, ... etc. So far at least; we'll see. This is different from the fireworks type, "swept off my feet" reactions to the mpc du jour that one encounters (and that I myself have experienced more times than I'd like to admit lol).
 
#84 ·
Rackety thanks for the insightful review. I totally get the 'zingy' reference you used in describing your floridated piece. You mentioned you used Java reeds with the Tribute - which type? Red, green etc. Thanks in advance.
 
#90 ·
Thanks Rackety and Kelly for the insightful reviews. We really worked hard to make this piece extremely versatile. It certinaly does benefit from good air support but I think, more importantly, it is really enjoyable to play. I agree that the more you give it, the more it gives back...the more you explore, the more you find. This is not a quality that is found in every mouthpiece but it is important.

I think of a great mouthpiece the same way I think about a great horn. A Mark VI (for examle, not excluding all other horns) has plenty waiting in reserve for an average player to explore and grow. Take a great player and put the instrument in his or her hands for a period of time and it becomes an expressive extension of that individuals musical self. At the core of this project that was what we wanted to offer players.
 
#91 ·
Ive gotten a couple of notes about discoloring on the piece. It can be safely cleaned with an ammonia solution. A strong solution wont harm it but it might get your attention when it goes up your nose. They are new, bright and have a tooth to the finish so they tend to show discoloring from chemicals in your mouth and sometimes deposits from wet reeds. Looks like new after a quick wipe down.

Maybe the Tribute will develop better cleaning habits in players...you know who you are. Clean that crusty mouthpiece your playin ;)
 
#92 ·
Got my Tribute today from the mail box. I must say it has the best packaging of any mouthpiece I have purchased. I have spent about 2hrs with it today and thus far I am enjoying it. I am thrilled to find that it is indeed Legere Signature friendly for me. I find the tone is more focused than the Eclipse. But the Eclipse feels more gutsy for me. I'm also more familiar with the Eclipse so I'll continue to give the Tribute some play time. It is definitely a keeper as I have no problem at either end of the horn's range.

Sent from my GT-N7000 using Tapatalk 4
 
#95 ·
I've quite enjoyed spending a bit of time with the Tribute. Here are my thoughts.

The mouthpiece is indeed, as has been already suggested, rather neutral in character -- in a really good way. Like one of my hard-rubber favorites, the Tenney Jazzmaster, it imposes nothing on the player, and is receptive to input, whether dynamic, articulation, or tonal color.

What little inherent character that it does possess (again, I regard this as a positive) is both subtle and flexible. In particular, it shares with my benchmark STM (serial-numbered no-USA) a certain grained sonic texture that I find quite attractive. While I most often play hard rubber mouthpieces (Tenor Madness EB, assorted vintage pieces, and the aforementioned Jazzmaster), I also enjoy the alternative tonal options afforded by (a very small handful of) metal mouthpieces. I find most to be unpleasant to play, inflexible, and the usual "chops in a box" disaster. There are a few exceptions, in my view, including various Otto Links (both vintage and not), a handful of vintage Dukoff California and Zimberoff mouthpieces that I've encountered, and now Phil's Tribute.

Nice work, Phil, and worthy of consideration by any player looking for something of an anodyne tabula rasa mouthpiece.
 
#98 ·
Thanks for noticing gents!

Phil-tone pieces are avaliable at the following saxophone centers that may be near you.

Sax Alley
Sax Quest
Bertranda Horn Improvement
Kessler & Sons
Schmitt Music
Junkdude
Second Winds Music
Carere Music
The Horn Section
South Wales Woodwinds (UK)
The Music Place (Australia)

Drop in and try the pieces. If your store doesnt know about Phil-Tone feel free to tell them!

Im really trying to break int Canada and Europe. Its hard because the distance, language barriers etc... But Progress is happening.

These dealers are great to work with. If you play a piece and like it you can grab it on the spot. Custom work and free tweaks are only avaliable from pieces bought direct....(I only have 2 hands!)

thanks
Phil
 
#99 ·
Are there any more impressions or reviews on the Tribute from members who normally play on metal links? I'm very interested in any comparisons with links, vintage or modern, that people can make, both in tone and playability. I've read the reviews by Steve Neff and Rackety Sax but wondered what others views were?

My GASometer is set to overload!

Thanks, Tony
 
#101 ·
The better part of this afternoon and evening has been spent playing this piece on a variety of vintage tenor horns in my collection. I like to post reviews as soon after I have given them ample time to get a first impression as possible. I feel that this helps to keep the review raw and honest, without needlessly superimposing too many personal factors involved with playing testing over an extended time.
I've been playing long enough to know what to look for, and what I can expect to get out of a piece of equipment after an hour or two at the most. Any other befits discovered over time is just icing on the cake if it otherwise impresses.

I've been playing Link STMs for decades as my primary tenor mouthpiece. In the process, I've played and owned examples of vintage, modern, NY, FL, tweaked, straight out of the box, you name it.

Phil and Theo have very successfully collaborated in offering what I would term as an "Ăśber" STM with this impressive piece. All of the pesky and well known gremlins inherit with the STM (at least those among the JJ Babbitt incarnation) have been exorcised out of the otherwise superlative design, and the results are a joy to play. Those who have previously considered the STM design to be difficult to play, let alone master, will be delighted with the Tribute.

The response throughout the range is effortless, and the tone and richness is everything one hopes for from this classic design. I would even say that the lowest bell notes are even more inherently rich and warm than the Link made version. In fact, although I am of the opinion that STMs don't really open up and speak to their full potential until you get to a 8 opening or larger, I will concede that Phil is correct when he states that this offering achieves the same at a 7or 7*. This example is a Link 7*, and is the ONLY one in that size that I have ever sampled that would come close to convincing me to switch from my usual preference for an 8*. I'm still more comfortable with an 8* overall, and find it improves the altissimo response (at least for me) too.

The table, tip and side rails are finished to a level par excellence. Perfectly uniform and neat. One thing I've noticed that Phil does is to finish the window edge sharply and crisply. This is a detail that I look for, and feel aides in response and clarity. Good job. It appears (to my eye at least) that Phil has increased the baffle just a wee bit immediately following the tip vs. my STM examples. The projection does seem improved as a result.

The table on these fits the reed perfectly with zero overhang, and the tip is shaped to fit most reeds as well. YAY! Why can't JJ Babbit fix that flaw with their pieces for crying out loud!

Intonation and reed friendliness is top tier too. No issues or quirks switching between a wide variety of tenors. This piece also cleared up the wee bit of wolf-ish note tendencies that a couple of my Conn 10M horns had in the second octave G, G# and A when paired with the STM.

On a purely cosmetic side note, the gunmetal like silver finish is quite striking, especially with my silver plated horns.

This piece will come with an improved, Link inspired one screw ligature, although the sample piece is sans ligature. My Selmer 404, Rovner ligs and Ult Ligs worked perfectly with this piece as they do my Links.

I have recently traded in my old faithful STM pieces for a new line of Wonderful HR mouthpieces that I love to pieces (elaborated upon in another thread in this sub forum). I will say that for those looking for a greatly improved, nay perfected, Link STM piece, this is it IMO. In fact I'd rank this as one of the very best of that design that I've ever played, hands down.

There have been some extraordinary tenor mouthpiece offerings lately, and I've had the privilege to be among the first to sample them. As Dr. G/George put it in another thread, "Times are good for tenor players". I must agree.

Many thanks to Phil for allowing me to sample this superb piece.
 
#102 ·
I forgot to add;

In response to Tony's request for a comparison tone wise between this piece and classic Link STM's, this one reminds me of a Super Tone Master NY USA model. It has a wider beak, a large bore, and is darker than your standard STM.
 
#104 ·
It seems that resistance to GAS is hopeless!!

Tony
Tony, Resistance is Futile!

Saxismyaxe, thank you so much for your thoughtful review. Its so nice to know people are enjoying the piece. After years of rehabing links its a pleasure to offer something that works. I do hope to offer these in different tip sizes in the future. They do play very well in different sizes. I have made several since introducing the piece. I was a bit posessive of the design and didnt really want to deviate from it. Im taking a different view on that as time passes.

Just to clarify, the beak is actually the same as a Florida in terms of width. I have not measured modern STM pieces against it. Of course there is some variance in the outside of Links anyway. The bore diameter is larger than a current STM. It mathces STM Florida we worked from. Im happy to say we added some material to the shank. It gives it a more substantial feel and is less prone to going out of round or tearing cork. There is also more meat in the tip so it wont attack your lips like a sharp coiled up snake. We made an effort to give special attention to every detail.

I do get what you are saying when you hear some resemblance to NY links. It has a deep tone and a little bit of a growl. It presents with a thicker tone than current STMs. I belive it has a complexity not found in either current model regardless of modifications.

Again, thank you so musch for your review. I hope you are enjoying the piece.
 
#108 ·
I got this letter yesterday, it was such a nice treat and a thoughtful look at the Tribute so I received permission to share:

Hi Phil,

So the mouthpiece came yesterday. Initial thoughts for you.

Nice packaging, the wood box is a nice touch. Yes, the mouthpiece is not
inexpensive, but you should understand that some touches like this do
let you customers understand the thought and care required to produce
these products.

The mouthpiece is quite attractive in a sort of understated way. The
craft level in the mouthpiece looks very good. In some sense, it reminds
me of my Ponzols, where the machining and finishing is just consistently
very nice. The machining design of this piece includes some very subtle
little "signatures", which I find very endearing. (Incidentally, as
mentioned before, the general build quality of a Link is pretty dodgy).

I've only been able to play it briefly last night, but it is really,
really nice. Plays down low well, lovely, fat sound. Very nice
projection (yea, maybe not for a rock and roll gig, but a much bigger
sound than I was expecting.) For what it is meant to do, I've always
felt that the M2 was pretty perfect. Now, this mouthpiece has a
different purpose, but it really feels to me like it is "perfect" at
that, providing a very easily playable, fat, flexible sound with real
soul. Have to laugh a little bit, I keep looking at this piece and
wondering how it does such nice things.

I can easily understand how guys look high and low for a mouthpiece like
this. In some sense, it feels to me like you and Theo have paid a
wonderful homage to the old craftsmen that hand-finished in the humid
weather of Florida.

Once I get comfy with it, I'll carefully record it, my "Bob Shephard",
my Ponzol M2, a Guardala "Studio" and new Link New York #6 and post that
on the Sax Web.

Well, I'm a-going to be playing it now.

Very best to you.

Jo
 
#109 ·
Ok, I got my turn in the passaround with the Tribute and man I have to say I really enjoyed playing it over the past couple of days. This is what a metal Link should be, imo. It has a nice thick, centered tone, with just the right amount of resistance. Plays very easily in all registers and I had no trouble making wide leaps down into the bell notes. I really like the tone because it's dark but with some "spark" to it, especially when you push it. Someone earlier in the thread referred to something like a "granular quality"* to the sound and that's also what I noticed and really enjoyed. While it's not a high baffle powerhouse of course, or a 'Link on steroids' (which is no longer a Link, imo), it can take tons of air and generate some volume. If you loosen up your embouchure and blow hard, the sound opens up and really projects.

I have the feeling I only explored some of the properties of this mpc and that over a period of time I'd discover a lot of hidden depths to it. As Steve said in his review, subtle changes in how you play it can make a big difference. It's definitely versatile.

There was some comparison above to a NY STM. I have a NY Link so I played them side by side. The NY has a bit darker and more spread sound, while the Tribute is a bit more focused. It will also play brighter than the NY if you push it. And the Tribute played much better for me; much more responsive and 'solid' feeling, and definitely more reed friendly.

I could go on, but you get the idea. Anyone looking for a metal Link should put the Tribute at the top of their list. Very well done Phil!

*edit: it was drakesaxprof who called it a "certain grained sonic texture". I know exactly what he means and I really liked that texture in the sound and feel of this mpc.
 
#110 ·
I think you and others have nailed it down in the reviews of the Tribute. The piece offers a great deal of territory to explore and there is always a little extra something waiting in reserve. I have always vered away from mouthpieces and designs that lack flexibility and tend to drive your sound. There are enough pieces on the market that do just that. There is a place for all of them but not particularly in my set of offerings.

I just cant wait until the Tributes big brother hits the scene (yep, there is one more colaborative piece in the works).
 
#114 ·
I just cant wait until the Tributes big brother hits the scene (yep, there is one more colaborative piece in the works).
I don't make enough money to continue to be a member of this forum...
 
#113 ·
Ooops. I thouht I had broght this up on other threads but I dont know if Im coming or going some days!

As for details...I dont have any yet. Im not doing another tribute piece...I dont think so anyway. On the other hand Im not going to say its compeltely unique. There are so many mouthpiece on the market it is likely that any piece I make will be related to one of them by virtue of having a chamber, rails, and a table.

Lets just say I want the piece to be a bigger bolder, perhaps a bit more rude older brother to the Tribute. We are in the early stages so I dont have anything firm.

I do know it will be made of brass.

...and it does have a name: The Mosaic
 
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