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CT-40 Chromatic Tuner
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Otto Link Metal Tenor Saxophone MouthpieceThe Otto Link 24k gold plated metal mouthpieces combine gleaming good looks with the rich sound quality of a larger bore rubber mouthpiece. These pieces provide an exceptional sound and style. Includes ligature and cap.In the world of professional mouthpieces for saxophones, Otto Link is among the most respected. These bell metal mouthpieces have been the choice of numerous touring professional saxophonists in every genre of music from pop and rock to jazz, classical and R&B. With their superior tone and wide range of facing sizes available, your sound will ascend to unheard of levels. Find out why these mouthpieces are the choice of many of the world's greatest artists.
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I don't know why, after all these years playing, I never tried a Link.Seems like most of my heroes play on these things...I bought the 7* STM for tenor, and play on a Mauriat RU66, as well as Keilwerth SR90, and a few chinese tenors that play great, as well. This mouthpiece sounds great on all of them, especially in the studio, for recording. It plays very easily, low or high, and into altissimo range. It has a big, versatile sound, nice power without any harshness, and plenty of complexity, with a big core, and nice cry around the edges. I disagree with other reviewers about the included lig. I love it, and don't find it to be cheap at all. It sounds great with the mouthpiece. I think the problem others are having is that the tightening screw sticks out a bit, and causes leveraging when twisting the mouthpiece for tuning, thus tweaking the reed to the side.I use plenty of cork grease, and the mouthpiece sits on the neck so well, that I can be more gentle, and never have the twisting problem. (Also, I twist with my palm and fingers on top of the mouthpiece.) If you really hate the lig, I found that a Rovner EVO lig works very well with this piece, and doesn't have the "sticking to the metal" problem the older Rovner's had. For me, this combination is a little too mellow, though, and the stock lig has a little more edge, which this piece likes to have... This is a wonderful piece for recording, and I would think it could be used on any type of material, especially straight ahead jazz, or pop. In a live rock band setting, it has enough power, but might not have enough edge to fit in to the context of edgy guitars and keys... Also, the 7* was just about what I expected in terms of opening feel,using as a reference Dukoffs, Lakeys, Vandorens, and Rico graftonite pieces,which I have with #7 openings.Some of these pieces sound more in line when played in a loud rock situation, but are not as easy or enjoyable to play, in my opinion. The price tag for this piece makes it a great value, especially when compared to the boutique pieces out there, which don't seem to be any better, (or even as good), as this piece in terms of sound, power, ease of play,versatility, and even looks. Highly recommended!
I must say the Link took a little while to get used to, but now I wouldn't be without it. I play mostly in church, and I need to be able to play low and soft, as well as loud and high. I easily am able to do both. It mates very well with my VI. I also like the lig, it's easy to work with. Just hold the reed in place with one hand and tighten with the other. I've always done that anyway. One caution. When your reed is done, with this piece it is done. I have been playing with an older reed, and bam, squeak. Get that thing off. No amount of tlc will help. It is unforgiving in this area.
I have used bergs and other metal pieces and I have two of these links, a NY tenor #8 and a regular style 7*. I find them not so focussed and clear and fast playing as a berg, and not so powerful or edgy. A bit of a wuffy, muffled sound. Sorry. This ain't the Florida style Otto Link of the '60s that masters like Dex played.
Having moved from a Meyer G series hard rubber to the Otto Link metal, I found the Link providing greater ease in reaching low octave C, B, and B flat. The tone is a bit raspier and airy but mildly so. Consistent tone in upper registers also a plus. Generally speaking it's a mpc worth the money.
HOWEVER, THE LIGATURE IS A PIECE OF JUNK!! After just 2 hours of playing, the metal plate separated from the screw and is now essentially useless. Since all my other tenor ligatures would not fit the Otto metal, I had to temporarily adapt an alto ligature until I could order a decent replacement.
Easy to play and great sound. Just moving the reed forward or back and changing the hardness slightly can give you tones from the soft-fluffy sounds for ballads to the hard screaming rock all on the same mouthpiece. As others have said, the ligature design sucks, if you need to tune during the gig, better check your reed position again after you do. Even with that slight inconvenience, it's the best mouthpiece for me. (I play an 8 with a Java 2).
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