I am pleased to announce the arrival of the second cooperatively made piece by Phil-Tone and Theo Wanne Inc. Plans for the Mosaic began midway through the design of the Tribute. As many of you know, the Tribute is a precise replica of the Florida Link. It is focused, refined, and in every way embodies what most players envision when they imagine a great Link.
The support we have received for the Tribute has been outstanding. It is truly a phenomenal piece. However, most of us want more than one flavor of ice cream. Everyone doesn’t want to play a Link. Sometimes a player wants a piece that is a little less civilized, maybe sometimes even a bit rude. The Mosaic is that piece. It has color, texture and resonance to extend your sound concept into different realms. Offering a tonal palate that is thick, chunky and rich the Mosaic can get “Up in your face” when you want it to and simply sings.
The sound is inspired by the Dukoff “Stubby” but takes the concept a step beyond. The piece accomplishes what few pieces can. It is easy to blow, has an enormous sound and resonance. Never thin, the Mosaic has more color than any mouthpiece I have ever played hands down! The piece accomplishes this without the use of high baffles. This allows the player to shape his or her sound. From warm ballads to driving bop the Mosaic delivers.
The Mosaic is machined to the highest standards available. Each piece is then handcrafted to completion. Each and every piece is play tested prior to final finishing. The Mosaic will be offered as a 7* (.105) with custom tips available. The piece will ship with Theo’s Enlightened Ligature and two pressure plates. The retail cost for the Mosaic is $495.
As titled, this thread is for reviews....our very own Steve Neff will be posting very shortly.
Thanks jlima!!! There is definitely an aspect of these tips that I love, but when I'm on the gig I push hard and they spread to much for me compared to a smaller tip which holds it's core in that situation. I'm working in it though as the .100 tip is definitely fatter and I love that!!!
I'm using a Selmer 404 ligature with a Rigotti 3.5 strong reed.
Ben Allen Mouthpoeces just put this up on another thread. Since it is bout the Mosaic I thought it worth copying it here also.....
"Not that our opinion of Phil Engleman's Mosaic mouthpiece(s) really matters anymore than anyone else's, but Ben & company would have made the same choice you did. Here is an edited version of Ben's email to Phil. (I need to update our website with this recommendation just because we receive several emails each week regarding such.)
"Phil, I do hope you're well. I am writing because I came across one of your Mosaic tenor pieces this afternoon (a young local man brought it in), and it is one of the most exceptional "less dark" metal mouthpieces I have played. While I typically don't enjoy (and rather strongly dislike when I do) many metal pieces for many reasons, your piece only had positive qualities for the nature of what it is. I cannot emphasize this enough; your Mosaic is really quite amazing and quite exceptional.
Having played and compared most all the mouthpieces discussed on SOTW (or mouthpieces from the respective sources), the Mosaic is by and far my favorite metal tenor piece currently being discussed on SOTW. (Drake's metal pieces and Phil Barone's pieces are equally good when available.) If I were going to try and make a metal mouthpiece via a CNC blank; I would start with yours!"
This is the second "pass around" that Phil was gracious enough to include me in and my second experience with a product from Phil-Tone Custom Woodwinds. I was really impressed with the Sapphire and I am thankful for the opportunity to offer my impressions of the Mosaic.
A lot has been said about this mouthpiece so I will try not to be redundant. Earlier in this thread Phil used the words broad, coarse and deep and I think I would use those words to summarize my playing experience also. The Mosaic took me longer to adjust to than the Sapphire, but the Mosaic has a bite that made me want to play more aggressively; as if the tone was always on the edge of breaking up. I preferred filed reeds on this mouthpiece including Hemke and Java Red reeds. I enjoyed playing on the Mosaic tremendously.
I'm going to post an expanded review of the two mouthpieces on my blog in the next couple of days. Thanks Phil.
Selmer Mark 6 (ser. 195,xxx)
Hemke reeds #3 1/2
Selmer 404 ligature
Advanced Audio tube condenser and True Systems microphone preamp direct to Pro-Tools (with no additional processing)
Hi All :
I just received today my PhilTone Mosaic 6* I bought it from my friend SimonJazzSax. It was sent to Florida and from there to Venezuela. I am in the proccess to find the proper reed for it. I am trying with Vandoren Java green 3, Rico Royal 3 , Rico Royal 2 1/2. Also I have tried with La Voz Medium, and Plasticover.
Once I find the best reed for me and my Mosaic I will write a short review. I am discovering the possibilities that this Mosaic offers and I can tell until now that it is the mouthpiece I was searching for. What a sound...!!!
Best Wishes
Humbardi
Hi All :
I found a post made by Steve Neff at Neffmusic.com tittled "Rigotti Gold Reed Strength Comparison" (http://www.neffmusic.com/blog/2014/05/rigotti-gold-reed-strength-comparison/) and it was made using a MOSAIC mouthpiece ( 7*). So it will be very useful.
I intend to buy a box of Rigotti Golds 2.5 strong and another box of 3.0 Light as recommended by JL and by SimonJazzSax. Once I selected the best for me, I will order more to have in stock.
Thanks for your recommendations to JL and SimonJazzSax.
Best Wishes
Humbardi
Humbardi, I really like the Rigotti reeds (obviously, or I wouldn't recommend them). What I've found is that both those sizes (2.5 Strong & 3 Light) work great for me on tenor mpcs with tips ranging from 7* up to 9. I think the 3s might last a bit longer (maybe), so I've pretty much settled on them. But I still have some 2.5 strongs hanging about that I'm using up and they work equally well. I guess I'm saying those sizes are pretty close and maybe there's even some overlap given the variation from reed to reed. So if one of those sizes works for you, they likely both will and you'll be able to use both (iow, no money wasted on either box).
Hi all :
I am in my search for the reed that fits better with my Mosaic 6* and I have been suggedsted to try Rigotti Golds.
I ordered from Woodwind & Brasswind store a box of Rigotti Golds 3 Light . But, doing a search in internet I found the Rigotti website here : http://www.reedsonline.fr/contents/en-uk/d56_Anches.html
They Have :
Rigotti Gold reeds - Box of 10
Rigotti Gold reeds CLASSIC - Box of 10
Rigotti Gold Reeds JAZZ or CLASSIC - Box of 3
Does any of you have experience with these reeds ( Gold Classic , and Gold Jazz ) ?
I suppose that the ones used with the Mosaic are the first : Rigotti Gold Reeds,. But I would like to know the differences between them.
I appreciate your opinions.
Best Wishes
Humbardi
Well, I reviewed the Tribute recently after buying one on Ebay,and I am really enjoying it, becoming my go-to piece. I was fortunate to get in on the Mosaic pass-around and was able to compare the two pieces. My impressions/opinions: The Mosaic has a lot in common with the Tribute - both are pretty middle ground bright/dark, slightly to the bright side. Both are super easy to play top to bottom, the right amount of resistance, very even in all registers, lightning fast response, reed friendly. Both can get pretty loud but not super loud. For me the Mosaic has a thicker, grainier tone. I would almost call it a buzz, but a good kind of soft buzz that accompanies the main tone and thickens the sound. I think I could be happy with either piece, but prefer the Tribute. It's a personal preference that I like being able to play at times with a real pure and clear tone, but still having the capacity to get raspy when I want it. The Mosaic is the thicker and more aggressive of the two, but the Tribute is thick enough and can get nasty when you want it to. The Tribute is classic Link sound and flexibility. The Mosaic has a very unique sound - I don't think I've every played anything similar. It's really cool sounding when you get breathy and sultry. Both are fantastic and I highly recommend them. I have played sax since the 1960's in grade school and have tried a ton of pieces but Phil's designs are consistently exceptional in comparison to others. I have an Eclipse that I hold onto in case I get back to hard rubber some day. Thanks Phil for the pass-around and the awesome pieces.
Phil, you have said you like Java reeds on the Mosaic--- are they the Red (filed) or Green (unfiled)?
I just received my 6* yesterday, and I'm still learning it.
It really depends on the color palate you want. Java Green (once broke in a play or two) have a nice warm buzz. They are thick and full...dark but not tonemaster dark. If you put something like a Rico Royal or a brighter cut of reed you get more of a Dexter tone. Id suggest trying a few reeds to see just what suits you.
Note: I find most every Java dull out of the box. After being played five or ten minutes for a couple of days and given the time to be wet and dried out the reed changes considerably. I dont know that others have the same experience. Its been mine.
It really depends on the color palate you want. Java Green (once broke in a play or two) have a nice warm buzz. They are thick and full...dark but not tonemaster dark. If you put something like a Rico Royal or a brighter cut of reed you get more of a Dexter tone. Id suggest trying a few reeds to see just what suits you.
Note: I find most every Java dull out of the box. After being played five or ten minutes for a couple of days and given the time to be wet and dried out the reed changes considerably. I dont know that others have the same experience. Its been mine.
I've found the same with Java Greens.
Always dissapointed at first, but when I come back to them After they've been played a little I love them.
Haven't tried the Mosaic pieces yet, but have a Tribute on the way to me at this moment.
I've had the Mosaic for the latest pass-around. As mentioned, it doesn't come with a ligature, so I had to throw a Rovner on it (I'm firmly in the camp that thinks Rovners dull the tone, sorry.) I've been tooting on this piece for the past three days and Wow!...for me, it is pretty dark and fat sounding...the lower register has the deepest thick sound I've ever had (on my Mark VI.) When I push it, I can get a buzzy jazz sound. I would love to record with this piece on a great Coles 4038 ribbon mic. It's a really easy piece to blow on. If I had to say something negative about it (and I'm always a bit skeptical of reviews on SOTW that are 100% positive - too much hype, shilling and ***-kissing on here) it's that I couldn't get it to play REAL LOUD...I'm sure it would project well against an acoustic rhythm section, but I couldn't get it loud enough that I'd feel comfortable battling electric guitars and other amplified instruments. Alright, who's next?
just got to try the Mosaic in a 7* thanks to Phil. Here's my 2bits.
Excellent piece, just as described. I'm used to playing 10*'s, but this piece still delivered a really great punch and super fat. I'm sure in a larger tip this thing would rattle your valuables. The tone is definitely right in the middle of the bright/dark spectrum, gets that 'vintage sound' vibe pretty spot on, especially when I compared it to my older links. Very reed friendly, and I'm sure would work in any musical situation. If someone is in the market for a vintage link or dukoff I'd easily redirect them to the Mosaic.
Got one of these as a trial from Phil. I'll admit that I didn't like the sound at first, but it's definitly growing on me as I figure out how to shape the sound. My last few mouthpieces have been large chamber, high baffle pieces; but I've been wanting more thickness in the middle and bottom of the horn (without compromising projection, or the top.)
Craftsmanship: Every piece that Phil has done for me has been top notch. This is no exception...this is a well built and well finished piece.
Response: I had trouble with voicing altissimo above G on the Mosaic it at first. Not the mouthpiece's fault....like I said, I'm just used to frolicking in Guardalaland. After about 30 minutes of noodling and playing a few favorite songs, the rest of altissimo opened up. Great thing about this piece, is that no matter how high you go...it gets in your face, but never makes your ears bleed from being shrill. Love that! The rest of the range responds evenly and easily...has just the right amount of resistance!
Sound: This is the biggest, fattest sounding mouthpiece that I have ever played! Warm and spread until you put some air through it...then focuses up a bit and gets brighter (but never shrill.) Great piece for ballads, soulful R&B (something like a Kirk Whalum comes to mind.)
Anyways, I'm going to get some more reeds (I only have V16 #3's and Hemke 3's at the moment) and go to a gig Friday night before making a final verdict. Perhaps I'll get to record a sample as well.
Edit: Heres a snippet I just threw together. Sorry it's not great....haven't played this song in a while (or apparently recorded with the C214 in a while either! :|)
I was lucky enough to get in on the latest Phil-Tone Mosaic pass-around. I’ve tried many of Phil’s pieces and currently own a 7* Sapphire Tenor. All have been very well made and performed nicely.
Impressions: The Mosaic has a rich, dark tone; somewhat more complex for me than the Tribute and just different than the Sapphire. When I say complex, I guess I mean more overtones and less focus.
The articulation is just superb. Very easy and smooth.
The tone stays full from bottom to top.
As I said before, this is a dark mouthpiece but I could get plenty of volume from it. I wouldn’t personally use it for R&B stuff but I don’t think that’s what Phil designed it for anyway. I’d use it for combo or section work.
Having tried four different mouthpieces from Phil, I know he produces quality. Every one of the mouthpieces played well; it’s just up to personal taste which one you like best.
The statements about how well the Mosaic works on a 10M have my attention. I just got a early 60s Conn 10M, and since I've been an alto player I don't know what mouthpiece will work best for me on tenor. On alto I tend toward larger tip openings (lately an RPC90R with RJS 2M filed). On the Conn 10M I have been trying a standard Ottolink 8 HR with RJS 2H filed for a week, and I'm starting to feel like I want a bigger tip opening, maybe even with a softer reed. Could a Mosaic with a largish tip opening and RJS 2M make sense on an early 60s Conn 10M, given my alto setup?
I own a Mosaic 9 (0.120" tip) and it could for sure work with softer reeds on a 10M. I play tested it with La Voz medium and Plasticover 2 reeds on my SBA, but still prefer my vintage Link's better and don't use the Mosaic (which is a fine and easy blowing mouthpiece).
You could be right about the support and tip size relation Phil, but actually my vintage Florida 9 and 10* blow even easier then the Mosaic 9 (could also be because I'm very much used to my Link's of course).
Shoot me an email
The piece works great at larger tips too
I have some 8s in stock
You may not want a lot bigger. While it blows easier than links it still has a quite large chamber and likes air support to get the most from it
The mosaic chamber is larger by a significant amount than a Florida which is why I lately suggest not going bigger than one likes in links. Players want to keep going larger for a large sound. It's plenty large without jumping way up in tip size...but then I know some players just feel comfortable large
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