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What is your tenor setup?

'78 Mark VII
Serie III
'78 Yani/ Martin
'81 Yani T880
'55 Buescher Aristocrat 156
Barone gold plate

Link STM's
SS Bergs

VI6,RJS,Rico, Plasticover
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Selmer Silver Series III
Ponzol M2+ .110
BG Revelation Jazz

Selmer Mark VII
Very lonely horn - sits in the closet crying. :cry:
I should have bought your Balanced Action years ago that you sold. I've been kicking myself ever since.
Selmer Mark VII (1976)
Vandoren V16 8
Francois Louis Lig
In reed experiment mode ... checking out Roberto's Winds 3 1/2 strong, Rigotti Gold's 3 1/2 Hard, Vandoren Javas - 4

(used to play on JodyJazz 7* with Rico Jazz Select Hards ... recently changed gear)
1970s King Super 20 Silver Sonic, with Ponzol 120 M2 mouthpiece and cheap reeds so I can throw them away. For more subtle applications I use a late Florida Link Super tonemaster 7*. For legit, I have an ancient large chamber rubber mouthpiece, unmarked with a nickel ring around the shank and a larger tip than usual for these mouthpieces.

Hohner President
BL 100/0
Bari soft
Vandoren Optimum

Backup D9 MS Fibracell BG lig
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My current tenor setup is a Selmer Ref. 54 Gold Lacquered Tenor with 54 Sterling Neck & Jody Jazz DV 7* w/Vandoren ZZ 2.5 Reeds & Rovner Dark Lig. Secondary mouthpieces include an SR Pro .108 w/an Oleg Oligature and a classic Otto Link Super Tone Master 7* w/stock lig.
1949/50-ish Buescher 156/Big B with Morgan 6M, Rovner light, and Rico Royal 3's


1930 Holton Revelation (Elkhorn) with modern Berg Larsen 110/0/M, stock lig, fibracell reed

also, rico plasticovers, an EZ-modded Link STM with a stock lig (.113), Couf 9*S, and a Holton 241 tenor with some leaks down low make occasional appearances in no specific order.
Horn: Keilwerth SX90R (NS)
For swing band: Otto Link Tone Edge refaced by Phil-Tone
For community band: Selmer Soloist
Reeds: Gonzalez on both.
1936 Conn 10M
Yanagisawa 901 with Selmer Series III Goldbrass neck
Tenney Jazzmaster 7 (Recently traded a Link STM for it. The Jazzmaster is everything I hoped it would be)
Reeds vary. Currently Alexander DC 3.
Selmer MkVI 161, xxx
Otto link STM NY (modern), started life as an 8*, opened to .120 by Brian Powell
MC Gregory (Model A) 4A 18 for legit
Vandoren java red box 2.5

legere studio cut 2 for that nasty sound.
Well since this thread has been resurrected, there have been a couple of additions to my tenor sax family. These are just the horns I use most commonly in the band I work in. This set-up is the one I use for rock/electric blues, and is currently the only one I use.

Mouthpiece for all: vintage Dukoff S7
Lig: Rovner Dark
Reeds for all: Fibracell 2 1/2 or MS

King Zephyr
Approx. 95% delacquered

Selmer Mark VI
Unison Master Piece neck (the first generation of Steve Goodson necks)

Martin Handcraft
Front F key added from a YTS-23

De Villiers (Dörfler & Jörka-stencil sax that is a Keilwerth clone. D&J used Keilwerth body tubes.)

The other tenors I have I tend to play with slightly different set-ups, and/or definitely not with the band I'm currently in.
For swing-mainstream work in a small-big band: Geo M. Bundy - Conn "Chu" stencil (fabulous sound), STM Fla "no USA" with a spoonful of Brian Powell in it, Vandoren JaZZ 2.5
For a bit more aggressive settings: King Zephyr 423000, Dukoff "Fluted" metal (yes), Vandoren Jazz.
Tenor Update:
Tenney Jazzmaster 7*
late '40's and '50's Zephyrs
The Martin

Reeds I can get on sale 3-3.5
I neglected to mention that my tenor mouthpiece is an Otto Link 8* "hard rubber." This mpc is the one with a slant signiture, which I'm told is a big deal nowadays. I also have a HR 7* tenor piece and a 3* HR alto, both with the slanted logo. A saxophone player friend came over here and, after viewing these pieces, told me that they were fetching big money lately. I checked ebay and sure enough, the prices were astronomical, especially in the original boxes.

This is somewhat amusing to me because I bought these mouthpieces new, probably for about $20 each. So I guess that something about these old Links appeals to players today.

I'll probably never sell them because, even though I don't play on the 7* and the 3*, they're like keepsakes to me, like family members that have been around forever. The 8* that I do play on seems to give a nice fat round sound with live and natural overtones that I like. Warm but with a nice edge. Seems to be a great all purpose mpc.

I'm just surprised that these things have become so expensive.

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