Blindside; interesting you're playing a Level Air. I hope it's one of the original models and not the recent Babbitt version which is basically a Runyon. The originals are actually excellent for all kinds of bari playing. I keep an 8* for smoother playing or section work (as in sax section). For horn section or solo playing, I use a '60s Berg Larsen hard rubber 130/1 with a Plasticover #3 on my Martin. This is the most incredible bari piece I have ever played, and the set-up is not nearly as stiff as it sounds. Of course, I have to find the right Plasticover, as some of them at that strength are too hard. The thing about the Level Air is, it gives the best low-end you can get on a bari - huge, booming bell notes that will rattle the PA system. The Berg is louder and much better up top, which makes it better for the 'boo-****' in R&B work and any kind of solo or jazz playing. The Berg (and any other non-metal piece) is appreciably lighter in weight, which always helps on bari. Prior to the advent of the Guardala 'Laser-Trimmed' mouthpieces, the old Level Air was known as a very consistent piece. In other words, they all blow. You just need to find out which facing is for you. In Brilharts generally, the * facing is the shorter facing with the same tip opening as without the star. I played a 9* on tenor for 23 years and a 5* for some time before that. For some reason, I grew away from the Level Air on anything but bari, playing Guardalas now. I recently played a 'horn section' gig with the Level Air just for the heck of it. I missed the Berg because the Brilhart is just a little too 'tame' for that high-volume environment, but didn't change on the gig. Bari for me is an alternate toy since I'm really a tenor man, but since I started on bari in school I always have had a soft spot for it.