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Got a Hollywood today. This is the second Barone I've played. The other was a NY. In both cases I was playing against more resistance than I'm used to.

For those of you who have tried or own a Barone Hollywood, NY or Jazz, have you noticed more resistance from these than from other mpcs? I'm comparing this to several metal tenor Links, Ponzols and a Berg.

I'm asking because I've read a lot of positive comments from SOTWers and Phil, himself, about Hollywoods and I just want to know how representative this particular one is.

Thanks, gary
 

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I play on a Barone Jazz 9, and when I got it I was coming from a recent Link STM 7*. There was a lot less resistance than I was used to when I got it. Now that I've been playing it for 6-8 months or so (it's my main mouthpiece), I would have to say that it does have some resistance, and it also has some power. I'm pretty happy with it in general. I have also heard that the more recent Jazz models have less resistance still.
 

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Holy smoke - less resistance?!

The difference between this Hollywood and my other mpcs (which have all had some kind of work done on them, I should add, but nothing radical) would be like playing a trumpet open (the other mpc's) and with a straight mute (the Barone).

Any other similar experiences?

(yes, I am taking in more mpc ;))
 

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Well as I understand it, the Jazz model is going to have the least resistance of the three models you mentioned. But yes, the Jazz 9 I have (made in December 2001) had way less resistance than the Otto Link Super Tone Master 7* that I purchased some time in the early to mid 90's.
 

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Gary, I found the Barone's to be differently resistant. Especially the Hollywood and NY. It's kind of like the difference in automatic transmissions with overdirves to those that do not. The models I referred to seemed to have an overdirve to them that once you hit that spot, it jsut takes off. There is definately a reed factor (I found the RJS 2H unfiled and 3S filed to work the best for me). I found I had to be more conscious of my embouchure and throat (open) as well. (Use the "bunny rabbit smiling" embouchure).
 

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I have played the Barone Hollywood as my primary piece on tenor for the last 7 or so years, been playing for 40 years. I came from a Florida Link. The piece is a .110 & I use RJS 2 H. In my experience significantly less resistant than a Link or Berg. You don't say what tip size, nor the reeds you tried. The piece is more or less built for wider type tip openings & softer reeds. While this is a generalization, it will make a difference. One of Phils objectives was to develop a Link like alternative, with all the plusses of the Link core sound, while the player didn't have to work as hard, and also build a piece that could be pushed & take a lot of air being put thru it. My own experience with the Barone Hollywood over the years has borne this out.
 

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I play a Jazz 8 as my primary tenor piece now. I came to it from a Tenney slant sig HR 7*, a Ponzol ML 110, and a Link STM 7* (recent vintage). I still have all three pieces and still play them occasionally just for the heck of it. I find the Ponzol less resistant than the Barone, and the other three much more resistant than the Barone.

The Barone is more responsive and easier to control than the others. I play Rico (Jazz, Royal, regular, whatever is available) 2.5 reeds and a Rovner light lig on the Barone. I usually sand the reeds with emory cloth on glass if they don't play well.

My only complaint about the Barone is that the shank is too short. (Is that the right word? I mean the tubular part that fits on the neck.) I have to build up the cork (with painter's masking tape) in order to play in tune. And this is on a Barone neck on my VI and the stock neck on my Ref 54. I'll have the corks replaced if ever I decide to stop trying those other pieces.
 

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Discussion Starter #9
Al Stevens said:
My only complaint about the Barone is that the shank is too short. I have to build up the cork (with painter's masking tape) in order to play in tune.
And interestingly, the neck-end opening on my mpc is tighter than my other mpcs. If I decide to use it in lieu of my other mpcs I'm either going to have to take the cork down a bit or grease that sucker up.
 

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I came from a guardala studio and it is more resistent, but didn't take me long to find the right combonation of reed/lig to get the sound I have been looking for for the last few years. I have had it for almost 5 months know and I went back to the guardala and almost instantly put it away. It was just a gross obnoxious sound with no control for me.

So, the PB Hollywood 7* is here to stay for a long long time. The more I play it the better sounding I get on it. It continues to amaze me.

-Zach
Fell Boyzs
www.fellboyzs.com
 

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On my 7* Ltd Hollywood, the use of some reeds give an increased resistance, especially if the are too stiff for me.

The best results for me are with:
- Gonzalez 2.5 bass clarinet reed
- Brancher Opéra (classique reed) 3
all with an Olegature

With a Rovner dark, Alexander Superials 3 and françois Louis 2.5 work also fine.


but for exemple a RJS 3S shows too much resistance and gives a slightly stuffy sound :?

But with either reed, the Ltd gives much moe resitance than a Morgan 7EL!!
 

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I don’t find My Hollywood 8 resistant . It is a little un lush or un getzy? But I am addicted the power I’ve never played a loud mouthpiece, that sounds this nice. Good projection.
 

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I do find the my NY 7* to be more resistant than my other two pieces: a Dukoff 7* and a JodyJazz HR 7*. In fact, after 5 months of playing on the NY, I went back to the JJ and I am suddenly having a lot more fun playing. I get more volume and my overtone exercises are much easier. I also had a problem playing sharp with the PB.

That said, of the three the PB has the most refined tone.

I am a relative newbie to the sax, having started up a year and a half ago after a 35 year hiatus. I am a bass player and composer and started playing to lay down tracks while writing.

So, I am wondering if I have a NY that isn't up to par or if my chops aren't up to it yet. Trying to decide whether to sell the NY and move try another piece or keep coming back to it as my chops improve.

Any thoughts?
 

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Although it may be apple to oranges because we're talking tenor here, my backup mouthpiece is a HR Barone NY 7M. It has about the same resistance as my slant 6*, and more than my 90R RPC.

It's beak is a little taller than I like, or it would be in contention for my primary mouthpiece.

edit: Ignore this, I always get Barone pieces confused.
 

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keep working with it. the more you practice with it the better you'll be with it.

-Zach
www.fellboyzs.com
 

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Discussion Starter #16
Fell Boyzs said:
keep working with it.
Oh yeah, I'm aware this is just the first day. My question is just to help me get a bit of perspective in this mpc. For example, if it's blowing unlike other Hollywoods or if this is a characteristic of them.
 

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That' right...with the time and the work, I got more used with the piece, and the sound also improved :)
 

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Congrats on finally getting ahold of a Hollywood Gary.


What is the difference in tip opening between the Barone and the other pieces?
 

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Discussion Starter #19
Martinman said:
What is the difference in tip opening between the Barone and the other pieces?
They're all the same, .105.
 

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Hey Gary...would you please post your "first impressions" of the Hollywood compared to the other pieces you have played.
 
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