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Sax on the Web Forum Archive / Baritone Saxophone / Dark or Bright Tone on Bari...

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AaronQ Apr 27th 7:14 PM
Bari players... for jazz, do u usually like a darker or brighter tone?

Bari Martin
User ID: 9579203 May 2nd 8:41 AM
The Custom Spoiler was a #10, but I will order a #11 next time - the chart showed the #11 at .125". The clear Amber looks great with the old orange Martin lacquer. Changing the spoiler in and out is a hassle on the gig, but it really makes a big difference. I also tried a metal Quantum spoiler #10 which had a great sound but threw the high notes sharp. If you can play the metal Quantum with no problems, I've got to tell you it's a monster bari piece. I would be using it today if I had a modern bari. Very similar to the old Brilhart Level Air and even has the replaceable plastic beak, but it has greater projection than the Brilhart. The plastic Custom is smoother and more refined than the Q, but delivers plenty of low end and upper register projection. For a blues/rock gig you probably would use the spoiler, but it only takes a few seconds to change it out if you don't mind taking your reed off between songs. Since this is a potential disaster, I would try to minimize spoiler changes on the fly.

RS
User ID: 8673953 May 2nd 11:58 AM
According to Runyon's own facings chart a #11 has a .109" tip. Do not go by the facings chart in the WW/BW catalogue. The numbers for Runyon are way off. If you want a Runyon piece with a .125" tip you'll need to get a #14 (.124") or a #15 (.127").

MojoBari
User ID: 1195644 May 3rd 7:43 PM
RS speaks the truth!

Also, if you you feel you need spoiler changes on the fly, try a Strathon.

I like a lite Spoiler in my Qs for bari solos, but prefer it out for section work. I just decide which is more important for the evening and stick with one choice.

kevvieg May 17th 7:50 AM
For the record, Nick had a Yamaha 62 Special Edition bari that was silver plated with gold keys. That was until about 1995, when he switched to the Keilwerth. I personally, think his sound had more definition on the Yamaha (I hate Keilwerths). Notably, he seemed to play the Strathon mouthpiece on the Yamaha. Once he switched to the Keilwerth, he joined the mouthpiece-of-the-month club, trying to get enough balls out of that horn.

I love Jeru and Carney, but I favour a sound between Pepper Adams and Nick Brignola. Cuber's too bright and Smulyan's a bit too dark. I love these players; I'm just talking about my approach.

kevvieg May 17th 7:51 AM
For the record, Nick had a Yamaha 62 Special Edition bari that was silver plated with gold keys. That was until about 1995, when he switched to the Keilwerth. I personally, think his sound had more definition on the Yamaha (I hate Keilwerths). Notably, he seemed to play the Strathon mouthpiece on the Yamaha. Once he switched to the Keilwerth, he joined the mouthpiece-of-the-month club, trying to get enough balls out of that horn.

I love Jeru and Carney, but I favour a sound between Pepper Adams and Nick Brignola. Cuber's too bright and Smulyan's a bit too dark. I love these players; I'm just talking about my approach.

Bootman
User ID: 1676554 May 17th 8:17 AM
What is really needed in a Bari sound is width of tone and a little brightness on top. Teh bigness or width of tone will underpin the section sound where as the edge willallow you cut through when soloing. A tweaked Quantum on a Chu BAritone allows for this sound, darkness and brightness in the same sound.

Back 20 Messages

AaronQ	Apr 27th 7:14 PM Bari players... for jazz, do u usually like a darker or brighter tone?
Bari Martin User ID: 9579203	May 2nd 8:41 AM The Custom Spoiler was a #10, but I will order a #11 next time - the chart showed the #11 at .125". The clear Amber looks great with the old orange Martin lacquer. Changing the spoiler in and out is a hassle on the gig, but it really makes a big difference. I also tried a metal Quantum spoiler #10 which had a great sound but threw the high notes sharp. If you can play the metal Quantum with no problems, I've got to tell you it's a monster bari piece. I would be using it today if I had a modern bari. Very similar to the old Brilhart Level Air and even has the replaceable plastic beak, but it has greater projection than the Brilhart. The plastic Custom is smoother and more refined than the Q, but delivers plenty of low end and upper register projection. For a blues/rock gig you probably would use the spoiler, but it only takes a few seconds to change it out if you don't mind taking your reed off between songs. Since this is a potential disaster, I would try to minimize spoiler changes on the fly.
RS User ID: 8673953	May 2nd 11:58 AM According to Runyon's own facings chart a #11 has a .109" tip. Do not go by the facings chart in the WW/BW catalogue. The numbers for Runyon are way off. If you want a Runyon piece with a .125" tip you'll need to get a #14 (.124") or a #15 (.127").
MojoBari User ID: 1195644	May 3rd 7:43 PM RS speaks the truth! Also, if you you feel you need spoiler changes on the fly, try a Strathon. I like a lite Spoiler in my Qs for bari solos, but prefer it out for section work. I just decide which is more important for the evening and stick with one choice.
kevvieg	May 17th 7:50 AM For the record, Nick had a Yamaha 62 Special Edition bari that was silver plated with gold keys. That was until about 1995, when he switched to the Keilwerth. I personally, think his sound had more definition on the Yamaha (I hate Keilwerths). Notably, he seemed to play the Strathon mouthpiece on the Yamaha. Once he switched to the Keilwerth, he joined the mouthpiece-of-the-month club, trying to get enough balls out of that horn. I love Jeru and Carney, but I favour a sound between Pepper Adams and Nick Brignola. Cuber's too bright and Smulyan's a bit too dark. I love these players; I'm just talking about my approach.
kevvieg	May 17th 7:51 AM For the record, Nick had a Yamaha 62 Special Edition bari that was silver plated with gold keys. That was until about 1995, when he switched to the Keilwerth. I personally, think his sound had more definition on the Yamaha (I hate Keilwerths). Notably, he seemed to play the Strathon mouthpiece on the Yamaha. Once he switched to the Keilwerth, he joined the mouthpiece-of-the-month club, trying to get enough balls out of that horn. I love Jeru and Carney, but I favour a sound between Pepper Adams and Nick Brignola. Cuber's too bright and Smulyan's a bit too dark. I love these players; I'm just talking about my approach.
Bootman User ID: 1676554	May 17th 8:17 AM What is really needed in a Bari sound is width of tone and a little brightness on top. Teh bigness or width of tone will underpin the section sound where as the edge willallow you cut through when soloing. A tweaked Quantum on a Chu BAritone allows for this sound, darkness and brightness in the same sound.