[B Flat]

A round of applause please for Phil Barone.

A round of applause also for Mr Geoff Oakes.
A killer Baritone solo on John Swan's "Temporary Heartache".

 

[hdemet]

The moral of the story to me seems to be if you are going to obsess about any individual piece of equipment then do it over yourself as you are the key component to everything. Once you become a grandmaster then you can obsess over which reed or horn or mouthpiece best suits your personal tastes and needs.

To draw an analogy a lot of scientific research has gone into the optimal time of day that you should work out (the equivalent for us plebs who think we can play is the best time to practice for how many hours to put in)

Well I have THE DEFINITIVE answer to this question - Its whatever time you get around to doing it because if you dont do it then you will not get any benefit whatsoever and thats regardless of whichever equipment you may or may not use.

 

[sugaki]

I've also raced sports cars and played competitive tennis as well. What I discovered early on in each of those endeavors it's very easy to go down the hole of worrying about your equipment! If you're always trying to follow the latest trend on equipment you never learn to perform at your best!

If you've raced sports cars, then you know that gearheads above all obsess about every single aspect of the car. The "best" tire alone turns into a giant discussion amongst petrol heads, as that's where the biggest improvement lies.

Do your very best with what you have first! Your performance will work out so much better and it'll also save you a ton of money!!

I don't get this idea that switching a mouthpiece absolutely destroys your playing. I think once you progress to a certain point, switching mouthpieces shouldn't have a large impact. Charlier Parker changed mouthpieces all the time to fuel his drug habit... and sounded pretty much the same no matter what his setup was. Does that mean setup doesn't matter? Not really, because the differences can be nuanced.

 

[pontius]

I never said his horn was inferior. Plenty of people like them.

Seems like you are implying that Barone horns are from China.

 

[saxcop]

Seems like you are implying that Barone horns are from China.

I bet you could tell if a Mkvi is French engraved.

 

[Jerry K.]

I bet you could tell if a Mkvi is French engraved.

How's this related to the topic? Oh wait, your suggestion that Phil Barone horns are made in China is also unrelated. If you have an issue to address with PB, please use the PM feature as these cheap shots are getting boring.

 

[Sacks Of Phones]

I bet you could tell if a Mkvi is French engraved.

Engraving with a French accent.

 

[Horned Toad]

I don't know where this thread has gone, could not read the whole thing but regarding the opening statement:

I received, attempted to make function and had to play enough of the OP's really just horrible mouthpieces (paperweights) over the years that I find 'advice' (about how great mouthpieces don't matter) to be really reflective of the low standards of quality, design, and musical TONE of his pieces and therefore his generally low standard regarding mouthpieces in general. Simply put, anyone who makes something so crude and claims it is great, is probably not the source for advice on the uselessness of great mouthpieces... SMH

The general advice that being obsessed with gear does not make one a great player is obvious. However good gear certainly HELPS one to find their own sound. Constantly changing is a pain in the ***, but having good equipment matters plenty above intermediate level.

 

[StanVI]

I don't get this idea that switching a mouthpiece absolutely destroys your playing. I think once you progress to a certain point, switching mouthpieces shouldn't have a large impact. Charlier Parker changed mouthpieces all the time to fuel his drug habit... and sounded pretty much the same no matter what his setup was. Does that mean setup doesn't matter? Not really, because the differences can be nuanced.

It doesn't destroy your playing, it slows it down....there is an adjustment period with a new piece for most players...of course, if you've reached Parker's level, that may not be an issue....and I haven't seen a lot of folks at that level....

 

[CliffK]

That statement about PB’s mouthpieces being, “really just horrible mouthpieces”, etc., is complete crap. I have a Barone Jazz and an older Barone Hollywood, and they are excellent and finely made. The mouthpieces that Phil makes, our at least made, are as good as anything else out there. They may not be your cup-of-tea, but that doesn’t detract from their quality. Say what you will about Phil Barone’s post, the man put a lot of thought and care into the design and execution of his mouthpieces.

 

[Sacks Of Phones]

We all have a right to state our view, and should expect a response as well.

....and that what makes this a discussion list. Thank you for discussing your side of the issue.

 

[blue boy]

This thread is really about wasting time and effort.....which is hilarious to me.....since that is exactly what the OP and all of us are doing.

I'd be better off trying a new mouthpiece! At least I'd learn something.

 

[Phil Barone]

Engraving with a French accent.

A great number of VI's were engraved in the US, not France and the many of the ones I've seen from France weren't engraved at all. Phil

 

[Jerry K.]

Sounds like the PB anger is contagious. There is an IGNORE function. Figure out how to use it.

No anger here and where is the ignore feature accessed?

 

[CliffK]

To further detract, here is an example of the engraving that came out of Elkhart, on a Bundy of all things:

 

[Jerry K.]

To further detract, here is an example of the engraving that came out of Elkhart, on a Bundy of all things:

View attachment 242016

Gorgeous!

 

[Saxaholic]

Equipment certainly matters. Play a .060 tip tenor mouthpiece with no baffle and an enormous chamber with a 1.5 reed....then play a .140 tip small chamber and a huge baffle with a 5 reed.

Obviously extremes, but measures out the effect of equipment. The more you play, the more attuned you get to the feel of the blow, the sound coming out, and the relational feedback you feel while playing.

It might be true that similar designs produce a similar sound for the same player...but how the player FEELS while playing each piece is very important IMO. And that can vary quite a bit, even with designs that appear similar.

I think the source of the original post should be considered. If you liked his pieces, it might hold more merit to you than if you didn't like the pieces.

Either way, we all live once. I don't think anyone has any right to tell anyone else how to live, how to spend their money, or how to enjoy this common passion we all share.

At the end of the day, we should encourage saxophone playing. No matter what form it takes. Whether a guy plays 1 mouthpiece forever or 1,000 mouthpieces doesn't matter to me...as long as that individual is happy, and as long as he continues to play the saxophone.

- Saxaholic

 

[Sigmund451]

Lets all bicker and fight some more.

We have 15 pages here and 58 pages about a Klangbogen.

Is there really anything more to be said?

To start with this thread is not really an 'Important Message". Its an opinion about mouthpieces and playing. In the scope of life and world affairs is it really that important?

I think everyone needs to take a deep breath and get some perspective.

 

[Saxaholic]

Yes, and also no one needs to tell anyone how to post either

Haha!! I agree, I think both sides of the coin are able to be presented. I often find people misinterpret an opinion and instead take things personal, or assume them to be personal, when it's not. I appreciate you being able to express your opinions.

- Saxaholic

 

[Pete Thomas]

Blah, blah, blah, my opinion is the ultimate truth, blah, blah blah... Gee I wish there was an ignore poster button here.

There is