Archetype, Legendary Quad Ring Otto Link Resurrection

Posted on December 19, 2025 by Horned Toad

The new Archetype tenor saxophone mouthpiece is a celebratory re-emergence of a historical lost Otto Link prototype, knows as the ‘Quad Ring’. The Quad Ring as it can be casually referred to was the initial design for Link’s most famous model, the “Super Tone Master”. Link had achieved wide popularity with the Tonemaster model among Jazz musicians from the late 1940’s to the 1950’s with the biggest names associated with the tenor saxophone favoring them such as John Coltrane,

Hank Mobley, Charlie Rouse, and many others.

At this time saxophone models were evolving towards louder and brighter response to follow the evolution of electrical amplification that allowed more volume on stage. Link’s mouthpiece evolution followed the pace with a new design making the larger Tonemaster chamber slightly smaller and allowing for the possibility of more baffle and a slightly brighter, more focused and projecting sound. The new design would also have an external aesthetic upgrade.

The first design iteration of this model had numerous double cut rings on the shank, and extended the top (ligature) bar to the full length of the body barrel, yet still had the model name “Tonemaster”. John Coltrane featured one of these, maybe the only one, in photos taken in 1963. Another iteration of the same body design and internal volume features four significant rings on the shank and the model name “Super ToneMaster”; the first we see of the new model name. This is the prototype for Link’s most famous mouthpiece, starting with the Double Ring NY model.

I was lucky enough to get a rare Quad Ring by chance some years ago. I am aware that there are a (very) few other surviving examples of this model in existence, but the majority or unfinished raw castings. The first iteration transition multi ring “ToneMaster” belonging to Coltrane also exists but it cannot be called “surviving” as it has been made unplayable and unsalvageable by too much alteration and removed metal.

The one I got is the only surviving example I know that features a production serial number and was setup to play. This piece was finished for the public, and it is quite a player. It has a unique response; a slightly smaller chamber than (most) NY Double Ring, and yet still a bit larger chamber I believe than most Florida Double Ring. It has a unique response, not as diffuse as the Tonemaster. and a sound every bit as complex as the early Double Ring,

This is such a wonderful playing and unique historical treasure it must be resurrected, and that is what I have done. Through a painstaking exhaustive learning process of many years I have finally brought this model to life. With a combination of technologies such as X-ray tomography, CAD modeling, precision CNC machining, and about 35 years of direct study and handcraft of historic Otto Link models, facings and finish methods I have reproduced this special mouthpiece. Having these technologies available I was able to replace lost material and absolutely optimize the configuration of the blank for the best playing result. The Archetype has the accurate tone of the old Quad Ring original yet offers many different options for setup and response.

There is no other mouthpiece like this available. It is a unicorn and a killer player. I am offering these in standard sizes of .095- .102 and custom orders for other sizes. So far all players who got the first ones have been thrilled with the response. I have been very busy handcrafting these such that I have not had the time to create a huge advertising campaign, but be assured you are going to see these hitting the gigs.

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These are only produced in small batches and every piece is extensively hand finished. Contact with your interest.

Otto Link FL Double Ring 9 Original Restoration Study

Posted on January 24, 2025 by Horned Toad

Case Study in Vintage Otto Link Find & Restoration:

Here we have an excellent original surviving example of a Florida production Otto Link ‘double ring’ 9 facing. This is probably a somewhat later model double ring as it has rhodium or nickel plate. The early models had gold plate (which wore off rather easily). The nickel or rhodium does not wear off as easily but when it does it leaves scars in the brass as we see here. We will document the process of restoration as a study for those considering sourcing vintage mouthpieces from the wild world of mouthpiece unknowns.

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1940 Original Balanced Action Tenor Restoration DONE!

Posted on January 1, 2020 by Horned Toad

It took me some years to get to this horn, but now it is finally finished. This horn specifically was a lot of careful work but in the end very well worth it. Hear the before and after vids and take a look at the original article for repair/restoration pics!

Comparison & Review; Yamaha 82Z vs. Some Vintage Selmer Tenors

Posted on November 16, 2019 by Horned Toad

This is a fairly casual review/comparison of the 82Z vs a number of different vintage Selmer tenors. I really made this video for myself to hear the differences (which are not hard to notice) and because I have a number of folks who seem to appreciate my viewpoint. As usual I am rambling a bit and blowing probably too much noise but I did clear up a few of my ideas at least for myself and maybe someone else.

0:04 intro and 82Z comparison discussion
1:34 82Z playtest
3:37 SBA 45k playtest
5:33 MK VI 87k playtest
7:27 SBA 41k playtest
9:45 MK VI 70k
12:06 82Z more playtest
13:13 82Z discussion/comparison/conclusions
24:21 82Z left/right hand examination
25:19 MK VI 87k left/right comparison
26:02 conclusion etc

Otto Link “Missing Link” 4-Ring Transitional Rare Mouthpiece (Part 2)

Posted on September 9, 2019 by Horned Toad

Here I have compared the closely preceding late Tonemaster to the Quad-ring and then NY Double ring, then transitional Double ring for chamber size and internal machining.

Horned Toad’s Vintage Otto Link Survey Videos!

Posted on February 6, 2019 by Horned Toad

Marin Spivack, veteran restorer of vintage mouthpieces takes an in-depth journey through the different models of vintage Otto Link tenor (because they are a lot less famous for alto) saxophone mouthpieces. We will cover the 1940’s to the 1970’s. Not ALL models and examples will be featured but plenty of detail based on what is available. Be prepared for corny humor and some time wasting, it’s a bit long, but you may learn to identify and understand the differences in the models. There may be mistakes and contradictions, we do our best. This is for the true nerds and enthusiasts.

Part 1

Part 2

Part 3

Part 4

Part 5

Indepth Discussion on Realities of the MK VI and Vintage Selmers

Posted on January 8, 2019 by Horned Toad

Long and detailed discussion of a kind of common strawman overly hyped discussion of the “The MK VI” saxophone based on years of experience.

This was initially made in response to a video that is posted in the description
( https://www.youtube.com/watch?v=puApTzibuHM ) . Many hunters of such vintage Selmers, students and just those wanting to learn more may find this helpful.

Yusef Lateef’s amazing 45xxx Super (Balanced) Action tenor, restored!

Posted on May 30, 2018 by Horned Toad

I was very luck to be able to purchase this amazing instrument from the estate of Yusef Lateef, along with the paperwork of provenence. I have some friends in the repair biz who were also around Rayburn’s music (in Boston) years back and remembered Lateef bringing this horn around for service more than 30 years ago as well, so we know he kept it for a long time.

This project spanned about two years as some parts of it were slow and time consuming and I was also busy with a move and some family obligations during that time.

It was in a bit of disrepair when I got it, with some kind of odd insults and injuries, but structurally it was in very fine shape. Somehow, somewhere, the neck receiver had been sheared into three pieces two of which were broken clean off the horn. The strangest part is that this break, did not effect the body tube in any way, in any area. It was very straight with only some minor dings, very odd. I have yet to understand how that happened and never will I guess. The pads were old and crusty of course, it was not playing. Some screws were missing or mismatched and it was at least as far as proper saxophone service is concerned, just rather insulted.

In my imagination, I can see Yusef Lateef buying this horn in Europe while on tour and either it already had the broken neck receiver or that happened while in his possession. I can imagine him thinking “this is one of those special horns that ‘Trane was bugging Wayne Shorter to get” (see the interview with Shorter where he tells this story about Trane’s insistence on him getting just such an early SBA.) and him keeping it until he can find the right person who could handle the weird repair.
Maybe he knew what a great horn it was, generally I would trust the judgement of instrument quality to Yuself Lateef above almost anyone. I imagine he had to know what a special horn this was to keep it for so many years.

Anyhow with a lot of specific work and time I have finally restored this to very nice working order, it feels like a Ferrari now, set up with rather hard-ish pads and a set of original American-market Tone-X metal SBA resos from the 1950’s that I had here. It just blew my mind as I just played fresh one day after the overhaul, while ti is still settling in. It is very compact and aggressive in tone, barks, is very powerful and has an otherworldly biting bright ring to the sound that makes it sound like it is amplified. This is what the rare and great SBA’s do. I was a little rusty on the video but at least it was fresh and surprised me more than you who will watch it I believe.

And here in a less boomy room:

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Unbelievable Original Selmer Balanced Action Tenor Saxophone

Posted on December 23, 2016 by Horned Toad

This is the story of an exceptionally rare and wonderful all original balanced action 29xxx that I was lucky enough to get. I got it in raw condition with all original pads, case and a bunch of original case accessories. I did a full restoration from the ground up and it is a truly phenomenal horn, now with original Tone-X resonators on a horn made when there were very few microphones, so this is very loud. A real original balanced action like this is just about impossible to find, most were relacquered long ago. This is in apex playing condition and it’s stunning as well. Read and see below.

As found:

Restored:

Original article (pre-restoration):
This just came in here and required immediate photographing. An original intact Selmer Balanced Action is a very very rare creature. This particular horn has had no significant damage or alteration, has original pads and is basically a used version of exactly as it came from Selmer in the 1940’s.

This has as well, the original Selmer case, the first version of the trey-pack design, with original keys and “Balanced Action” tag as well. The original “table B” mouthpiece is also in mint condition.

The horn obviously has some wear and some more on the left side, but there are really very few original examples to be found anywhere at this point, especially with American engraving pattern and lacquer. I have not played it yet, requires some key adjustments and it will surely be a moldy experience with this old pads but I am curious. It will need a full restoration but It is sure to be great.

What a feast for the eyes!

These pics are about as close to the actual color as I could get them-

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Amazing Jazz History Collector’s Selmer MK VI Tenor #70xxx Belonged to “Count” Red Hastings, Member of Louis Jordan’s Band and Other Fames

Posted on October 26, 2016 by Horned Toad

This is a truly amazing piece and find, Selmer Tenor MK VI #70xxx in original U.S. engraved gold lacquer that has turned rather dark. This horn is from the estate of “Count” ‘Red’ Hastings, (Lowell Hastings).

“Hastings was active in the New York jazz scene from the late 1930s; first recordings were made in 1939 with the Savoy Dictators (“Rhythm and Bugs” (Savoy Records), with Alfred “Chippy” Outcalt, Clem Moorman, Al Henderson and Bobby Plater). In the following years he played with Tiny Bradshaw (1944), Bob Merrill (1947) and participated in recordings of Sarah Vaughan with (“I Cover the Waterfront”). In 1948 he recorded under his own name for the label Gotham the title “Begin the Beguine” and “Candid Yam” on; In another session in the early 1950s with Cliff Smalls, Keter Betts and Shep Shepherd, songs such as “Minor in the Diner”, “Diga Digo Doo” and “She’s Funny That Way” were created, but initially remained unpublished.

From 1949 he worked with Earl Bostic, Panama Francis, Illinois Jacquet, Lucky Millinder, Bull Moose Jackson, Louis Jordan, Sammy Lowe, Sy Oliver and Louis Metcalf, as well as accompanying musicians of vocalists such as Annie Laurie, Varetta Dillard, Ace Harris, Wynonie Harris , Connee Boswell, Little Willie John, Bobbie & Ronald, Earl King, Big John Greer, Jerry Dorn, Joe Medlin and Jimmy Witherspoon. In 1958, an EP of King Curtis and Count Hastings with Leroy Kirkland’s Hi-Flyers: “The Battle for the Beat” (RCA Victor) appeared. [2] In the field of jazz he was involved between 1939 and 1959 in 55 recording sessions. he wrote the number “Salt Lake City Bounce” with Tiny Bradshaw.”
(https://de.wikipedia.org/wiki/Lowell_Hastings”

Included is the original trey-pack case in decent condition with a slightly functional zipper, as well as the original case cover (in ratty but fitting condition). Also included are numerous original photos (showing him playing THIS HORN) as even music arrangements probably used by famous names written in his own hand. We even have a receipt for an overhaul ordered and signed for by Louis Jordan himself. This is a treasure trove of thrilling history.

The horn itself is in excellent condition with normal lacquer wear from age and use, scratches and some very minor dings, no serious damage. The neck shares the original serial number and has a few scratches but structurally it is near perfect and still looking very nice.

** I have finally gotten around to restoring and overhauling this horn; full set of original Tone-X resonators, fresh harder pads, all toneholes dressed, key fitting, minor dings addressed etc. It was actually a rather extensive job even though the horn was not in bad shape at all. The result is a LOT different than I expected, much brighter and more powerful than I imagined. This had to have been specially chosen, as it is a very uniquely interesting horn. Hear it here: