This is a beautiful original no USA FL 9* tenor piece, nothing has been done to this one. I measured that right at .115. If you have the chops to play this size these are great. This one I remember as a huge sound and very sparkly.
Otto Link 9* FL no USA refaced by Stephan Kammerer and stamped as such. The work looks very nice, says .115. I measured it at .117 but tools vary. Great piece for the large size players.
Here we have an Otto Link 6* no USA all original tenor piece. This is a middle or later design of the no USA period with the slightly longer step baffle instead of the earlier roll-over design. This is the archetypal blue note hard bop tone machine.
This is the rare W.T facing otto Link Super Tone Master, early Florida construction with no USA stamp. These pieces were designed for extra brightness at and without the need for harder reeds. This piece is plenty bright and edgy and very efficient at this size. Very hard to find in original condition.
Here we have an Otto Link early FL original 6 facing, untouched and in amazing condition. This is a wonderful rare and extremely fun and tonally complex piece in a very optimal size for the period these were made in. original examples such as this are so very hard to find now. Original milling on table and tip rails and baffle are just beautiful!
This piece is a work of art. It was originally a 4* facing and I opened it to a 6** facing while retaining the original table and executing what I call a heart transplant, filling in the concave table (so-called French Curve). By doing this I avoided losing any more height on the facing from the table flattening that would have otherwise been required. The mouthpiece has not had the table reduced, nor has it had the tip shortened at all and I reached .097.
I also maintained a very original baffle and tip rail configuration. The piece plays exceptionally concisely with a very popping bebop articulation. The tone is characteristically thick as Slants are yet is also thrillingly compact with plenty of sizzle on top.
This is as rare as it gets, Otto Link Original mint condition 7 untouched facing and table. Good luck finding this type of thing anywhere. Beautiful original tip, baffle and original milling on table. This is very very fun to play and a ridiculous find.
Otto Link Original 4* New York ‘long bite’ tenor piece. This piece is all original, unaltered rare and plays very nicely at this size with some harder reeds. Very hard to find unaltered Dr Links now.
This is a once in a lifetime find, Otto Link Florida W.T. (Wolfe “Tayne” Tanenbaum) facing mint original condition tenor piece with original box. original milling marks visible on table and facing completely original and untouched without damage. There is nothing really needed to say about this piece, everyone knows, the WT facings were designed for extra bright and power at a smaller facing, they are brighter. It’s a super rare facing and a FL like this in mint condition, very few around.
One of a kind 1960 tenor Mark VI, serial 87xxx in original US lacquer and engraving. This horn is the top, as it is one of the best periods of the MK VI but is also a totally unique and special instrument of this variety as well. There is no damage past nor present that I could find on this horn, structurally excellent and sound. There is normal lacquer wear on the body and most is gone from the neck yet the neck is physically perfect and wonderfully responsive.
This pads are not old, and set up with what I think are original Selmer plastic resonators it plays very well, but I think the setup could be a bit better when the right player determines it is time to address. I found no solders nor dents on the this horn, but of course there going to be normal scratches and small dings perhaps, nothing that caught my eye and I am meticulous.
Now for the most important part, the sound and response: There is simply nothing like this horn, anywhere. I have only ever played a few like this one. It is very loud and exceptionally lively, which is different than just being loud. It has what those in the know would call a kind of boldness to the sound, almost like a physical impact of sound.
This horn is quite edgy and cutting though it has an underlying warmth and color to the sound that makes it not what I would call excessively bright. It has a very aggressive, colorful and complex kind of edge to it. It is probably in the middle between dark and bright, has a mid-tone quality to the very loud cutting edge that is very hard to find along with the physically impacting fundamental bass. I can only wonder how it would function with metal resonators.
This is a very rare and special horn, I have only ever played one or two others that came close to it. I waiting a decade to buy it.