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.
Just dont let it dry on the piece. Its hard to get off and polish just rapidly pulls away the tarnish and you can give it a nice rinse with soap and water afterwards.
So I got my Tribute today (second hand) in a .110 tip opening and slapped on a #3 Green Java. The piece is well crafted with a perfect finish. No machining marks, no rough edges, no cosmetic imperfections (I’m an engineer, I look for these things). It looks like a work of art. The reed also lined up perfectly at the tip.
At first blow I didn’t know what to make of it, it didn’t seem to have any personality of its own. I started playing through a few long tones and then some scales up and down the horn, here is where I first noticed the beauty of this piece. It was consistent from top to bottom. Thick and amazing through the palm keys, quick and responsive in the bell notes. (I know, I know, it’s all been said before). WOW!
It has just the right amount of resistance and plays easily without being “free-blowing.” As I continued to learn the piece, I experienced the flexibility and great range of tonality this piece is capable of, it can purr like a kitten or growl like a lion. It can go bright, it can go dark, it can whisper or it can roar (well, not Dukoff loud, but loud). I haven’t yet experimented with the different pressure plates (I’m not even entirely sure which one is on it, too many choices) or different reeds.
Now I’ve never played a Florida Link, but I’ve tried my share of modern STMs and have been playing a 6* refaced by Phil for a while now. This piece blows them all away.
Phil – an excellent piece. I only have 2 more days with it before leaving for Vacation, hopefully I’ll get some more time to learn the intricacies of Tribute before we leave. This will probably be the last piece I buy for a long time (and not cause my wife told me no more). I’m no doctor, but I’d prescribe a Tribute for anyone looking to cure their GAS…
So I got my Tribute today (second hand) in a .110 tip opening and slapped on a #3 Green Java. The piece is well crafted with a perfect finish. No machining marks, no rough edges, no cosmetic imperfections (I'm an engineer, I look for these things). It looks like a work of art. The reed also lined up perfectly at the tip.At first blow I didn't know what to make of it, it didn't seem to have any personality of its own. I started playing through a few long tones and then some scales up and down the horn, here is where I first noticed the beauty of this piece. It was consistent from top to bottom. Thick and amazing through the palm keys, quick and responsive in the bell notes. (I know, I know, it's all been said before). WOW!
It has just the right amount of resistance and plays easily without being "free-blowing." As I continued to learn the piece, I experienced the flexibility and great range of tonality this piece is capable of, it can purr like a kitten or growl like a lion. It can go bright, it can go dark, it can whisper or it can roar (well, not Dukoff loud, but loud). I haven't yet experimented with the different pressure plates (I'm not even entirely sure which one is on it, too many choices) or different reeds.
Now I've never played a Florida Link, but I've tried my share of modern STMs and have been playing a 6* refaced by Phil for a while now. This piece blows them all away.
Phil - an excellent piece. I only have 2 more days with it before leaving for Vacation, hopefully I'll get some more time to learn the intricacies of Tribute before we leave. This will probably be the last piece I buy for a long time (and not cause my wife told me no more). I'm no doctor, but I'd prescribe a Tribute for anyone looking to cure their GAS…
I was wondering about the tarnish, been playing the Mosaic so much lately that's become an issue....I'll pick up some Mother's today...one more note on the piece...besides the range of the horn being really easy to play (low Bb sings), I'm starting to really see the range of tone. It can get bright, and it can play dark...the best news is I haven't had the urge to use a different piece since I got it....
Its always awesome to hear that people have found what they are looking for in my work. It really makes it worth the time and effort.
Guess Im gonna have to put a MPC care card in with the pieces (yeah, something else I gotta do lol ).
*DONT let polish dry on the mpc. It can be hard to remove. Its not wax. Apply it and work it with a wet cloth. It will rip the tarnish off like it was nothing.
When I first played my Phil-Tone Tribute I was struck by the smooth even tone from the bottom of the horn to the altissimo. Clear, even, and great intonation. The one thing I couldn't shake was the perceived darkness of the tone, I wanted a brighter tone to match the sound concept in my head. I actually contacted Phil about possibly making physical adjustments to the mouthpiece to brighten the tone. Phil as you all know responded immediately with a few options. But, silly impatient me forgot the most important ingredient in getting to a successful solution; analyze, document, test, try other options if necessary.
Well, I found the solution for me. I advised Phil I found a solution by changing the reeds from Vandoren Java and Red box to Riggotti Gold 2.5 med. Also changed the ligature to a Vandoren Optimum I had in the mouthpiece box, voila'. What a difference a simple change can make. Lesson learned here is, be patient, analyze, improvise and experiment until you get the sound you want. It's not always the mouthpiece! The mouthpiece is perfect, I just needed the correct set up (reed and ligature) to produce the sound and get the power I was looking for. Thanks again Phil for creating such a great sounding, easy playing, colorful and powerful mouthpiece.
Hi all, I just want to share my experience so far with the Tribute. I've been really curious about these and the Mosaics and I had traded a few PM's with Phil and pretty much decided to try out a Tribute. About then I ran across one on Ebay that had been up for sale for just a couple hours at a good price, so I pounced on it. It was pretty much black like the seller never dried it after use so it tarnished. I shined it up with some non-abrasive metal cleaner until it sparkled like new and strapped on a reed to try it out. Wow. I don't know that I can add much to what has already been said, but this is the real deal. It's all true, very even in all registers, just the right amount of edge, super easy and fun to play, perfect amount of resistance. Different reeds really affect the sound so it is really versatile. The piece is vibrant and lively, those are the words that come to mind. Like others, when I start playing it I don't want to put it down!
I've played sax off and on for more years than many of you have been alive, starting in 4th grade. I've bought and sold many, many pieces - I enjoy trying them out and seeing what they have to offer. Usually the more I play a piece the more I find things about it I don't like. I have kept very few, but Phil's is one that just keeps getting better and I'm sure I'll be keeping it and enjoying it for many years to come. I keep finding more things to like about it.
Incidentally, I played it at a gig that was pretty much blues/R&B/rock stuff, and it worked great. I was able to get a real soulful sound and plenty of intensity and aggression when I wanted. Not as loud as my usual high baffled piece, but still a great piece for the job - just a little more volume to the PA and monitor and everything was cool. I'm tempted to try a Mosaic but I'm afraid I'll want it too. Thanks Phil (and Theo) for the excellence.
I have the enlightened ligature that came with it but haven't swapped out the pressure plate yet. I have a hard time believing it will make much difference in the sound. Anybody have any observations/experience with the different pressure plates and is there enough difference to make it worthwhile messing with them?
I just ordered one of these from Phil last week and got it last night in the mail. So far, I can say without a doubt after two hours this is my new piece. I have a bit more work to do with it, but already it has captured my heart and ears. I play a black nickel Cannonball BBSS tenor so it is already a more modern sounding and brighter horn than my old Yamaha 875EX. I took a fresh V16 2.5 reed, which is what I have been playing on my Jumbo Java T95, and the Tribute absolutely loved it.
Effortless and big, fat tone. The tone is so malleable as well and easily controlled. For me, a true test for a piece is me playing "Don't Explain" in the style of Dexter Gordon's recording of the tune; so soft and delicate but still a firm and focused core to the tone. I have done this test with every piece I try and this is the first one that made me smile when I finished. My wife actually walked into the room as I finished and was asking what I did or changed to make it sound so good. She loves music, jazz in particular, but is a bit tone def....lol.
Opened it up a little on two Bob Mintzer etudes and it responded well with again, great tone and intonation. I did hit a wall on volume but I have also been playing that JJ T95 for the past year so I will have to work on breath control a little bit with the Tribute. It can get a really nice sound for doing some rock and r&b stuff. You will just have to be turned up in the PA a little bit...hehe.
I am going to try a few different reeds this week and see what I feel responds the best. I have some Rigotti Gold 3M and Vandoren Java green 3 to try out. I tried a couple LaVoz mediums but they were a bit to stuffy and stiff, so I will try and grab some medium-soft and see how they do. The biggest change for me is how loose my embouchure is playing this piece. After spending a week or so I will try and get a recording or two up for everyone to here.
Thanks Phil and Theo for just knocking it out of the park on this one! Phil, after a short while I might be hitting you up for a new alto piece, if they are anything along the lines of quality, sound, and ease of play as this piece is....lol.
I picked up a Tribute 7* recently in a trade. I had tried one briefly about a year ago, but the past few weeks I've been playing this piece a lot! This mouthpiece is fantastic! There isn't much I can say that hasn't been said in this thread by others, but I thought I would post a clip. My full setup here is the Tribute 7*, Viking M40 CB with the high copper fatneck, Wanne Enlightenede ligature with the gold pressure plate, and a LaVoz Medium reed.
I've listened to your various clips from time to time and I think this one is right up there. My favorite was the Mosaic before. It had a lot of punch and sort of weight to it. But this is one has punch and a bit more refinement as well. Just one hobbyist opinion. Keep up the great work.
After listening to all the sound clips I could find I was leaning towards the Mosaic as my next try-out project.
But now I hear your fantastic tone on the Tribute I can only say: Wow! This is it! The tone just grabs me.
Ofcourse it is the player too for a large part.
The tone is definitely what pulled me to this piece. I just played my first jazz gig in about 11 years this past Sunday. Played no mic and had to play fairly quiet, but not whispering per say. Used a Vandoren Java Red 2.5 on my 7* and I got a crazy amount of compliments on the tone and character of the sound. The piece just plays man; so effortless to mold the sound where you want it. I was so impressed I bought a Solstice .076 from Phil to try for my alto, and it is just as good. Used both the Tribute and the Solstice for a rock show Saturday night and they actually held up very well; the Solstice a little better than the Tribute, but both did well. I can't lie; I am not a fanboy of Phil Engleman...lol. His work and customer service is top notch.
I haven't had a chance to really gig on this piece since I got it, but I've been curious how this piece might do on something like a wedding or function where you have to go from lush ballad to screaming R&B over the course of the night. I tried recording a few things here at home....I'm pretty sure this mouthpiece could do the job!
I have been experimenting with a few different reeds over the last month since I got the Tribute. Loved it right off the bat with Java Reds 2.5. Tried Java greens, LaVoz, V16, RSJ. Each one had a unique character of tone along with some being easier or harder to play, but I felt there was just something missing in each. Finally, the eureka moment. I broke in a couple of Rigotti Gold 3 mediums at the beginning of this week. After this week, pretty sure another reed will ever touch my mouthpiece...lol. Actually tried some 2.5 mediums on my Solstice on alto and same result. Phil's pieces, at least for me, seem to REALLY like the Rigotti Gold reeds.
I have had the Tribute a few weeks. Straight away I could feel and hear it is quality. And the more I play on it the more I realize this. I am playing with standard Rico Royal which plays great.
I have owned a Florida Link previously and I much prefer the Tribute, although of course they are very similar. I have to say the Tribute is just a better, more responsive piece. What has most pleased me is that my 10M, for the first time, really seems to have come alive and I am enjoying playing it like never before. I had read a posting here which commented the Tribute played really well with the 10M and I agree. It never liked the Link I had.
I will try a Rigotti out, although one thing that always surprises me on these forums is that folks have stacks of different kinds of reeds at hand. Some of the brands are expensive to use all the time or to have hanging around.
I play your tribute mouthpiece since July.
Fine work !
Usually I play a Master Link opend to 7 * (pat morisson "saxophone boutique", good refacer in France) and my really old Ponzol HR 100 Hand finished by PPonzol at Quintette musique in Paris in 1987.
Your Tribute is becoming my third solution : It plays loud when need, soft but with good Buzz in médium frequencies and reeds friendly;
So, now, when I go to my tenor, There's a dual alternative question :
Which Mouthpiece will I play today ? Link ? Tribute ? Ponzol ?
Thanks for this good modern vintage mouthpiece !!!
Just wanted to put in another plug for the Tribute. I put it on the market a while ago, with the intention of trimming the herd. Luckily for me it didn't sell. I was motivated to spend some time with the Tribute recently and have rediscovered what is so great about it. Paired with 3.5S Roberto's Woodwind reeds (which I find have a more solid core than the Rigottis) with my SBA, it has a big, broad-shouldered yet focused sound. I played it next to another Florida Link (opening 0.102") of mine. The Tribute is thicker and darker, but can blow just as bright with a reed change.
It's in the case alongside my primary piece, a Ben Allen 10E.
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