오토링크 마우스피스 정리.

[vintage]

OTTO LINK Saxophone Mouthpieces

MASTER LINK MOUTHPIECE (Early 1930s):
The first mouthpiece Otto Link made in the early 1930s was the MASTER LINK. It had cut out ridges beside/under the table, allowing the ligature to slide on. Later models replaced the slide on ligature came with the same band ligature as the FOUR**** MODELS (see below).

These mouthpieces have a very low baffle, a huge chamber and typically a very small tip opening (usually a 3 or 4) with a long, deep facing. Hence, they had a very warm, dark, sound.마스타 링크 마우스피스(1930년초)
첫번째의 오토링크 피스는 1930년초에 만들어진 마스타링크이다.
이모델은 몸통 옆을 파서 레카쳐를 스라이드 방식으로 붙이게 되어있다.
나중의 모델들은 이겄들이 없어지고  요즘의 밴드방식의 레가쳐가
따라 나온다. **** 모델.

이들 피스는 매우 낮은 배플을 가진다. 그리고 거대한 챔버를 가지며 전형적으로
매우적은 팁오프닝을 가지는데 (대개3~4호) 깊은 페이싱 팬스를 가져서
매우 따뜻하고 어두운 사운드를 가진다.

A version of this mouthpiece was made for Coleman Hawkins and was named the HAWKINS SPECIAL. At this time, Kohlert, Connetable and Meyer mouthpieces were made from this same blank. Ike Quebec played on the Meyer metal mouthpiece, which had very distinctive scooped out, or fluted, external walls.

이모델의 버젼중 콜맨 하칸스의 모델이 있고 (하킨스 스페셜)  

FOUR**** MODEL (1935):
The next model was the FOUR**** MODEL mouthpiece. This mouthpiece was named after the four stars of the saxophone world at the time: Charles Strickfaden, Henry Wade, Pat Davis, and Ross Gorman. These are exactly the same mouthpiece as the previous model, except they used a standard strap type ligature. The brass plate that holds the reed on these ligatures was very thick, unfortunately producing a deadening affect on the reeds vibration.

Both the MASTER LINK and the FOUR**** MODEL did not have a ligature ridge on top of the mouthpiece like all Otto Links to follow. They did have serial numbers. Both of these mouthpieces were made in New York as marked on the shanks. Noted players who played these mouthpieces were Ben Webster and Coleman Hawkins. Coleman later switched to a Berg Larsen.

Unique facings of this mouthpiece include one designed for Coleman Hawkins which said HAWKINS SPECIAL on the side and FACING NO H S on the table. Another is the VIDO MUSO model.

THE FIRST HARD RUBBER MOUTHPIECE
In the 1930s, the first hard rubber mouthpiece by Otto Link started production. They were less expensive versions of the metal mouthpieces; a budget line so to speak. They had the largest chamber in the history of rubber Otto Links, and the lowest baffle. Interestingly, they tended to play best with small tip openings. The serial numbers and tip openings were marked on the table. They had Otto Link written at an angle across the back of the mouthpiece with a pretty chain link band going around the largest portion of the body. They also sported an attractive machined shank, matching the look of their metal mouthpieces.

첫번째 하드러버 피스.
1930년대 첫번째의 하드러버 피스가 오토링크에서 만들어 진다.
이들은 메탈들보다 비싸지도 않으며 가장넓은 챔버로서는
오토링크의 역사상이며 낮은 배플역시이다.
흥미로운건 이겄들은 가장불기좋은 스몰팁 오프닝의 오토링크다.
시리얼과 오프닝은 테이블에 새겨져 있으며
그들은 비스듬한 각도로 등부분에 오토링크라고 쓰여져 있으며
아름다운 체인무뉘 (우리나라성곽과 비슷..)가 넓은부위의 몸통에 새겨져 있다.
이겄들도 메탈의 링크에서 보여진 attractive 기계의 흔적이 생크에 보인다.   

"TONE MASTER" METAL:
Otto Link started putting a ridge on top of their metal mouthpieces to make it easier to center the ligature. These mouthpieces were made in New York and had a bit more projection then the older models. They had very long and deep facings (like the older models), playing better with small tip openings. They did, on rare occasions, make larger tip openings, such as a 7 or 8. However, these mouthpieces still retained the very long and deep facing, which curtailed their responsiveness. The TONE MASTER models had silver under gold plating. The serial numbers were on the side and the tip openings were stamped on the table. The ligatures truly improved at this point. The reed contact plates were much thinner, allowing the reed to vibrate more freely. The top of the thumb screw now read, OTTO LINK.

The first models had four smaller digits for a serial number. The later models had three larger digits.

톤 마스타" 메탈.
오토링크는 이때부터 등부분에 쉽게 레가쳐를 고정시킬수 있는 라인을 만든다.
(요즘의 겄과 같은..) 피스들은 뉴욕에서 만들었고 전번의 피스들보다 더 계획되어
만들어 진다. 이겄들은 매우 길고 깊은 페이싱을 가지며 (구형들 처럼) 적은 오프인으로
연주하기가 구형들 보다 더 낫게 되었다.
이들중 7혹은 8호가 가장 구하기 어렵다.
어쨋든 이들 피스들은 여전히 긴,깊은 페이싱을 가지고 그에 상응하는 cutrailed.
톤마스타 모델은 실버 도금위에 금도금을 하였다.
시리얼은 모통옆에 씌여져 있고 팁오프닝은 테이블에 쓰여있다.
리가쳐는 진짜 이때부터 발전을 가져와 리드가 플래트에 착들러붙고(더 얇게)
리드의 진동도 더 자유로워지며  이때부터 조리게의 머리에 OTTO LINK
라고 쓴걸 보게된다..   
    
처음의 모델은 4자리수의 적은 글씨체의 시리얼넘버를 가지며 나중의
모델은 3자리수의 큰 글씨체 시리얼을 본다.

Some of the musicians that used the Otto Link "TONE MASTER" included:

Ben Webster (tenor)
Lester Young (tenor)
Coleman Hawkins (tenor)
Georgie Auld (tenor)
Buddy Tate (tenor)
Charlie Barnett (tenor)
Benny Carter (alto)
Vido Muso (tenor)

"RESO CHAMBER" HARD RUBBER:
These hard rubber mouthpieces were made in conjunction with the TONE MASTER. They have RESO CHAMBER written in a circle on the back. The very first of these did not have a tip opening marking. Later, a tip opening number was put on the bottom of the table. They have a dark mellow sound.

Some of the musicians who used the RESO CHAMBER included:

Woody Herman (clarinet)
Bud Freeman (tenor)
Georgie Auld (clarinet)
Joe Allard (alto, clarinet)
Joe Marsala (clarinet)
Vido Musso (clarinet)

"SUPER TONE MASTER" (1950s) - THE 'DOUBLE BAND' MODELS:
The first SUPER TONE MASTER mouthpieces were made in New York, as shown on the shank. They had a serial numbers on them identical to the later TONE MASTER mouthpieces. The tip opening was marked on the table.

첫번째 수퍼톤마스터는 뉴욕의 공장에서 만들어지고 이것이 생크부분에 쓰여있다.

이겄들은 일렬번호를  새기며 나중의 톤마스터와는 다르다.

팁오프닝은 테이블에 각인되어있다. 

All of these mouthpieces are characterized by two parallel bands traversing the shank. They are known as the Otto Link double band mouthpieces. The first pieces had a very long bite plate. Later, they permanently switched to shorter bite plates. They had silver plating under the gold like the NY TONE MASTERS.

The first ligatures looked identical to the NY TONE MASTER ligatures, only missing the OTTO LINK name on the ligature screw top. They were the best sounding of all Otto Link ligatures due particularly to the reed plate design.

THE MOVE TO POMPANO BEACH, FLORIDA:
While making the SUPER TONE MASTER mouthpieces in the early 1950s, Otto Link moved to Pompano Beach, Florida. The mouthpieces made in Florida looked like the earlier SUPER TONE MASTER models with a few exceptions. The serial numbers were larger and NEW YORK was no longer stamped on the shank. They also sounded brighter due to a bit more baffle material right behind the tip rail.

Interestingly, Otto Link also started putting rhodium (nickel) plating under the gold plating, instead of silver. As gold does not adhere well to raw brass an intermediate material is usually used. Silver worked will, but as it is as soft as gold, it would wear quickly. Rhodium is much harder, and lasts a lot longer; however, gold does not stick well to the rhodium. Many of the Florida mouthpieces we see today are a shiny nickel-silver color due to the gold plating rubbing off and leaving the hard rhodium exposed.

At this time (1950s), musicians began playing larger tip openings. Otto Link recognized this and began producing mouthpieces in larger sizes. Standard facing went up to 10. Previously, standard tip openings only went as high as a 5*. The facings radically changed from the NY models as well. Instead of using the longer facings with smaller tip openings (like the NY models), Otto Link started producing their mouthpieces with medium facings, allowing for bigger tip openings.

The first versions had a very shallow roll-over baffle (like the NY Otto Links). By the end of the double band model run though, Otto Link started putting a lot more roll-over to their baffles, creating a much brighter sound.

The ligatures had a thinner screw and a cross-hatch pattern.

"SUPER TONE MASTER" (1950s -1973) - NO USA & USA MODELS:
The Next Florida Generation did not have serial numbers. The name SUPER TONE MASTER was placed in-between the two bands on the shank. All later models had USA stamped between the two bands on the shank, opposite the SUPER TONE MASTER, but the first version of this mouthpiece did not. For this reason, it is deemed the No USA model.

The first no USA models had a very high and deep arced roll-over baffle. This made them very bright. Since this roll-over was completely done by hand, the sound from one piece to the next varied greatly. By the end of the no USA model run, Otto Link started using an elongated flat baffle. This generated less buzz to the sound, but increased the warmth, fatness, and projection that made Otto Link famous.

OTTO LINK once again appeared on the screw top, but this was dropped after only one year of production. Otherwise these two models are identical.

Around 1960, a stamp reading USA was placed on the shank opposite the SUPER TONE MASTER marking. They had the step baffle like the later "no USA" models. They all had Rhodium (nickel) plating underneath the gold plating. As gold does not stick to Rhodium very well, it is very common for the gold to wear off from normal handling showing the Rhodium plating underneath.

These ligatures were characterized with a T stamped on the screw head for tenor saxophone ligatures, and an A for alto ligatures. The baritone ligatures did not have a stamp. Like all the previous TONE MASTER and SUPER TONE MASTER ligatures, the first run of had a cast support built into the ligature body giving the screw more thread contact. Later ligatures did not have this feature.

Through the years, Otto Link provided a refacing service to their customers. You could send in a mouthpiece to get the tip opening changed or copy the facing from another mouthpiece.

SLANT SIGNATURE HARD RUBBER "TONE EDGE":
The first Florida Rubber TONE EDGE mouthpieces had Otto Link written at a 45 degree angle across the back of the mouthpiece, invoking the name Slant Signature Otto Links. The first versions had the tip opening stamp on the table. The shank was rounder and they had a slightly larger chamber than the later Florida models.
첫번째 오토링크의 하드러버는 등쪽에 45도 각도의 사선에 오토링크라 쓰여 있다
첫번째 버젼은 팁 오프닝이 테이블에 쓰여 있으며 생크가 둥글고 나중의 2모델들 보다
챔버가 약간 더 크다.
The Slant Signature TONE EDGE is the rubber version of the SUPER TONE MASTER and is still the most sought after rubber version of the Otto Link mouthpiece. There were three models produced. The first model had the facing stamp on the table. They were the darkest of the three models. The second model had the facing number on the side, with a much wider table and noticeable machine marks on the table. The third model still had the facing number on the side, but added USA to the shank. The latter two models had a bit more baffle material, generating more bite to the sound. Larger tip openings started hitting the market as well.

슬랜트 시크너처러버버젼은 아직도 많은 사람들이 찿고있는 모델이며 3개의 모델이 있다
첫번째 모델은 오프닝이 테이블에 쓰여 있으며 다른 모델들 보다 약간 더 어두운 음색이다
두번째 모델은 페이싱이 옆에 쓰여 있고  테이블이 더 넓다 그리고 테이블의 기계가공
흔적이 보인다.
세번째 모댈도 여전히 페이싱이 옆에 쓰여져 있으며 생크에 USA가 쓰여 있다
나중의 2모델들은 좀더 나은 사운드를 가지며 넓은 팁오프닝도 이때부터 가지게 된다.

VINTAGE OTTO LINK HARD RUBBER MOUTHPIECE LIGATURES:
Otto Link had two similar styles of ligatures for the NY and Florida mouthpieces. The tenors all had a T on the back, while the altos had an A on the back. Depending on the vintage, these stamps came in three various fonts.

Their ligatures came with two different screw-head shapes. Two different cap designs were produced. The NY model had a closed end to it, while the Florida had an open end and looked more like their metal mouthpiece caps. The ligatures were made from a very thick brass, generating a fairly weighted sound.

TRANSITIONAL EARLY BABBITT "SUPER TONE MASTER" (1974):
These mouthpieces were made, but not finished, in Florida. They were finished at the Elkhart plant in Indiana after the company moved in 1974. They had more material in the baffle and floor than any other Otto Link ever made, creating a unique sound. This is due to less finish work being done to them.

They had smaller bore diameters and were Rhodium (nickel) plated under the gold (like the Florida models). They had a larger font number stamped on the side of the body like the Early Babbitt models. All Florida Otto Links were hand faced, leaving length wise and often slanted lines on the table. These lines were from the sandpaper used to flatten the tables and put the facing on. These transitional mouthpieces were the first to use the new facing machine which sported a grinding wheel. This new facing machine left very distinctive, denim like grinding marks on the table of the mouthpiece.

EARLY BABBITT "SUPER TONE MASTER" (1975 to 1979):
These mouthpieces were the first produces at the Babbitt factory after Otto Link's move to Elkhart, Indiana. They tended to have very good projection, and were quite bright due to a high step-baffle. The window was narrower at the tip, adding a bit more focused sound than the earlier Florida models. They had a larger font number stamped on the side of the body, had a larger bore diameter, and were silver plated under the gold. The metal soprano pieces moved permanently to a very small chamber, providing a brighter sound. They were faced with the new grinding wheel, leaving very distinctive denim like patterns on the table of the mouthpiece.

The ligature on these mouthpieces was quite different once again. It had a very large and flat thumb screw.

EARLY BABBITT "TONE EDGE": (1974 to 79):
These mouthpieces are the first to have the signature of Otto Link written straight across the back of the mouthpieces. They read USA on the shank and had a larger inner bore diameter. They had about the same amount of baffle material in them as the Florida models, but with a slightly narrower window. The hard rubber altos gained some material in the baffle area and floor, increasing their projection. The sopranos moved to a smaller chamber (just a little larger than the vintage Selmer Soloist pieces), giving them a very nice sound similar to the vintage Selmers.

CURRENT MODELS (1980 TO PRESENT):
These mouthpieces, in both metal and rubber, have less material in the floor of the mouthpiece than the more vintage models, and hence tend to have a darker sound to them. The tips are a little narrower as well. The first of these had a very long body, but these were only made for a couple of years then the body was taken back to their more traditional length. In the late 1990s Otto Link made a New York model for tenor, which has a wider width at the tip and a larger chamber. All of these metal models have silver under the gold plating and a large tip opening font stamped on the shank. This includes the long body, standard and NY models. The picture below shows a current model metal NY Otto Link on top, with the long body 1980s model under that, and a Florida model for comparison purposes at the bottom.

The hard rubber tenor pieces are darker sounding and have an almost concave area right behind the initial baffle. The alto pieces retained a lot of material in the baffle (particularly in the hard rubber version) so can have a large amount of projection like the early Babbitt hard rubber altos. Here the tenor mouthpiece is shown:

VARIOUS OTTO LINK VINTAGE BOXES:
Several saxophone mouthpiece boxes are shown below. On the left side we see the Tone Master, NY Super" Tone Master and the Florida Super Tone Master box. On the right side we see three NY vintage hard rubber mouthpiece boxes, with a Florida hard rubber mouthpiece box on the bottom.

[vintage]

$59짜리가 이제 180만원? ...하기야 식스도 신품땐 50$ 인가? 했죠 1950년대에,,

[천년동안]

많이 배웠습니다...