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Has anyone tried the Otto Link Vintage series hard rubber mouthpeces? I`ve beeu using a Dukoff M7 metal for 27 years. Now that I`m an old f**t (73) there are the physical changes. I no longer have to battle loud drummers,B3 Organs,and playing in big bands,etc.
I am playing in smaller rooms for 50 or less people. I use a Roland B330 amp (30lbs,and stereo), and MP3`s. Mainly playing standards and 50`s,60`s pop.I also double on Clarinet and Flute.I`m looking for a hard rubber mouthpiece that will give me a darker,breathlier(spelling?) tone,with a little edge.Any suggestions much appreciated.
Thanks
Chuck
Chuck
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Hi Chuck. I'm much more a trumpet/flugelhorn player but I double on soprano sax and flutes for audience shock value. I have a Mark VI tenor and use a VanDoren metal tenor mouthpiece with that. I've played rubber and metal Otto Link 6 and 6* on the tenor and found surprisingly little difference in metal versus rubber. When you say you want a little 'edge', I think that means metal, but 'darker' means rubber. But again, a player can get a mellow & dark or bright & edgy sound out of either material. Breathier means larger aperture with perhaps a harder reed, going for a Coleman Hawkins sound? I'm ten years younger than you, but I understand about supplying all that air. Interestingly, I find the metal mouthpieces easier to blow, and therefore requiring slightly less air support. That could just be me, though.
FYI, in the woodwinds, I primarily play a Yamaha soprano with a Yanagisawa 5 metal mouthpiece.
Best of luck!
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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Thank you for your input Matt.I`ve gotten a lot of informantion on the fourms over the years.I also double Clarinet,Flute,and soprano on gigs.You might be interested since you play soprano too. I play a Rudy Weidof (not sure about spelling)Busher striaght soprano that was made in either the late 20`s or early 30`s. It`s heavy horn brass with I believe a chrome finish.I bought out of an estate in 67,and had it repaded once in all these years. Anyway thank you,and I enjoy your music and fourm posts. Keeo Swingin` Chuck 
Chuck
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Chuck, check your PM inbox.
--Mac
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Oh my, those old Buescher saxes sound so nice! But they really are like herding cats: impossible to play without lipping every other note. My friend from whom I got the Selmer tenor also played a 1920-vintage Conn soprano, same thing. Heavy, very hefty. Glorious sound but too much fighting to play in tune. My hat's off to you if you can handle those.
Here's one you'll enjoy. I just did a sideman recording gig arranging horn tracks for a singer-songwriter. I wrote a unison line for flugelhorn and soprano sax, and nailed it pitch-wise - two of the more difficult instruments to play in tune (but my two favorites).
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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replied to your PM hope you recieved it.
Chuck
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Matt!
Aggreed on intonation,but once you really put in the time to practice and learn the nuances of the instrument it becomes eaiser. When I was with the Miller band Lenny Hambro the lead alto player,and band manger played an old Martin and sounded great. That gig kept me busy,I was playing Bari,Alto,Clar,Bs. Clar,and Flute.The old Miller medleys "Something Old,Something New,etc. would keep me hopping.I`ll let you guess what the most requested song was.Did a couple of tours with Les Elgart,lead Alto,and the ride Tenor chair.Very unique sound and style;last of the Big Bands with a reconizable style.
Take care,and stay warm.
Chuck
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Oh goodness, you are a serious musician. That's a very nice credential!
Chuck, here's a short story you might enjoy. As you know, I am a flugelhorn player. I picked up flute in college when the other music majors needed a piece played and no one played flute. Thirty years later, I was regularly the guest artist in an area college jazz ensemble, on lead trumpet. One summer, the director called up and asked if I would play again, but there was a catch: he needed me on tenor sax. I told him I never played sax. He said "no problem, I'll give you one over the summer".
So I learned the school's beat-up Bundy, worked my way up to an Otto Link 6, and played lead tenor that fall. I then bought the soprano about 12 years ago, and I use it when my trumpet chops get tired. Along the way, I picked up a Yamaha WX5, and on one show I played the lead trumpet book, the flute book, and the acoustic bass book using the Yamaha!
In case you ever ran into some of the tenor players I worked with, Andy Haig (who had the Mark VI I now have) and Leo Russo were the best. I was also the trumpet player for Nick Brignola, Grammy-winning bari player and Woody Herman alum - a real burner.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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I have an old 1925 silver plate King Alto that has intonation issues, but the voice of an angel. My old early serial number Mark VI also had challenging intonation issues. Mark VII sounded worse, but played in tune. H.Couf was reasonable, and the Grassi better. My new MacSax classic has the best intonation of any sax I've owned (but I haven't owned that many). I suppose the manufacturing techniques of saxes in regards to intonation have improved over the years. The only Link hard rubber mouthpiece I've ever played is a 6 and it gives me a Getz-like tone. But I don't use it because I play a lot of rock and blues (jazz doesn't put enough food on the table). I use a Link metal (tone master 8 with NY chamber) to get a darker Texas Tenor sound. In general, the bigger the tip opening and chamber, the darker it will sound, and the softer reed you will need. The problem with mouthpieces is that you can't easily try them out before buying one. Woodwind & Brasswind used to let you do so years ago (before being purchased by Guitar Center) but you had to pay a sterilization charge if you returned it. I don't know if they still do that or not. You can find a lot about mouthpieces by going to the Sax On The Web forum http://forum.saxontheweb.net/forum.php but be aware, mouthpieces are almost a fetish item (or worse a religious cult item) among some sax players so expect a very lively discussion if you ask there. If you think PC vs. Mac discussions are lively, you ain't read nothin' yet  Notes
Bob "Notes" Norton  Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
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And amazingly no matter what horn he played, even the Grafton, his tone still sounded like Bird.
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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I've known a scant few other sax players who could pick up and play just about any horn, any mouthpiece, and get the true Tempered Scale out of the things, and every one of them also had their own tone or sound as well.
Used to enjoy playing with Ned Gould up in Pittsburgh in the early 80's when we both were a lot younger, Ned had this old C Melody sax that he used like a Soprano. Silver plated horn, nobody else could play it with good intonation. But Ned could. Ned could make Grover Washington Jr. tunes of the era sound wonderful, on that tiny little C Melody sax from another era.
Ned ended up playing in Harry Connick's bigband. Unique player, unique sound. Never afraid to experiment. Sense of humor, IMO one of the most important aspects of our craft, never take yourself too seriously, but be dead serious about the music. I hope I didn't damage him too badly with my Rhodes playing, heh. Ned, Me, and a guy we named, "Joe Blow" on Bass, backing up The Marcels doowop singers, playin' weddings, jammin' at the drop of a hat...
Lost contact with young Mr. Gould and next thing I know I see him on TV with Harry Connick Jr. Go Ned!
--Mac
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It's always fun to see an old friend in an unsuspected place.
I'll second the 'Go Ned'.
I recently saw a girl I went to school with (French Horn player back then) was singing backups with Bob Seger.
So I Googled her, and found out a lot of cool things have happened to her since our high school days.
She attended my grandmothers funeral a few years back (maybe 3 years or so).
I had no idea of the circle she was currently working in or I'd have asked more questions!
I do not work here, but the benefits are still awesome
Make your sound your own!
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Ask sales and support questions about Band-in-a-Box using natural language.
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Peter Gannon Talks Band-in-a-Box with zplane
zplane recently interviewed Peter Gannon, the founder and creator of Band-in-a-Box, about the software's early days, what sets it apart from AI, how zplane's audio algorithms are used in Band-in-a-Box, and more!
Special thanks to the team at zplane for their continued support.
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Jazz, Funk & World (Sets 468-475):
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Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
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The 2026 49-PAK is loaded with other great new add-ons as well. Learn more about the 2026 49-PAK!
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