Which Baritone is your choice and why?

[Bootman]

:lol:

Just to be the first and to get the ball rolling.

The Conn 12M is my favoured horn because it combines all the features of keywork and sound that I desire in a Baritone. Admittedly, I have added a Front F key to my horn. This has the biggest. most robust sound of any Baritone model I have owned or played.

[Noel Mac]

Hey bootman,

What mouthpiece do you use on bari?

[MPL]

The Martin...specifically, a Martin Committee from the very late 60s. It sounds great, I like the keywork, and best of all...it didn't cost a lot of money. At least not at first.

[Bootman]

I willbe using a Jaguar on this horn, the Lamberson plays well as does the RPC and the Pillinger. The Jaguar seems to giv eme the sound that I am desiring from the Magna, Thunderous, huge low end and resonant mid range and powerful upper range without loosing the tone and starting to quack.

[twowheels]

Conn 12M...HUGE sound. Currently using RPC, also like metal Florida Link.

[Helen]

Selmer Mark VI, Low Bb. (There's one in every crowd!) :wink:

It has the ability to do everything from rock and blues (what I usually to play) to big band (seldom), jazz (seldom), and classical (even more seldom). I've just found it to be the most versitile. It has an incredible robust sound, which I can push right to the edge, but still has key work that is more manageable than some of the other vintage baris I've tried.

I do want to add a low A horn to my arsenel at some point. I'm thinking either Keilworth black nickel or a B&S.

[Grantibibitus]

I'm a real King fan and play a late 40's Zephyr. Tuning is diffucult sometimes in the upper register (not the original neck) but the bottom end just thunders. I've played lots of Mark VIs and used to own a Conn 12M but prefer the tone and Rompstompitude of the Zephyr.

[danm]

I am playing a Conn 12M. This is a dented newer style horn that just rocks. Great power and tone across the board. I am searching for the right mouthpiece now. I am going to order a Runyon Custom to try. I have a very limited budget right now so a more expensive pice is out of the question. I have a Rico mouthpiece on it now, good but I know the Custom would be better.

[MonchMan]

The MARTIN COMMITTEE, Just loved mine, Had to sell it 15 years ago, been looking for another, Now the cash :oops: Oh well

http://members.bwwonline.com/efh/MartinBari.jpg

Picture not of actual horn, but close :)

[Noel Mac]

Well hopefully it found a loving home.

[Schorsch]

Hi!!!

The Bari of my choice is the JK SX90R black nickel. I use Caravan-MPC, Vandoren Classic and Rovner Dark - wow, what a huge dark sound.

[MojoBari]

Yamaha YBS-52. Good balance and key ergonomics for short fingers. Feels like a tenor. Has a low A. Clear-ish tone. As good as a 62 for less $. I've had it since 1987.

[Chris-Sax]

newer style Conn 12M with 6* metal link! very happy with this set up for the price i payed for them, big sound thoughout the range! :D

[super20dan]

my bari of choise is my 460k king super20 .i bought this horn as a beater to save wear & tear on my pristine selmer mk6 low a .however the kings big sound soon had the selmer playing second fiddle . the selmer only comes out on gigs where i really need low a. this horn over powers every other bari sax i have played -including conns ,vintage or otherwise. my current r&b mpc =ponzel custom w/plasticote reeds .my big band mpc =runyon custom 4 (red) w/plasticote reeds. selmer s80 c* for quartette work . 8)

[Bootman]

I should state, that I have tried or owned almost every model of Bari mentioned. The mk Vi low Bb is nice but a Conn Tranny just knocks the others out for consistancy. As for a low A, the biggest and meanest is the Magna Low A, second best was the JK Black nickel....

In the end, when projection and tone matter, it is the Conn 12M Tranny that wins the day with a Lamberson 8DD.

[JPrince]

I'd have to say a YBS-52 for me. I have used my schools for 2 and a half years now, and I like it better than any YBS-32 or Martin I have ever played. Plus, even with a Standard Yamaha 5C MPC, I can outblow 3 Sousaphones on a marching field! (Yes, I am dumb enough to march Bari Sax). Later this year I should be getting either a Jupiter or an Amati, so we'll see which I like best.

[Wicked Good]

My favorite bari is the Buescher Big B Aristocrat. Huge, full sound; spot-on intonation; awesome keywork for those with small hands. Mine's been re-plated in silver, and was meticulously restored by Gayle Fredenburgh. Works great in all musical situations in which I've used it.

[will]

MonchMan,
I see that you live in Colo Spgs. I grew up there but I've lived in Boston for the 5 years. How do you like it there and do know most of the cats on the scene: Marv Smith, Mark Rose, Ray Dewitt...? Sometimes when I'm in town I sit in down at Ghengis Khan (sp?). BTW, the new forum is awesome.
Will

[StevenW]

8)

[OnyxSax]

I play a freshly-restored 204,xxx Conn Chu Bari. Even in the 12 years I owned the horn in pre-restoration condition, it was simply the biggest sounding bari out there. Now that it is fully restored and silver-plated, it is simply an unbelievable horn.

I used it on a gig for the first time since the restoration last Saturday night, and the horn performed flawlessly with its trademark big sound.

At our most recent get-together on Sunday, the bari was the hit of the gathering. Interestingly, Screech brought along his spanking-new 14M bari (a Nogales version of the 12M). The similarities to the 12M, and the Chu for that matter, were astounding. The horn had a real nice sound, too, although everyone agreed the Chu still edged it out. I'd like to try my Chu side by side with a vintage 12M to see how they compare.

All hail the Mighty Chu!!!

[vick]

I used to play on a b flat mark 6, but it croaked on me. I'm playing a super action 80 until I get the 6 back. both are nice horns and work well with my meyer for bigband stuff.

[Gary Spring]

Well for me it gets no sweeeeeeeeter than my COUF.........S/1 low A BIG FAT...............and shakes the walls down :lol:

[Noel Mac]

Mine is a Guardala Artist series. Big fat tone, great altissimo, extremely light action down low. And the keyboard is good for my small fingers. Right now my mouthpiece is a Rico Royal Metallite that I bought in 8th grade for $15 from one of my friends. I use a selmer brass lig that was on my C* tenor and la voz medium soft reeds.

[Saxfiend]

[quote="OnyxSax"]I play a freshly-restored 204,xxx Conn Chu Bari. Even in the 12 years I owned the horn in pre-restoration condition, it was simply the biggest sounding bari out there. Now that it is fully restored and silver-plated, it is simply an unbelievable horn.

OnyxSax -- I remember when you were still waiting on Gayle to finish the job, glad you got it back. So when do we get to see pictures??

As to my choice in bari, I'm with Bootman on the 12M. More recently I got a Jupiter so I'd have a second horn with low A; it plays surprisingly well, but nothing beats the old Conn.

JL

[OnyxSax]

Saxfiend: I'll have those pics up eventually. I just got a new computer and all the pics of the bari were left on the old computer.

The work done on this horn was spectacular. Those who were familiar with "Chubby" before the restoration were all astonished that this was the same horn. The prep work on the body involved removing many dents, including a bell peppered with "outsie" dents. Now the bell is as smooth as a baby's butt.

[jjgold]

Keilwerth SX-90...no rolled. Needed the Low A. IMHO the BEST modern Bari! 8)

[DirkW]

My bari of choice is a '53 The Martin Baritone. About 50% of the lacquer remains, all sorts of sloppy solder repairs, a non-Martin keyguard, and generally ugly as sin. But does it ever have tone! I play it with a MojoBari refaced HR mouthpiece with a custom baffle.

[kevvieg]

There are so many great horns. I've never had the privilege of playing an SML but the above picture looks sweet!

I have enjoyed Conns and I love the Selmer Low Bb. However, I've had my fill of old previously enjoyed horns. I still have the MK VI low Bb, but I have just ordered a YBS 62S. I like the Yamaha better than any current production Low A horn, and I like the silver sound, so I said screw it and ordered the 62S. I can't wait :-)

[Bootman]

The Conn tranny or Chu is still number one for me.
New page and samples added to my website.
www.bootmanmusic.com/barisaxs.htm

In action too.
http://www.bootmanmusic.com/BarisaxGreenJacket.jpg

[Ritchie]

Keilwerth SX90, low A, gold laquer. Tested a couple of modern horns and this was the one I felt "at home" with. Great full sound. But there are some great vintage horns out there...

[Aaron]

I'm playing a silver plated Buescher Bari 274XXX. It plays really well, and so far haven't found anything to plays as well, of course, my view is pretty limited. Played the Keilwerths they are great, but a little expensive for me.

[Aaron]

p.s. what kind of cases is everyone using, I'm using a gig bag and it has been scared like a chihuahua when I'm walking around with it.

[Ritchie]

re. p.s. my SX90 came in a Jakob Winter aluminum case, very solid but heavy. I would not trust a gig bag.

[Bootman]

Bari case is light weight, try a Bass case for real weighty lugging.

The aluminium case is very solid but could do with a coupel of extra latches.

[Ritchie]

I agree, "heavy" is a very relative term here. :D

[Big Nick]

I play a Yanag B900 that I got secondhand last year.
It was the best I could afford.
I didn't want a vintage horn - I've got fed up with their reliability.
The only other one I tried at the time was a Yamaha, but it felt awkward and I preferred the Yanag's sound.

[singlereed]

Mine is a Yani B901 that has been totally reliable and is so easy to play. Even the standard mouthpiece is great. The action is fast and light, intonation faultless and it whispers right down to low A if required. If I played bari a lot more, maybe I'd look for something more characterful, but for now I am very pleased with it.

[Andrew]

God that SML Gold Medal is making me drool...but seriously...I played on a Silver Mark VI Low A...wow...that's all I can say...wow....

[Subtone Sam]

Couf Suberba 2 bari (no RTH).Plays every bit as good as new JK models for the third of the price.Good horn :P

[dingfelder]

just got a Zephyr sn # 3799xx, and it is in the shop getting overhauled.

A lot of the notes were hard to get out (bad pads etc) and lots of dents, but man it thundered when the notes came out.

I can hardly wait !

[Morry]

Kevv...how much does a YBS62S set you back?

[joelclue]

My Bari of choice would have to be The MARTIN COMMITTEE. Loved that sound for R+B style work. Sold it about a year ago :( Will be looking for another one maybe later this year; I kinda miss it.

[Goin4DaTone]

Kevv...how much does a YBS62S set you back?

I saw on another thread someome posted that they paid $4500 for this horn.

[SaxyAcoustician]

Yep, that was me. Paid $4500 for my brand spankin' new YBS-62S. Got a special deal through my salesman at the Washington Music Center. It's hard to get even a 62 bari in regular lacquer for that price. USA Horn advertises $4900 for the lacquered while WW&BW advertises $5500. Needless to say, it's like butter...

[Bear]

Thanks for mentioning the 14M Onyxsax. I really like it. The Nogales horns are sleepers IMHO. I agree with the comparison too... the mighty Chu is tough to beat. I noticed that the resonators were metal on it - the 14M has plastic ones. I wonder how much of the sound differences can be explained by the resos?

SteveW - that SML is a work of art! Wow!

[Ytrac Productions]

After playing a MKVI with a Low A {#97,***}, and a Jupiter with a low A, I settled in on a 1937 King Zephyr. Known as the "BIG BELL" Bari, the bell diameter is almost 1 inch wider than the Conn of the same era, has the same cross brace, and absolutely ROCKS!!

Played with a Florida Otto link #5 until Wil Grizzle got me to try a modified Meyer 8M { facing is 115} and my world changed.

Have had many offers on this baby, even someone offered to trade a Guardala Bari for her, but nothing matches the sound.

[rcwjd]

I play a Mark VI low A made in the mid-60s (I mostly play bari). I use a metal Link 7* (tip .115) for jazz combo playing and Morgan 7 (tip .090) for other types of stuff. Mine doesn't look like much, but its hard to beat the key placement of a VI, and it sounds good up and down the horn. I have a Super 20 tenor and I would love to try a Super 20 Bari. Of the modern horns I have tried, I liked the Keilwerth SX90R. My next project is to acquire the new Runyon Jaguar mouthpiece and give it a shot on my VI. Charlie A has me convinced on that one. I'm wondering if anyone has made the switch from a Link as above to a Jaguar, and if so, would the Jaguar 12 (slightly smaller tip opening) or Jaguar 13 (slightly larger tip) be more appropriate? Thanks.

[Tranejam]

YBS-62 BABY! I bought my horn about five years ago. Prio to buying this yamaha I played a Mark VI with a low A, all throughout high school. So, naturally I thought that I would never find a horn that played as well. So I shopped around. I tried all the vintage horns, Conn, Martin, King, Selmer. I tried all the new horns, Keilwerth, Selmer Super 80, Yanigisawa, Jupiter, SLM, Guardala, and nothing, and I do mean nothing comes remotely close to matching the projection, and supple action of this horn. The horn cuts like a hot knife through butter. All the way from the low A (Concert C) up to high D in the altissimo range. The triple octave key system can be tough to adjust, but the added octave key greatly improves overall intonation. And as for the low A mechanism, there isn't a horn out there that can compete. The thing is fully adjustable and closes with the slightest touch! The great thing about this horn is that it's cheaper than the Selmer Super 80 and the Keilwerth SX-90 and the Yanis. And on all those horns the maufacturer suggest that you hold down the Bb spatula key while playing low A, just to ensure that all keys close. Not the 62, just touch the low A and all three bell keys slam shut. I don't think that I will ever get rid of this horn. To the people at YAMAHA, I say "Well done, well done!"

[DanY]

Mine is an old italian A. Rampone. The keys are spaced for giants and the neck is uncomfortably long, BUT it Roars! I think it is because it has soldered tone holes. Of course, using a 1960's New York Meyer MP can't do it any harm... :wink:

[Dave dix]

I find that the old buescher true-tones are great baritones. I use a lawton 8* metal mp on mine and the sound is awsome!!!! Iuse to use a crossbar conn but that sax always seemed awkward to play, didnt hang right and clumbersome whereas the buescher feels good and has got nice close fingering compared with a conn. Ialso ended up on La vos medium reeds as they tend to stay true compared with someother reeds

[dingfelder]

got my horn out of the shop and it rocks.

great projection, great intonation and man it thunders !

pictures are on the way :)

[Storamin]

I play a Jupiter 893SG Artist Series. I play it because i'm an intermediate player who isn't going into saxophones profesionally, only for fun. My parents bought it for me about 2 months ago and I really LOVE it. It sure as heck beats the 15+ year old Student Alpine(WHO?) POS that the school owns. I like it, but I'm an amatuer and have never played any other bari sax horn.

[rfenno]

Huh. Conspicuous low numbers of MK6s. I had one, had to play full finger C# because the open C# was OUT. Lots of other corrections required.

Traded it even up for a Conn stecil bass. No regrets.

Shortly afterward bought a Unison nickel plate, went trough several mouthpieces. Still alternating among an RPC, a Jody, and my current favorite, a Runyon Jaguar. And how! I'm hardly impartial about Unison, but this bari was what got me interested in the company. Wonderful intonation, low cost (I have 2 kids competing for my $$) and a big furry tone. I played it on the music for Microsoft Casino, a game. There's one place where I was playing a solo and dropped down to the low A so hard the producers flinched. It was huge. They left it in.

[averageschmoe]

yamaha 62, the triple vent octave key mechanism alone is worth the cost of the horn. speaks evenly from low A to altissimo with minimal effort.

[MojoBari]

Its on the 52 too!

[lehtonale]

My choice is Conn "Chu" from year 1928. Due to its huge sound. I use HR Maier * M8 on it. I have tested also some Selmer and Bergs, but didnt like them.

[hornstar]

My bari, like my other horns, is a Selmer SBA, to Bb. I owned a Martin Magna for a bit, but it just didn't have the tone for me. I owned a Conn 12M that barked very nicely, but the ergos slowed me down. I'm playing a bit of funk these days, and a low A would be a plus, but I'll have to try more of them before I decide which one wins.

[Spidercomrade]

I have a YBS-52 and it is great. Somehow it feels like a tenor; I can reach everything so much easier than I could on the Keilworth I was playing before.

[Goin4DaTone]

Has anyone tried the Yani 901B? I have the opportunity to pick one up for my son, who is trying out for the Bari seat in his high school jazz band. the price is very reasonable. No doubt there are better horns, but for around $1,500 I'm thinking this should work very well for him.

[woofhead]

I think the Bari 901B is a great sounding horn with good mechanics-new they're around 3500 so 1500 if it's in good shape is killer.I've been looking myself for a used one,so perhaps if you don't buy it yourself you could introduce me to the person selling it.Thanks and good luck

[Goin4DaTone]

woofhead,
I bought the horn, and I heve received it. It should have been in better shape, but buyer beware, I guess. The good news is that I have a fabulous repair tech and I believe he could get a stovepipe to play. So he did his magic, and it is in many ways the horn is now a very good palying bari.
Respect your tech, these guys do great work for us. He saved my bacon, again.
Having said all that, I bought it so my son would have a better chance at his audition. If he gets the seat, I’ll keep the horn, if he doesn’t I would consider selling the horn. So if you are interested, post your email.

[Goin4DaTone]

Currently a Metal Otto Link for jazz, and a Meyer HR for concert

[bigsaxy]

I agree that the super 20 is quite a monster. I've been playing it for about 15 years, then had a total mechanical overhaul (house fire). This old baby will absolutely rock the house. I'm a 3 horn player, but I love the bari. I play with a Rico Metalite, usually with plasticovers. I haven't really tried any other MP since HS, so I'm sure that there are great choices out there. 8)

[yaucante]

:lol: OK, I will certainly not look down on the other horns because I have a limited experience with baris. When I switched to Bari some 12 years ago in a local band, there were two Low As available: a Buffet and a Selmer super action. The Selmer played better but I realize now that nobody really knew antything about adjustments or mouthpieces in that band, me the least, and they probably needed a good one. However, after 12 years playing only alto, I got enough money to buy my firt lowBb, a Super20 from the early Eastlake period; after some problems with shipping I finally got to play it. Sarge from worldwidesax set it up with noyek resos, prestini pads and I use a Runyon custom 10 as a first try. This horn is unbelievable: very free blowing with brilliant highs, huge projection and nuances in the volume (especially with the spoiler added), typical complex tone like the best Conns and Selmers you mostly hear on records, and good intonation throughout I just love it. I tried the repairman's Meyer NY 6 on it and it gave it all the edge you could wish, but I like a more open mouthpiece. I'm gonna go for a metal Berg 120/2 and see what it's like. If there's a better Bari on earth, it must be made by god in person!

It has a nice feel although I would say some keys are a little too spread out for someone with small hands like me (especially the low Bb, the G#). The mechanism is very solid and the brass has a honeyed kind of look that is truly beautiful.

Thanks to sarge for a great rebuild and service, and to Wayne Tarnowski of NJ for going out of his way to fix the bad work of UPS.

Y.

[Biff]

Well, at the school I go to, I have a choice of either this anciently old Bundy, which plays amazingly but seems to have a strange rattle ( not sure what it is, my be just a messed up resonator) or a slightly newer ( and slightly is an overstatement) Conn Low-A Bari, which is currently out for repair because the low C key is bent (NOT MY FAULT IS SWEAR!! :? ) and some of the pads need to be replaced. It also plays very well, or rather, it did until the key got bent, and I'd have to say that I prefer the low A because it has a better tone quality on the lower ranges. Don't ask me why, it just does.

[Storamin]

Thought you might enjoy a look at my SML Bari!

It is a Gold Medal Series.
StevenW :D

That's a nice horn, except it doesn't have a Low A. My Low A Jupiter Artist would suck yours up and spit it out. It eats those puny Low Bb's regularly.

[CultureOfOne]

I'll stick with my '62 MK VI Low A. Tried some others, settled on the six. Palm key intonation is twitchy, but the tone is sweet. Besides, the price was right!

CultureOfOne

[top_gun25]

VITO VSP
AND
YANI 991

BOTH excillent. actually i kinda liked the VSP better...

Didnt have to treat it like a piece of glass. could actuall get up and JAZZ. or march with it. concerts i could play and not worry bout smackin girl-next-to-mine's chair.

[David Spiegelthal]

I once had a mid-50's Buescher True-Tone low-Bb, played OK but had intonation problems and frequent need for pad seating adjustments; more recently a Taiwan-made 'new Buescher' BU-6 low-A bari that played pretty well but was way too fragile and had poor solder joints; now playing a late-50's Conn 12M low-Bb bari about which I can find nothing to criticize: it plays in tune, has a nice fat sound in all registers, and it's rugged. Currently using on it a heavily-refaced (opened way up) stainless steel Brilhart Level-Aire mouthpiece.

[goodsax]

I have a vintage Conn Bari (1925) that looks terrible, but still has a powerful and commanding sound. Steven W's SML makes my horn look like it shouldn't be above ground, but I just had a technician go through the old Conn who pronounced it mechanically fit as a baritone (fiddle?). I think the extra length of the Low A model bells looks a little strange, but I suppose I'll get used to it.

[lehtonale]

Bootman,
have you ever tested the Mayer mpc on your Conn Bari?

[Bootman]

Yes, it plays ok but lacks the power of many other mpcs. I am still favouring the Lamberson 8DD.

[ehopper1]

I have a Keilwerth Toneking (1982). I play it with a Dukoff M7 Metal mpc with Rovner L14 Ligature. It sound´s great!

[Randall]

The Keilwerth SX90 is my horn of choice. It is the only modern bari that I can get the umph I need in a low A bari, yet at the same time, give me the modern ergonomics and action I want in a bari.
If I didn't need a low A though, I would probably still go with the JK low Bb bari.
Over the years I have played a 12 M (what a sound!), a Yani, a Buescher Big B, A Buescher True Tone, A Bundy Special (JK), and a black SX90.

Tomorrow my new SX90R arrives....I can't wait!

[ehopper1]

I have a Keilwerth Toneking Low A (1982). I play it with a Dukoff M7 Metal mpc with Rovner L14 Ligature. It sound´s great!

[mark_m]

I play a '54 The Martin, a year younger than myself, but I can't say I prefer it as it's the only bari I've really played. But, I do love it and it's my favorite of my measly collection of 5 horns (2 Conn altos, Conn straight-neck, TT tenor, Martin bari). It sounds and plays great - fast action! - and fits my hands like it was made for me personally. Lamberson 7DD is proving tremendous fun on this horn. Loves to rip but I can also coax it down into a soft-and-sweet thing as well.

A friend with a Conn tranny bari and I swapped horns back and forth for a half-hour once, and they didn't seem to be in different leagues at all, although the other player certainly was...

[John Laughter]

Bootman, what is the difference between a Conn 12M and a Conn 12M "Tranny" in terms of overall sound? Or, is this the same horn.

[gingerjen]

:D I just had the most fun day playing bari all day! I play a Yam 32, and have no complaints about the instrument. The tuning is pretty reliable, and it plays beautifully throughout the dynamic range. everyone seems to rate baris only on their ability to play fierce and loud. Mine, she purrs like a pussycat, and sings so sweet. AND she can blow the socks off the rest of the band when needs be..... :shock: :D :D :D :D :D :D

[tubbycub]

Dukoffs and Lawtons creates great edge on the bari. I use a Dukoff D7 with Vandoren 2.5 reeds on a Selmer Serie II and it kicks ***!

I should say that the Selmer USA baris really suck, I can never find a comfortable position to play it as the keys and neck length are structured in the most awkward positions.

[Perfect Pitch]

Well at least there is no consensus...

[mark_m]

Well, the point of consensus is that by and large, we all like our horns!

[Morry]

Tomorrow my new SX90R arrives....I can't wait!

Hey, Randall, how's that funky new horn???

[Randall]

Morry my man, it is the BOMB! I have never played any bari that was as effortless to play in all registers as this horn. It blows my old black and gold JK SX90 out of the water completely. I must give the highest praise for Stephan's pro set up. This horn is any bari players dream...and I am not overstating things. I've played a lot of baris, and this is the best low A horn I've ever had the pleasure to play.
Any word or decision on your "funky" bari request? 8)

[Morry]

Nah, I haven't completed my plans to rob a bank yet. Actually, Stephan said it would be late in the year before he could check feasibility and price.

[Morry]

BTW, how about a picture?

[BariMelt]

I play a 1965 Martin Magna with a low A. It's heavy, has a tough pinky cluster, and doesn't look like much, but boy does it rock. The bottom end is huge. The extra effort is worth every bit once you hear the sound. I also like the fact that there are two ways to finger low A, above or below left hand thumb rest. I played a Buscher and a YBS 52 throughout high school, and have been gigging on this Martin for about 4 years. It doesn't have the swift action that the new horn have, but for good old R&B, I don't need it that bad. I've seen some go for a good price lately and am a little concerned that it might get really knocked around on a gig. I'm thinking of finding a modern horn in the next few year, but they are so expensive. A YBS 52/62 or a JK SX90R would be on my list to try. I know of a guy that will sell me his Conn 12M silver matte finish, the whole horn is in top condition, whenever I want, but that doesn't solve my problem. I've even thought about a Cannonball bari to keep the cost down. I haven't played their big bell baris, but the big bell tenors are great.

[Bootman]

As a Magna and Conn 12m owner, the Conn is better in regards to thunder, projection and sound. Go the 12M, tranny model preferred. They really are that good.

[Pinnman]

Bootman, How is it that such a convinced Buescher devotee recommends a Conn bari?

My pattern is similar in that I play Buescher TT sop & alto and 400 (post-th&c) tenor and am sold on these saxes. However, my bari is a Conn 12M from 1935 - a great horn. What, for you, does the Conn have that the Busechers lack?

:?: :?: :?:

[hannibal]

yamaha 62, the triple vent octave key mechanism alone is worth the cost of the horn. .

I bought a Noblet bari four years ago, and haven't been able to upgrade yet. Is my first bari and only one I've ever played. It's got this funky triple octave mechanism thing. It's french and dates from circa late 1940's. And that's all I know about it.

Anyone know anything about this horn? I can't find anyone who has heard of one or played one! Problem is, 'cause I don't know what I'm playing, I don't know what to look for when i eventually resell the old beast. Or how much to value it at.

Any help out there????

[robbieg]

I currently play a Jupiter Artist, and its one of the better bari's I've played sound wise. Its not that ergonomic though and definatly not too durable, as I've had stuff fall off during practice.

[Perfect Pitch]

stuff fall(s) off during practice.

Heh - sorry dude but such a quality precludes this sax from my list of "best".

[Bootman]

bmsj,
The reason of the 12M over the Buescher or MArtin is simply a moatter of ergonomics and sound. This is the reason why I prefer Buescher and Martin tenors and altos over the Conn counterparts too.

The other underlying reason is that with the 12M tranny, it is possible to compete acoustically in any band situation, even electric situations. The sound of the horn doesn't get lost in the mid range and the horn has a rough but smooth character to the sound which is part of the definiton of a Bari sax sound to my hearing. I am also very fond of Mulligans playing.

[baritone]

I dont own any bari....but I did play a Yamaha 62 and a no-name sax from Czech for almost 1.5yr. I like the Czech one, it is so cool that the sound is really a character....though the Yamaha is also a very good one, reliable, I used to play the piece Into the Storm, First Suite, Sedona, and Socerer's Apprentice by using the Yamaha...really never afraid or doubt on its performance, but juz too normal.

[shmuelyosef]

It's been a year and one half since this thread was active...curious if tastes have changed in the meantime. In Dec '03, I was still playing old King Zephyr baris (I had two...one for backup). Since then I have bought a somewhat customized Keilwerth Stencil low A (King Tempo) and a closet 12M (mint, SN 340xxx, now with black roos). I have sold both my Zephyrs!! Still mostly playing a STM Link or Levelaire, depending on setting. Very happy to have a Bb and an A for versatility, but the Conn is the BOMB!! (sorry Randall for the plagiarism).

[RS]

Still playing my low Bb VI (208K). I have an 88K VI for backup.

[Brendan Muse]

I'm perfectly satisfied with my Yanagisawa 902, but I want to look into a Buescher TT as a backup/bar/marching horn.

[Bob M]

1953 "The Martin" (only available in low Bb) from Sarge. Set up with black goatskin pads and Noyeks, the horn really roars top to bottom. My primary pieces are Link 7*s, either a STM or Tone Edge (both blueprinted by Doc Tenney :D ). I also have recently acquired a Pillinger (copy of Bootman's piece) in 7* that I'm working with, which has more power than the Links, but is tougher for me to tune.

shmuelyosef - Thanks for getting this thread going again! I'd love to hear more about how your King Tempo is customized. Also love to hear feedback on Couf Superba low A bari's.

[john]

My basic taste has not changed. My "main" horns are still a pair of B991's.

But, when I really want to be heard or make a statement I now choose from a pair of near mint, silver plate Conn 12M's (325K and 525K). Those babies, paired with a levelair metal piece are, just like shmuelyosef said, da bomb (I'm sorry to Randall). Now if I could just PLAY like Mulligan...

john

[Brendan Muse]

You missed his silver one that was up at auction.

[Randall]

John,
I hear ya on the Conns...I love them too.
When you are ready to part with either of those two silver babies, give me a shout!

[shmuelyosef]

shmuelyosef - Thanks for getting this thread going again! I'd love to hear more about how your King Tempo is customized.
I bought this horn a little over a year ago from baribri...he had quite a bit of work done to it. It has a Selmer thumbrest and Selmer bell/body brace and a fully articulated custom LH pinky table with a hinged Bb. I made a couples subtle mods to the hinge as it rocked a little too much for my tastes. It came to me with what appear to be very large Resotechs. I scored a used Gloger sterling neck (don't think that changed the sound much but it looks cool and was cheap) made originally for an SX90. It has no lacquer on the body, but lacquer on the keys. The setup was pretty nice when I got it...I tweaked a few things and have been playing since. I always thought that low A baris sounded dead compared to my Zephyrs (all I had ever tried was modern Selmers and Yamahas) until I got this horn. Sold one of my Zephyrs to cover my cost of this baby, then sold the other after I scored the closet 12M and overhauled it with the hard black roopads. It's pretty sweet, too...I feel blessed to have two great baris and I'm not particularly religious!!!

[shmuelyosef]

My basic taste has not changed. My "main" horns are still a pair of B991's.

But, when I really want to be heard or make a statement I now choose from a pair of near mint, silver plate Conn 12M's (325K and 525K). Those babies, paired with a levelair metal piece are, just like shmuelyosef said, da bomb (I'm sorry to Randall). Now if I could just PLAY like Mulligan...

john
John, How do you live with only 4 baris?...you are obviously single with no children...LOL

[Bob M]

Thanks for the description. Any chance of you putting some pics on your website ;)

You still using an STM for bari? I got one of Doc's 7*S STMs that I like a lot, although it hasn't taken the place of my Tone Edge yet (also a Doc blueprint).

[shmuelyosef]

Still using an STM 7 for bari. Despite having invested an embarassing amount of cash in alternatives I still play an older STM 7 that is silver-plated and is stamped 2ND...the whole facing (as original) is a little off-center and there is some machining error in the window. I haven't found anything I like better. Just recently scored a used gold-plated 7* that seems pretty good, too...I use the Olegature 2S ligs on them as I've never been able to make the standard ligs work...used to use a Consoli, but the recent eBay prices on the Olegs tempted me. I will try to get some pix up in the next week or so...

[john]

shmuelyosef,
Actually I have 5 bari's :shock: . I also have an older cleveland (the one with the backwards top loop) that needs work. I have had as many as 8 at once :shock: :shock: . When the collection was largest I had 11 tenors, 8 bari's, and one lonely alto :( .

I do have a wife(very understanding as you might guess), 2 kids, a mortgage and I go to school full-time. I'm just really lucky to have a great day job to support it all.

Yes, I'm an idiot. But there's nothing like a 12M in full song :D .

john

[shmuelyosef]

My weakness is tenors...the two baris are for getting more work, as bari players are in high demand these days (although playing bari is pretty fun...)

[JimMetcalf]

Yamaha YBS-52 Keywork feels good-intonation is good-easy to maintain-price is reasonable-solid construction throughout-1000's being played in schools etc-parts are available and most techs are familer with YBS-52's. The triple vent octave system works well! Used(pre-owned) YBS-52's can be found for under $2000 ready to play. Wish they were available in SilverPlate!

[HC]

Spent two years worth of lunch money on a Buescher TT bari and almost year later, still have no regrets. Anyone else have a TT bari?

[Dave dix]

I use a tt bari for many years.Great horn with good action and tone. I have never wanted another bari.
Dave

[Brendan Muse]

I played on a TT bari as a loaner during a few community band rehearsals. It was ugly as sin and leakier than the Maginot Line, literally falling apart, but it was the best-sounding bari I have ever played. I get the feeling that if I were to buy one as a backup horn, my Yanagisawa would soon start gathering dust.

[baritonick]

Keilwerth SX90 for me, with Otto Link 9* mouthpiece and Vandoren Classique 2 1/2. May be switching to Superials if I like them... will be getting some next week.

I like the Keilwerth because it has a great low end (not QUITE as good as the Selmer Series II) but its ballsy as all heck. Good for big band and sax quartet (though I usually use a Vandoren B95 for quartet) and great for solo stuff. Slightly smaller horn than the Series II and GREAT tuning (I've tried a couple others, and they've all had excellent tuning).

[carguy1]

I chose a Couf bari. Why? Well, I play a couf tenor and like it so much, I had to have a couf bari when the time came to go bari.

[AbrahamFackle]

I currently play a Jupiter Artist, and its one of the better bari's I've played sound wise. Its not that ergonomic though and definatly not too durable, as I've had stuff fall off during practice.

Funny story... so i'm playing a big band gig, using the band's dilapidated Jupiter student model... we'd managed to get through most of the show and for some reason the leader hadn't called any numbers where I solo. Finally, he calls up the last tune, a modal latin chart (the name escapes me) in C minor, which has a long one-chord bari solo in the middle. Halfway through the intro, the screw on the upper stack keys works it's way out of the socket, so that whenever I do a middle-finger C, the key won't close right, so it comes out as a C#. Everything else works fine. The horn is missing the side C key (the tone hole is covered in duct tape) so I suddenly found myself playing 64 bars of Am7 without either of the regular C fingerings.

The moral of the story is, always keep a screwdriver handy. Or, get your own baritone.

[Ken]

I like my 1920's Conn since I can get my best sound out of it, not like a fog horn that a lot of baris sound like. I use a no-name mouthpiece that has been worked on. The action is a little bit difficult in places though, compared to a selmer.

[chipmorrison]

I recently acquired a 1920s era Vega, my first bari. I've been told it's a Martin/Conn stencil. The body is supposed to be Martin (has soldered tone holes) and the keywork is Conn. The highest note is E flat. According to the label on the horn, it was made right here in Boston. They guy who sold it to me said it had been played in Combat Zone clubs in the 50s and 60s.

I have a 1937 King Zephyr and a Chu alto, but recently I've just been wanting to play The Beast, as I've found myself calling it.

I started out with a cheap Rico MP (#7) , playing Plasticovers #2. I liked the sound all right, but had some trouble with the lower end (probably me), plus the upper register sounded a little quacky.

Then I ordered 5 metal MPs to try out from WWBW: (I didn't find out until later about their mouthpiece selection policy, which lets you try up to 4 at a time, while only paying for the most expensive).

Dukoff D6
Link 6*
Brilhart Level Aire 6
Runyon Custom 5
BARI 105

After a good bit of play testing, it seemed to come down to the Link and the BARI. The Link was a bit too soft for my taste, and the BARI too bright, with tendency to get out of control in upper register (read, squeak). Then I noticed that the Level Aire had a spoiler in it. I took out the spoiler and BINGO! Just what I was looking for. To my ear, it has a GREAT BIG sound, better than anything I can get on the Zeph.

For the time being, I'm playing Plasticovers (1.5, shoot me). My only question is whether I should try out a more open version of the Level Aire. Maybe as I build up my embouchure, I'll want something more open?

Bottom lines:

You don't have to pay a lot of money to get into the bari world.
The Level Aire is a good choice for a 1920s-era Vega, just in case anyone out there has one and is looking for the right MP.

PS:
I should mention that I use a metal Wolfe Tane (7) with the Zeph. I noticed that the Tane and the Brilhart Level Aire look quite similar, more similar than any of the other pieces I tried. This may at least partly explain why the Level Aire seemed right for me.

[TenTenTooter]

Right now I have a 50's low-A MK VI. At first, it seemd like a great horn, but lately I've been doing all of my practicing on Bari rather than Alto, and every time I play it I find something else I don't like about it. Probably because it was re-lac'd twice before I got it, I dunno. Intonation is iffy to say the least (after a complete adjustment top to bottem). Probably end up selling it and perchasing a Yamaha 62.

[Razzy]

Speaking of which, I play the 62 and it's great. However, I played another newer 62 and that horn steps all over mine. They are both set-up very well, so that's not it. Mine is just less vibrant and free-blowing.

So be sure to try out a few before you buy. The 62's in bari seem to vary a lot more than other Yamaha saxes.

[Alexk]

For me, it's a YBS62, secondhand, in great shape. I could not justify a new JK, Yanni or Selmer bari, so when the '62 came up I grabbed it. It's a great horn, I'm enjoying it. I still have my yts61 from 1975, so I knew quality was not an issue.

[MM]

Well, I don't play a lot of bari but wanted to share something. I recently got to try a Super Action Series II and compare it to my wife's 20 yr old Yani stencil (Artist.) The Selmer was more refined-sounding, more resistant and its palm key notes spoke much easier. In fact I could even pop a high G and sometimes a high A. It was easier to play in tune on the Selmer. The Yani was gutsier and blew much freer. However, it's tough to find a reed that would not be too hard for the low notes and not too soft for the high notes on the Yani. Overall, I'd prefer the Yani for jazz and the Selmer for legit playing.

My wife, who plays the bari much more, says the same thing about the palm key note response on the two horns, and we used different mouthpieces.

[MM]

Come to think about it the Selmer I played was a Super Action 80.

Also, the low A was a real bitch to close on the Selmer--not sure if it's just set up badly or that's how Selmers are. It took a lot of force to move the key.

[vick]

It was the same way on an SA 80 I played.

[mountainman]

Funny story... so i'm playing a big band gig, using the band's dilapidated Jupiter student model... we'd managed to get through most of the show and for some reason the leader hadn't called any numbers where I solo. Finally, he calls up the last tune, a modal latin chart (the name escapes me) in C minor, which has a long one-chord bari solo in the middle. Halfway through the intro, the screw on the upper stack keys works it's way out of the socket, so that whenever I do a middle-finger C, the key won't close right, so it comes out as a C#. Everything else works fine. The horn is missing the side C key (the tone hole is covered in duct tape) so I suddenly found myself playing 64 bars of Am7 without either of the regular C fingerings.

The moral of the story is, always keep a screwdriver handy. Or, get your own baritone.
Good story!!!

[Mystical Musician]

My bari of choice, and my personal favirote is the Selmer Series II. Its the best bari i've ever played or owned. I look forward to seeing what the III is like.

[Jough]

I have a Conn 12M and a Selmer SA80 (first series), I really like the Selmer, I've used it for everything from Big band, disco, Rock, quartet. It's just a great sounding horn that blends well and feels good. The 12M roars and I like to play it, but it's not the Selmer.

[Sadie]

Keilwerth SX90. Fantastic horn; I adore it with every particle of my being :D

[BariSaxJoe]

Call me crazy, but my current favorite bari is a newer Evette with low A. Its made in China, but it has a really big, full sound, exactly what I like. I prefer it to my Guardala in black nickel and my Conn bari.

[saxmanglen]

Call me crazy


Your crazy! :yikes!:

[BariSaxJoe]

Your crazy! :yikes!:

lol yeah. i bought it mislisted on ebay, and figured that I could make a quick buck if i listed it in "saxophone > baritone, bass" rather than "other brass" and with "saxaphone" spelled correctly, and, upon playing the thing, its really great. :?

[BariSaxJoe]

Funny story... so i'm playing a big band gig, using the band's dilapidated Jupiter student model... we'd managed to get through most of the show and for some reason the leader hadn't called any numbers where I solo. Finally, he calls up the last tune, a modal latin chart (the name escapes me) in C minor, which has a long one-chord bari solo in the middle. Halfway through the intro, the screw on the upper stack keys works it's way out of the socket, so that whenever I do a middle-finger C, the key won't close right, so it comes out as a C#. Everything else works fine. The horn is missing the side C key (the tone hole is covered in duct tape) so I suddenly found myself playing 64 bars of Am7 without either of the regular C fingerings.

The moral of the story is, always keep a screwdriver handy. Or, get your own baritone.

I used to play a wrecked Bundy school bari, which had an absurdly large leak on the low e flat key, and i had to play the Dance of the Sugar Plum fairy... in short, I have to play a low B on the first and third beat of every measure and it won't come out at all. So i just pretend to play for the first ten measures :D. Then I'd forget to come back in. :D

[David Spiegelthal]

Silver-plated low-A (Weltklang), allegedly made by Richard Keilwerth. Everybody should have one.

[Jedi2427]

New to bari sax but not to playing profesionally. I have been playing tenor for over 25 years in clubs. I recently bought a Buescher 400 (1965) on ebay. The horn was pretty beat up... Nice sound, but really sharp up high. While I was killing time in the music store I played a Cannonball Big Bell stone series with low A in lacquer. Oh my lord, does that thing play well from top to bottom. Great in tune altissimo, fine workmanship, great keywork, and the sound to me was way more even than the Buescher. Cost about haft that of a YBS-62. I have a Lawton mouthpiece 8*B in Gold plate, and that Cannoball bari just knocked me out.

[Gandalfe]

Yanagisawa 990 which is a bari with great intonation and ergonomics. It is usually coupled with an Otto Link Super Tone mouthpiece and Rico Royal 2.5 reeds. Bought it new for my son and traded him a Yanagisawa soprano sax for it. He now wants the bari back. 8-)

[sycc]

xmas/graduation present when I was 17 am now 38;bought in fall of 84. Great sax;once played a armstrong in around '90 that I liked(better suited to classical)belived kieworth was making the armstrongs. While I love my Semer if god forbid I needed a new baritone I would get either a low Bb nickel plated Keiworth w/ rolled tone holes SX-90R or a Yanigisawa bronze B-992. I use the stock selmer c** MTHPC

[Dr_sax]

Hey , that´s what I just got 2 days ago. A slightly used Yanagisawa bronze B-992. Finally I have a baritone:D . So now the search for a cool mpc goes on. A Doc refaced berg is on its way to me. So that will be my starting point.

[sycc]

Let me know how you like it!!!!!I really love Yanigisawa!!!Got 2 of em a alto and a curved(sc-991) soprano for my daughters

[jjgold]

READY? I had a The Martin (well actually 2), Yani 990 (good ergo, ok sound), VI Low A (this one was just ok), Keilwerth SX-90 (Great Horn, lacked something in the depth and my right hand got sore), Couf Superba I low A (it was one of those REEEEL Purdy ones, sold it!), Rampone R1 Jazz In Vintage Slvrplate (the BEST modern bari, keywork was a bit akward and my right hand got sore) Currrently on a Series II in Matte Finish, Does not have the biggest (took me a few hours to get used to it, I could BARELY play it when it arrived! ) sound but, is the easiest Low A to play with a VERY rich sound...i have had a whole slew of others but these were the ones I remember!

[GAS_Wyo]

I used to play VI (LA) but have just recently purchased a YBS-52. I've played one for the last couple of years and I just had to have one. Not much experience from which to make one of them "my favorite", but I'm sold on the 52. Didn't go for the 62 because of the "as good as a 62 for less $" comments on SOTW.

[DJ Mix]

I play tested a bunch of Baris before I bit the proverbial bullet and bought a Selmer Serie II (tested a bunch of THEM once I narrowed it down). It has been a work horse for me. I use a standard Meyer 5M that does absolutely anything I need. It's great because all I have to do is THINK about a sound (Sweet, gravelly, dark, or bright) and the horn responds. However, I imagine with Selmer's inconsistency, some of them don't play as well as mine (some of them didn't, I played them myself).
I tried a few of the big Yamahas (what are they, 52s or 62s? I forget.) And they were very good, but didn't quite have the character of the Selmer. There was no way I was leaving that store without that Selmer!

I've never really bothered with vintage horns. Maybe I'm lazy or just don't want to open that can of worms.

[bigbubba]

i just got an iced black stone series cannonball bari. i think its a good sounding horn. i just got one question. did i get a good horn?

[Randall]

Yes Bubba, you got a VERY good one. It gives my JK SX90R a run for its money.
I think the midrange of the CB is actually a good bit better than my JK.

[bigbubba]

alls right then. i can go into jazz band proud.

[Brendan Muse]

Not if you're going in with a horn that's in its case backwards, you aren't! :D

I thought only the French could screw up the inside of a case so badly, but I guess I'm wrong. ;)

I'm also kidding on all counts. Please don't kill me.

[bigbubba]

no worrys. i don't know why, but cannonbal has some weird cases

[beoheed]

I tried 4 horns In my short Bariness to date, A student yamaha (not sure the model), an ST-90, a Super 80 II, and my Martin Handcraft. Modern Horns are well and good but this thing is awsome, better then any of the other horns I've played!

The others went (from best to worst)
ST-90
Super 80 II
Yamaha (It never played below concert F, and my school was too cheap to do anything about it, it was a horrible bari.)

[dshack]

After loving our high school's Yamaha 52, I got on ebay and got me a 62. Great horn.

[Grumps]

I didn't choose my bari; it chose me.
A 1920 Conn New Wonder w/out rolled tone holes and keyed only up to Eb3.
You can't argue when someone gives you a bari though, and it does have that great old gutsy Conn sound. Recently I had convinced myself that I really needed a modern bari. Thankfully, a longer shanked modern mouthpiece talked me out of it.

[namenotfound06]

I'm on a Yani b 901. It's so free blowing and I finially got the action to where I've always wanted it. Now I just have to get to playing lighter. Today I played a Mark VI, it was the colleges that I visted. The action was pretty nice but it had some leaks and needed to get repaired.

[SOTSDO]

I started with Selmer horns from the 1960's era, and they served me well for about ten years. Then I got married to the woman from hell, stopped playing, let her talk me into selling off the saxes ("They're just taking up closet space!"), and buying a bright shining new Ford Granada with the cash we raised.

Fast forward ten years. I no longer had the wife, no longer had the car (which was a piece of junk, by the way), and the saxophones were long gone. I priced Selmer Paris horns again, found that they were now way out of reach, and decided to look around. Yamaha, specifically YBS 62 was what I "settled" for, and I've been reasonably happy ever since.

But...

If I had my perfect baritone it would be a synthesis of:

Selmer - this for the action and the left hand spatula keys

Yanisigawa - this for the short neck, all the better to play rock and R & B with while standing

Conn - this for the all-American sound, volume and all - I love my Conn artist model (formerly gold plated) from the 1920's, just on sound alone

Naturally, you can't get what you want. I've tried about ten different classic Conn baritones (1920s and 1930s), and none have measured up. Also, the lack of a low A is critical in some situations. Yanisigawa was always a bit too frail for me in the keywork department, and the one I had the loan of didn't "blow right", whatever that means to you. Selmer was great for the keywork, less so for the intonation, and they are bid out of sight.

Yamaha is competently made, in tune with itself, and comfortable enough to play. Too bad you can't mate it with a Conn...

[baritone]

my bari is a Selmer Mark VI low Bb....not a particular reason why I choose that.....maybe because I got it for 2800 is the reason?!

[SactoPete]

I play a Buescher 400 (pre-buyout) bari, which I bought for a couple of reasons... first of all, it was $600... about as cheap a bari as I could find. Second, it looked a lot like my Top Hat and Cane tenor, which is a great horn in its own right (and the backside-bell keys are way cool).

I don't have a lot of experience on baris, but it plays well all the way up and down, and gives lots of "bark" when I'm using it on a rock gig (the other guys love it anyways).

Pete

[baritone]

I play a Buescher 400 (pre-buyout) bari, which I bought for a couple of reasons... first of all, it was $600... about as cheap a bari as I could find. Second, it looked a lot like my Top Hat and Cane tenor, which is a great horn in its own right (and the backside-bell keys are way cool).

I don't have a lot of experience on baris, but it plays well all the way up and down, and gives lots of "bark" when I'm using it on a rock gig (the other guys love it anyways).

Pete

is the TH&C tenor relatively smaller than others?? I got a TH&C alto though :)

[barisaxgirl22]

I've only played on two baris (I'm only a student, don't kill me!). One I played on last year was a Selmer. It had some dents around the neck and by the bell, but it was a beautiful horn. This year I'm playing on a Yamaha. It sounds wonderful. I don't know anything about either of the baris, since I don't even own them. I'll take a look at them tomorrow, though.
Any suggestions on good reed brands for a Yamaha? I don't know the mouthpiece brand.

[barisaxbeast]

I've got a 1975 Mk6, in silver plate. One of the last ones out I think? Low A of course. Had it from new and its still blows a storm. Blowing a Lawton 8*b on it, with a Barone neck.I use it for everything, big bands, small bands , studio,theatre, you name it I've probably blown in it! Can't fault it. Its the dogs dangley bits!!!!

[JSaxMiller]

I retired my Conn Chu Bari. Lost my Metalite M8. I love that sound, hate the spread finguring. Now I'm blowing a Levelair 7 on a new Stone Series Raven Ice Bari. Not a bad horn. Getting used to the low A fingering.

[ejennings]

I completed my quartet of saxes in the late 1980s while visiting Boston. Emilio Lyons was showing me baris at Rayburn Music (it was odd there were two people looking at baris at the same time in that tiny store ... turns out the other guy was the sax player with INXS). I was down to choosing between a Selmer Mark VI Low Bb and a new Yamaha YBS-62 (Low A). I went with the Yamaha primarily because it was much more free blowing than the Selmer (I played mostly alto and soprano at the time and the amount of air to play the Selmer was shocking). The Low A was also a deciding factor. I play mostly classical and paired the Yamaha 62 with a Selmer C* S80 mouthpiece and Vandoren 3.5 (blue box) reeds.

That was my first Yamaha horn. Since then, I've switched from Mark VI alto and tenor to the Yamaha Custom Z's. Very nice horns. I had to get a model 62 neck for the alto though due to intonation problems around middle c on the G1 alto neck.

[gspiegel]

I have smallish hands and play more alto than bari, so the choice was easier. Couldn't comfortably play all the keys on the older horns or the Keilwerth, so it came down, basically, to Selmer, Yamaha or Yani. I liked all three, but the Yani felt more like an extension of me.

You can't think too much when you're choosing a horn. You have to play them until you find the one that feels right.

Glenn

[Chris Peryagh]

Yamaha YBS-62 for me - I got mine brand new nearly 16 years ago (back in July 1990 for my 18th) and it's still going strong and looking pretty good (there is some lacquer damage, but that's normal wear and tear) - and plays and feels much better than the current 62 baris I've tried.

I chose it over the Selmer SA80II, Yanagisawa 990, H Couf (Keilweth) and some others as I felt it sounded more like a MkVI than the others (apart from a pre-'65 MkVI which was the one I was really looking to get, but couldn't find any)! It had a much warmer sound than the SA80II and the keywork was much more comfortable.

I also chose it on account of how sturdily built it is - the bracing across the top U tube and bell to body brace is 3mm thick as opposed to 1mm thick on Yanagisawas, the adjustable low A mechanism that is the most reliable and solid I've seen, the precision and solidness of the rest of the mechanism (it doesn't feel bendy like some baris) and the design of the high F# mechanism (whch gives a lovely solid high G as well - play top B and add the high F# key). The twin lower octave vents is also good as this clears up the troublesome notes in the upper register.

Oh yeah, the case! It's on WHEELS! Perfect for those long treks around concert halls - but I had to replace the original wheels with solid ABS plastic ones as the original ones broke up. Not to mention it's also a box case with a huge compartment that fits the base for the Jiffy stand I use (so no need to carry it around in a seperate bag - I only have the two hands which I carry my bari and alto around with!), and I can get a flute and music stand in the other compartment as well (I took out the plywood dividers so I can get them both in there). The inside is well fitted to the sax so nothing rattles around and the bell is still in line - I've trimmed some of the polystyrene out so the Jiffy stand bell clamp fits in the lining. Downside is I had to buy a car big enough to fit it into - my VW Golf didn't have the room for the bari and passengers (it only went across the back seat or upright in the front passenger seat) - the fantastic (and fast) Citroen CX GTi Turbo 2 and the two (totally unreliable) Citroen XMs I owned after that still didn't have a big enough boot, but I've sorted it by getting a Volvo 940 - and the case goes in without touching the sides!

In all that time the only thing that went wrong with it was the felt buffer on the side Bb fork falling off back in around 1999, and I've only replaced the water key cork twice. The crook cork is still the original, and still a good tight fit in the mouthpiece, and the pads are still the originals apart from the top octave one (see further on).

Yeah I know it doesn't have that gutsy Conn X-bar sound, but it does deliver a very clean or dirty sound depending how far you want to push it, and can whisper a fat low A with ease as well.

I use a stainless steel Lawton 7*BB with it (which I had gold plated).

The few modifications I've done to it were fitting a Jiffy stand on the bell, replacing the upper octave vent pad with a cork one which doesn't stick and replacing the bendy plastic thumbhook with a brass one from an old YTS-61.

[SOTSDO]

That compartment is made to fit a low B flute in a French style case, something that it took me about five years to realize. Here I had toted the stupid flute (tool of Satan that it is) around for all that time, while all that filled the flute slot in the case contained a couple of boxes of reeds...

[carlosfitz]

Mine is a Selmer Super Action Low Bb I really love it cause it is good for soloing and it gives great response on the low tones that makes me play cool on both stages, combo and solo. I use a Berg Larsen 100/1 mouthpiece sounds great with the horn really jazzy sound and when I want proyection I use a very strange mouthpiece called slender #9 (is from taiwan) but it really helps sound bright (flat chamber) I use it for rock and give those noisy guitar players something to think of.

[dshack]

Chris, I don't know if the 62 cases changed much in four years, but I've got a '94, and it has four tiny wheels on the bottom. Properly greased, these will roll down school hallways, but they aren't good for much else. Why won't any of the sax manufacturers make good urethane wheels standard on their cases.

The 62 is a great horn, though. Sweet, sturdy, and meaty.

[Chris Peryagh]

dshak, I looked at a new 62 in the last few months - not only did I notice they're using plastic 'pearls' on them, but the case didn't have any wheels! Just the rubber stoppers on the end.

Mine has plenty of mileage left in it and I'm definitely sticking with it. Also I think this one was a factory second as it did't have the same nice resonant thud as mine has when I closed all the keys, and I noticed some sloppy soldering - I know the soldering on mine hasn't been cleaned up all that well around some pillar bases, but this new one was worse.


The first thing that struck me when they opened the cardboard box on my 62 bari (as it only came into Howarths the very morning I collected it) was the four case clasps and three handles on the side! And then things got better and better by the minute. Then in the compartment was a bag with four wheels in it - and these made it a doddle to trundle through Victoria station when I took it home. But the original wheels had a plastic hub with a molded rubber tyre - and the tyres all broke off the hubs. But I found some ABS rod which I used to turn some new wheels up with (on a lathe), and over 10 years down the line these are still doing a good job.

[dshack]

I debated looking for a newest-iteration 62, but the only improvement I could see was linked table keys. While those would have been kind of nice, they would also have cost $2000 extra or so. I think I'm sold on the 62 being worth the step up from the 52, though; problem notes like open C# or middle D sing in a way they never did on the school 52, even when worked on by a good tech. Plus the engraved gold lacquer is real purdy compared to plain yellow brass.

Which plastic pearls are you talking about?

[JazzmanJohn]

There's one up on Ebay. Are they any good?

[Jolle]

It's official : I play bari. My favorite is an old (probably 1917) Martin-stencil (I believe it is a Martin, given the nice formed toneholes) with "Symphony" written on it. I received it yesterday and frankly, it blew me away. Powerfull tone, very clear in the higher region, plays terribly easy through the whole range, sounds rather even through the whole range, and has a surprisingly ergonomic keywork. I don't have that much to compare with (only played a few other baritones), but I know now already that this beast and I are going to have a LOT of fun :D

greetzz

[sideC]

My horn is a Selmer mk6 with a low a key. I bought it new in '71 or '72 from Charles Ponte on 46th st in Manhattan. Paid $850.00 for it, lots of $$$ in those days. I guess it's worth $900.00 by now, eh? :D I remember it was lying in it's case in all it's dark honey colored shiny newness, when a middle aged, stocky built Black gentleman walked up and remarked on how beautiful it was. The man was Haywood Henry, one of the baritone greats.

[Joey the Saint]

I traded my road-weary YTS-62 tenor for an immaculate, rebuilt 1970 Nogales Conn Bb Bari. With a stand, case, a couple of mouthpieces, and a few boxes of reeds. I needed a bari for 5-6 songs per night, something shiny that played in tune. I think the horn sounds great; for what I use it for, it's perfect. I couldn't see throwing down $3K for a horn I might go a month without playing.

[vries1]

I play a Yamaha YBS-62 for its ergonomics and homogeneous tone quality. The 62 also requires little effort to play in tune.

I played a Selmer SA80 II bari for some time, but I found that the SA80 II right hand key layout (especially the low C/Eb keys) caused pain in my wrist. If one compares the Selmer SA80 II and Yamaha key layouts on bari, the differences are surprisingly large. For me the YBS-62 feels most comfortable.

[jonathanbyrnes]

I have just changed baris.

I was playing on a Series II Selmer for 4 years and it was a stunning horn. I have changed now to the Yanagisawa B992. its amazing. The bronze gives a beautiful full dark sound and the keywork on the Yani is so easy to get around.
When I play the Yani it feels like im playing an alto and the sound comes out an octave lower. Its not quite as powerful as the Selmer was but for what i need it for its much easier to play.
If anyone is interested in my Series II its for sale in london for GBP3800. Its near new condition and plays awesome.

[Stretch]

I play a Yani 990. Great horn from top to bottom. I wonder how many other SOTW members got a great bari from jjgold. Thanks jj!

[Randall]

jj's GAS is a wonderful thing....;)

[GAS_Wyo]

I'm going to have to take back the post I made back in January...the high end of the YBS-52 leaves a lot to be desired. As I get more into altissimo, I keep hearing a thinness that I didn't hear when I first played this horn. I'm thinking of another used Bari in excellent shape...who wants to give me a recommendation for the best high end bari?

[Brendan Muse]

Yani 901/2.

The differences between the 90X and the 99X horns, from what I can tell, aren't enough to justify the cost. But someone who's played plenty both would be better suited to answer that.

[Dr_sax]

I played both: the yani B901 and a B992. Both are excellent saxes. There are slight differences between the both like metal resos and double arms on all low keys on the 992. The low key adjustment screws are metal on the 992, plastic on the 901. The keywork is identical. The sound is a bit warmer on the 992. So is it worth the extra cost? I played a new 901 and a used 1 year old 992 that looked new. I got the 992. Just liked it a bit more.

[shmuelyosef]

The main differences with the 99x horns vs the 90x seem to be in initial build quality (the 99x's come 'ready to play' and are almost unique in today's sax market) and in reliability engineering (the adjustment features, ribbed construction, double key arms and many other little details make these horns easy to setup and likely to not need it very often).

[Zoot Horn]

I started with a 1955 Buescher Aristocrat, with a modern HR Mayer 5M. That had good intonation and a pretty sound, but it was too sedate. I changed the mouthpiece to a gold plated Otto Link 5*, and it all just kind of opened up, and had a lot more projection. And I was really happy with that, but then I thought I'd treat myself to an Fmaj7 mouthpiece, and put it on a 1968 Zephyr that was my 2nd bari. It turned out to be a major miracle, a great sounding combination that gives me far more projection than I ever thought I would have. So, my plan now is to buy a Super 20 in silver, and then sell the Buescher.

By the way, in my mind this absolutely settles an argument that rages on this Forum. Of course it's true that you sound like you no matter what horn you play. But your equipment does matter, it makes your sound closer to what you want it to be.

[bari_sax_diva]

I first tried bari in high school on a really crappy horn--a leaky Bundy, I think. I was a decent alto and tenor player (having originally migrated from clarinet) but this experience was traumatic enough to make me never, ever want to play baritone again. Blecch!

15 years later--many of them without playing at all--I was back at it, working my chops back up on alto. A local community college big band I was playing in ended up with a hole on the baritone chair, so I grudgingly volunteered to cover it and got me a loaner Mark VI to do it with. Suddenly, baritone didn't seem so bad anymore, so I started hunting around for one of my own.

A friend was selling his '27 Buescher, and I gave it a try--it had this humongous sound that could practically shake the house. I bought it and ended up loving it, but after a while it became more and more apparent that the ergonomics were impractical for section work (I'm cursed with wimpy little pinkies), so I ended up on a horn quest again only a few months later. After playing a SA-80, another couple of Mark VIs, the Yani 901 and 991, and the Keilwerth SX-90, I tried a Yamaha 62 and it was a perfect fit. Bought one new a few weeks later, and since then, the only thing I've changed was my setup, a little over a year ago.

I sold that Buescher, by the way, but I sometimes wish I hadn't--it would have nice to play for small-group stuff. Oh well...

-Leanne

[wyliecoyote]

Rampone & Cazzani R1Jazz in gold plate - new horn for me from Saxforte

Had to tweak a few adjustments to get the B/Bflat low end to voice (suspect C# key stop, dynamic leak)...but it is now an absolutely great sounding horn for me, beautiful looks too..not for someone with small hands, granted. Love this horn!
If Selmer brings out a Series III/Reference 54 model bari..I'll probably buy one of those, also..but I'm keeping the Rampone.

[xax]

I'm still playing my pre-Seeburg two-tone Zephyr, but now i'm using an early Fla. Link STM...fagedaboudit!

[hornguy]

I have played quite a few baris, and obtained a Buescher Bb a long time ago. About 15 years ago, I decided to go hog wild for a good low A bari, so I spent a lot of time with a YBS-62, Super Action 80, and a KX-90. Since my alto and tenor are MVI's, I was prejudiced to the Selmer, but the YBS-62 just felt better, played better, and sounded better, from top to bottom, and it has served me well ever since.

Regarding cases, I use a Walter Johnson Bari case, which is pretty light, pretty small (relatively), but not quite as bullet-proof as my WJ tenor case.

Regarding stands, the Saxrax bari is quite good, but I still love my old LaVoz bari stand.

[hornguy]

Flower Pot Story-

Many moons ago, while I was a junior in college, there was this girl I knew. Without going into all the details, she knew I played sax, and one day mentioned that she knew about a big old sax in her attic. She said it was in horrible condition, mostly green colored, and that her mom was planning on filling it with dirt and using it as a flower pot. However, she said if I was interested, she would buy her mom a regular flower pot and get me the horn. Of course I jumped at that offer.

It turned out to be a musty, dirty Buescher True Tone Bari (to Bb), with no case, no mouthpiece, no cork, no pads- and it smelled pretty bad. I was grateful, since back then there was no way I could buy a bari. I took it to my neighborhood repair guy, who fixed it up (really rebuilt it) for a decent price, then I got a mouthpiece and a gig bag (case was too expensive), and I had me a fine sounding bari.

While my YBS-62 plays and sounds better, the True tone sounds quite good, has a much different feel and sound, and is still fun to play. Since then I have always been on the lookout for horns destined to be decorations.

[1saxman]

1955 'The Martin Baritone'. Just like the one I started on in the school band, except that one was brand new. I blow a '60s rubber Berg 130/1/M on it with a Rico Plasticver #3. The rubber Berg is wonderful on the Martin because not only does it give a huge bottom end and great upper register for solos, it tunes up just right and controls the tendency of going sharp in the palm keys. There is definitely something about a Martin! Now, if I played bari all the time, I would want a Selmer Paris, the older the better. Since I'm a tenor man, the Martin is fine for 'once in awhile'.

[calisax]

Wow, that Martin's a beaut!!!

[jjgold]

I just read those threads..I love to GIVE back to the music community!!!

[Larry G]

My horn is a 1928 Conn that plays well despite it's 1940's or later spray paint finish that some of the players did to match the other horns in the big bands.
They had some silver, some brass, some gold finish so the odd ones got the kinda looks like brass spray over look from a rattle can...... Anyway this is the only sax I have played in any band that the guiterrr players could hear and said 'what is that ?!' It's ugly and it honks with a bright red Runyon and is in tune up and down. The previous owner had it for over 40 years with big bands and I hope I can do him proud as he is on the fade ..... my daughter's quiz to him was. 'why are you selling this cool old horn?' 'I GOT NO JUICE LEFT TO PLAY !' he shouted
Kinda hit me home with that one

[Bob M]

1saxman -

Wow what a beauty your '55 "The Martin" is!!!! I play a '53 "The Martin" that has that lived in look;) . Got it from Sarge, who did a wonderful job overhauling it (black goatskin pads, noyaks, etc.). I do play a lot of bari, particularly in a big band, and wouldn't trade it for anything.

HR Bergs....Doc Tenney has a 110-0 to blueprint for me (of course Berg QC being what it is, the tip is actually .118",LOL) and reading your comments makes me that much more eager to try it! One of the reasons I believe Bergs work pretty well on these horns is because the pieces are quite long....mcuh longer than Links for example.

[1saxman]

'it honks with a bright red Runyon'

I found that a red Runyon Custom Spoiler #10 (without the spoiler) was also a good mp for it. I started out using Brilhart Level Airs on it because that's what we used in the old days, and while the Level Air produces the boomiest low end, bar none, it ran out of steam in the upper register. Still, believe it or not, a Level Air is a great section mouthpiece on bari.

'Wow what a beauty your '55 "The Martin" is!!!!'

Thanks! The picture really flatters it for some reason. It really looks a lot darker than that and has a few dents and some areas of lacquer loss, but it's original. I got it from Jay Clark in California a few years ago and gave him a decent Selmer Super Action 80 II tenor for it. The bari had been bought for a young lady who excelled on it in school in the '50s, getting a music scholarship to college with it. After college, she pursued a career and marriage, with the bari in the closet. Eventually they sold it and Clark wound up with it. I saw it on ebay and made a deal for the trade. It has the original case with burgandy lining and the matching neck bag. It had at least one 'incident' because the there's a dent in the bottom bow, the bell lip has been straightened and the strap hook has been resoldered. I figured the strap hook popped off in marching band and that's when the bell and bow took hits. Other than that, the thing is clean, as you can see, and the lacquer is not even worn off the key touches. I'm thinking about getting Sarge or somebody to fix the dents and put pads in it. I'm pretty sure most if not all of them are original, and the upper ones are getting pretty hard. I am very happy that I have a bari to play because it was my first love in music. The Martin really fits my bari needs because it's light and feels 'small' to the hands, while at the same time it has a huge bari sound. I will also play a Martin tenor sometimes when I take the bari, because the 'feel' translates from horn-to-horn like when playing Selmers, and I really like that sensation of going back to tenor after playing the bari - you feel like you can fly!
Oh yeah, the bari is #195xxx.