Note: updated March 26, 2017

Here are some before and after pictures of a Hard Rubber & Metal Otto link I reworked for a customer in 2004. Pay careful attention to the tip rail.
Click on the image for large view.

  • Some recent photos of a restoration I did on an old Vintage Otto Link NY Tone Master: Click on this to take a look at some of my more recent work !!!
  • Early 1960s Vintage Florida Otto Link “Super” Tone Master 4*, the customer wanted opened up to 7*: Click on this
  • And some more recent photos of a restoration and modification I did on a newer 1980s Babbitt Otto Link "Super" Tone Master 8  - to make it more like a Florida Vintage one... Click on this  to take a look at some of my more recent work !!!

                                                   My rates:

There is a fee of $45 (per mouthpiece) for the initial assessment.

This is where I measure the tip opening, facing curve and dimensions studying the mouthpiece looking for natural wear or flaws in craftsmanship. Should we decide to make adjustments, the $40 fee is applied towards the cost of any work you have done.

                                               Standard reface:
$250.00 -
Solid Silver or Bronze
– Brass or wood
$175.00 – Hard rubber

Common Question: "What is a reface?"

Answer: Checking that the table is perfectly flat. Measuring the facing curve to make sure it's balanced and even, and mathematically proportionate to the tip opening (your choice of short, medium, or long facing lengths.)   Finding any bumps or imperfections in the facing curve, and smoothing them out, to create the best surface for the reed to vibrate against. Trimming/cutting the tip, beak, and the tip & side rails so that they are both even and symmetrical.  Finishing the baffle profile behind the tip rial.   Basically the mouthpiece refacing process checks for any inherent flaws and corrects them, so that the mouthpiece blows even throughout all registers, is reed friendly and projects with ease without sounding bright, shrill or edgy.

**A lot of folks have asked me if I will shape the tip of their mouthpiece to the reeds they play.  Since putting this site up, I neglected to mention that this is an integral part of the reface process.  This is not a problem at all.  I keep a variety of reeds on-hand, but on the off chance you play a brand I don't have, simply send a couple with your mouthpiece and I'll happily shape the tip to fit them.**

$100 per/hour for all other procedures and/or custom modifications:

  • Finishing rough blanks
  • Opening/closing a mouthpiece, or changing the tip measurement.
    (For example, the procedure of opening a mouthpiece from a small tip opening like an Otto Link 4 into an 8 is timed at $100 per hour in addition to the reface process)
  • Adjusting the baffle profile to get the desired projection, and sound quality.
  • Table Reconstruction, and/or reshaping the sides of a mouthpiece

  • Chamber expansion

  • Fixing a cracked or chipped hard rubber piece

  • Custom epoxy work (Baffle inserts, repaired chipped Tips, etc)

If you think your mouthpiece needs anything listed above, or has "special needs," simply write me an email, and ask me a question.

  • The $45 initial assessment fee is required up-front.
  • Payment is required up-front for custom orders.
  • I DO NOT do "rush jobs," and/or promise to meet any set deadlines.
  • Payment for all services rendered must be made immediately after the job has been completed.  No mouthpiece will be returned with an open or unpaid balance.
  • The customer is responsible for the return shipping costs

I prefer my customers mail their mouthpieces to me. I can take anywhere from 4 - 10 hours refacing, perfecting and play-checking a mouthpiece. I do not like to rush the play-checking period either, as a player's impression of a mouthpiece can change over time.

 I don't make a habit of working on player's main #1 mouthpieces; that is a recipe for disaster...  I prefer to attempt to work with a piece someone is not happy with, and turn it into a good back up, (or even better) the new #1.

Although I do prefer all work mailed to me… I do offer in-person consultation.


"Hey Adam, the new Guardala still feels great.  We really work well together and I think you understand this stuff far better than anyone I've ever met.  I also think we are in the right direction.  We have lots to do.  I really hope to see you soon and continue our work. Let's stay in close touch.

   Your friend and mouthpiece soulmate,"

Monday Oct. 2nd, 2006 - Michael Brecker


"legit and very good-HE CAN PLAY!!!"

- Dave Liebman



"I've been playing the hell out of my new 'Niewood' customized mouthpiece. There was a period of transition but now I can't even imagine why it took so long for me to switch from my other mouthpiece. My articulation and attack had to be modified for sure but sonically speaking, I'm able to hear characteristics in my tone that had always escaped me before. I've always contended that if you can hear everything, you can play anything. Thanks again."

- Greg Osby



"Adam's work is excellent. He has really paid attention to detail in reproducing the specs and craftsmanship of the older rubber Otto Links. Frankly, I was quite taken aback. He also did some work on one of my old links and it plays better than it ever did before."

- Mark Turner

check out Mark on the web

"Adam brings a high level of care and attention to detail to his work. His pursuit of this delicate craft is a response to the many inconsistencies in modern mouthpiece manufacturing. As a player, he knows what to look and listen for... Using vintage models, and through extensive practice and study, Adam is able to make fine adjustments to both metal and rubber mouthpieces."

- Chris Cheek



"Adam did some work on an old metal Otto Link for me, and it's by far the best Link I've ever owned. It totally sings from top to bottom, with a perfect mix of richness and clarity. Truly great craftsmanship, highly recommended."

- Chris Potter


"I have learned a great deal about mouthpieces from my friend, Adam Niewood.  I would recommend him without reservation to anyone looking to have work done on their mouthpiece.  He is the rare combination of great player and great mouthpiece craftsman, and he has worked on both my soprano and tenor mouthpieces with fantastic results."

- John Ellis



"I wanted to make sure that the two Florida Link STM pieces that were in need of refacing went to the best of hands for the work. I read about Adam's work on the net, but the two important factors for me were the fact that he is an outstanding player (check out his CD, available on Amazon), and one of the players who I respect the most, Dick Oatts, had great things to say about Adam when Dick was out here in April. That was enough for me.

As for the work he did on my two Florida Links, it was outstanding. Meticulous, perfectly even and balanced--the pieces both play remarkably better than when I sent them to Adam.

I would trust him with my most prized pieces, with the knowledge that a REAL player, who knows Links inside and out and can feel the subtleties of the work, is taking care of them. His communication was great--called and emailed with a detailed assessment of what he felt the pieces needed to bring them to their highest playing level. I recommend Adam without reservation."

- Jim Romain



" I just got my Soloist in the mail yesterday.  Man, you do good work.  It plays better than I imagined, and it will probably become my main piece as soon as I get used to it.  And the chamber work looks like jewelry, it's immaculate.  You have a real gift, and I'm glad I could take advantage of it.  I'll be hitting you up for more work in the future if you have the time."

- Brian Donohoe



" The piece came today, and is absolutely burning. Beautiful work, and really just what I was hoping to get out of it- plenty of power and focus without sacrificing the warmth and color my rubber link has. I couldn't be happier with the result. Thanks Adam! "

- Geof Bradfield



"I just wanted to say thanks again for the marvelous work. I had a chance to play the pieces again today [Beautiful Otto Link Double Ring STM, and a Florida STM Link] and they just feel great. I also was able to find some solid Java 31/2's and they also felt great now that they're seating properly. It's amazing what frame of mind it puts you in when your equipment is working. I was getting so stressed out from the mouthpiece not working right and now that it's playing well I really feel at ease."

- Danny Muller


"The 8* tenor Florida Supertonemaster that you refaced for me back in December is KILLER. It plays and sounds better (great improvement in response) and is much more reed friendly than before the reface. I can't wait to have you tweak my soprano slant sig 7*. Keep up the great work. Thanks for the awsome reface on my tenor Link!"

- Richard Crocker

"I am so at home on this mpc now. The 7* facing is much more suitable for me than the 8*. The mpc does everything I want it to do now, and with such ease. You really put a great facing curve on it because it is so free blowing, yet it has all of the resistance I need. This Florida Link has a singing quality now. Thank you so much for going the extra mile to get this mpc just right for me. Your work is first rate and I know that Jon Van Wie would be proud."

- Richard Crocker

"I found Adam's web site, and after reading, decided to send him my 7* Florida STM Bari piece to check out as I was going to visit  (New York) in a couple of months. He did it for me by appointment whilst I was there. After pointing out, and showing me the faults, he proceeded. I was fascinated by his dedication and precision, asking me exactly what I wanted from the piece. When he had finished I just knew it was going to sound great, even though I did not have my horn to try it.  My friend in the Lincoln Center Jazz Orchestra tried it, he thought I would like it. I couldn't wait to get back to the U.K. to try it.  It is absolutely exactly what I wanted. After what he told me, I checked out another one I have, a 6*, I thought this one was the same, but this one has a bigger chamber/body, Adam has explained the different sound I might get with this one, so I will probably send this one too. I highly recommend his work to anyone looking for the best from their mouthpiece.  He is also a fine player, young man, straight ahead, and delightful to meet. Many Thanks."

- Tony Harper (U.K.)


"Players I know disapproved of me sending a mint vintage meyer to get profaned by whoever, but I knew that it wasn't at full potential, and I thought opening it up slightly would help. I took the risk with Adam, whom I'd just heard about, and after his evaluation, we emailed, and any doubts I had disappeared.  When he sent it back to me it played better and I was really impressed. I know I gave him money, but I consider what he did for me an act of generosity."

- Sam Downes

"Once again (Aug 2007) I have seen Adam with another  Baritone Link "Florida "STM .& an SML Bass Clarinet. I'm glad to say, he managed to see me in a very busy schedule. Again the same meticulous attention to detail. When I arrived home, I was thrilled with both of them, they are perfect, thanks again Adam."

- Tony Harper (U.K.)


Common question: "What got you interested in working on mouthpieces???"


In the mid 90s I met a man named Jon Van Wie (pictured above). He was a fusion guitar player, woodwind mouthpiece refinisher, and all around good-guy. Up to this point, I thought that you needed to find an original vintage mouthpiece to get a good sound…

Comparing my father’s vintage mouthpieces to what was available in stores made me very frustrated in that, the quality level had dropped drastically in new production line mouthpieces.

At the first glance, Jon's work looked like jewelry. Perfectly symmetrical rails, and flawless craftsmanship. Jon could make any mouthpiece look like the cherished ones of the 40s 50s and 60s. But the way they played blew my mind. All of a sudden I found it so easy to pick out reeds, and simply play the saxophone… In the years that followed – I met with Jon countless times and had him customize my mouthpieces for my specific needs.

Out of nowhere, it seemed that Jon got sick with cancer, and he passed away in April of 2003... After the initial sadness passed, I knew that what Jon did couldn't die with him.

I found Jon's teacher (Ted Klum) and learned how to reface mouthpieces. Now I strive to make my mouthpieces play and look as beautiful as the great work done by Jon Van Wie, and Ted Klum.

"I can readily recommend the extremely fine work of Adam Niewood, who studied with me and has been refacing on a level consistent with my strict standards for some time now. The best statement I can make concerning his work is that, honestly, if I ever lost my eyesight, there is no one that I would trust more than Adam to work on my own pieces. Trust me when I say that you won't be the least bit disappointed with Adam's work."

- Ted Klum www.tedklummouthpieces.com


- Questions about Authenticy

The internet is full of sharks and scams - if anyone questions the authenticity of a mouthpiece being advertised as "worked on" by me.  Kindly shoot me an email - and I'd be happy to verify whether or not I did the work, what shape the mouthpiece was in before I got it, or if it looks like it's been hacked-up after I worked on it; and most importantly if the seller is a trustworthy/honest individual, or if their track record suggests that they are not a good person to be doing business with.

It never ceases to amaze me how people will treat one another.

Saxophone players should treat each other like brothers...  Not try to screw one another.

-Sincerely Adam Niewood

Note: updated Jan 1, 2015

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