The Martin 8 has a full body sound that is a little darker but has plenty of power and you can play it with an edge when you need to.

Son très riche, top ! / Very rich sound, great!

I ordered the Robert Martin 8 tip piece a couple months ago a have been playing it on all my gigs. It's flexible enough to serve in any contemporary-type situation. Blues, jazz and rock 'n roll mainly is what I play, and it fits right in perfectly. Since the chamber is bigger and the baffle is a rollover type, as opposed to the step baffles and smaller chambers I've used in the past, I'm now getting a significantly fatter, bigger, warmer and richer sound. It's a little darker than the high baffle pieces I've played before, but it still has a lot of presence and can cut/punch through if you need to with no problem if needed. It does brighten up and roar when pushed if you want easily. It can get powerful, punchy and gritty using a strong air column, responds to growl technique really well. Very fat bottom end. the top end is full, not thin at all. This piece is the only one in my case now since it's easy to play, has a consistently awesome tone no matter what you want to do
, and it's reed friendly too.

I was looking for a big, raw – even raunchy – boss tenor sound. The parade of adjectives on the website seemed frankly a bit tame/bureaucratic, so I can't say the choosing process was easy. I was going to bail out, but whether by luck or clever algorithm, Syos sent me a Robert Martin promotion video and from there a mention of David 'Fathead' Newman. I hadn't heard of Robert Martin but the David Newman link made me sit up and take notice. I liked the 30-day guarantee idea, so … I gave it a try. When it arrived it felt slightly low-tech – I know it's 3D printed, but the texture is slightly gritty like a very fine sandpaper – fitting the ligature puts my teeth slightly on edge. The shank diameter was a lot smaller than my previous Otto Link Ebonite 6*, so I was chary of using it in case I made the fit over the cork too loose. I returned it to Syos saying exactly what the problem was. They kindly agreed to send me another one. I thought that meant they would do one with a wider shank; the new one came back quickly but was exactly the same size … But then one evening I played it in my quartet. I pulled it out quite a bit so I thought it would be flat. But it played great! The other band members said so too. Since then it's become my go-to mouthpiece – if the cork gets squashed, it doesn't matter. Up to mezzo forte it sits down well in the blend but beyond that you can give it a raw kick that sounds like a Maserati when someone puts their foot down – raw energy, compelling. And I've never had so much control over the lowest notes – subtone Cs and Bbs seem much easier and controllable. Intonation seems more secure across the range. Playability is fabulous. Choosing is a bit random, hence four stars, but I'm probably being a bit harsh. If I didn't think it was great, and didn't want to help the lovely Syos people, I wouldn't have spent so much time on this …