Phil-Tone Intrepid tenor sax

Phil-Tone Intrepid mouthpiece for tenor sax

 It projects while maintaining a balanced buzz and warmth through the range.

Tip opening: .105" (Like Otto Link 7*)

The powerful, fearless, and bold, Intrepid is now offered in limited numbers.  While it looks a lot like the Sapphire on the inside a lof of new things are going on.  Rather than a rollover, it sports a Reso Chamber style flat angled step baffle.  This gives a big bold and colorful tone with texture and a great buzz.  The window is also longer than in other Links (and the Sapphire)  There is a lot of handwork in this piece.  The Intrepid.  It is vibrant, powerful, and projects while maintaining a balanced buzz and warmth through the range.  It is a beautifully voiced piece for a discerning palate.

Here are the mouthpieces we recommend:

Intrepid for tenor sax: Reminds us of vintage Otto Link pieces from the 40's and 50's. Colorful and powerful, with warmth throughout the entire register.

Eclipse for tenor sax: A power-piece, that a lot of our funk/rock/blues players fall for. A lot of mouthpieces lose their core or focus if you push them too hard, but the Eclipse can take it.

Equinox for tenor sax: Think of this as an “Early Babbitt” but with more focus. This mouthpiece plays ‘dry’ with more sizzle and edge, but without sounding like a Guardala or Berg Larsen.

Rift for alto sax: This mouthpiece has more of a punch than the others, because of the double baffle. A lot of pieces like this become a bit too sharp, but the Rift gets the job done without compromising the warmth of the tone.

Solstice for alto sax: Reminds us a bit of vintage Meyer pieces, with a round chamber for plenty of warmth. We like this model because it can take a lot of air, and you can push it more than other mouthpieces. A very ‘West Coast’ sound.

Novella for alto sax: Reminds us of vintage Short Shank Selmer Soloist mouthpieces but with a bit more focus. Think Kenny Garrett.

Custom Meyer for alto sax: This is just a standard Meyer that we send to Phil, and he refaces. The result is still a Meyer, but a really, really good one.