Can anyone give me a description of the sound they get from a barone bari and compare it to other manufacturers? Thanks!
Agreed. My tech is happy with the build quality of my Baronitone. Phil had it shipped to me directly from Taiwan, and it played nicely right out of the box. After a few weeks I took it to my tech for a new horn set up. He is incredibly thorough, but I was still out of there in an hour, and he likes to chat...A LOT! There were a couple of minor leaks, and a little adjustment to the low C# mechanism. He is a bari player primarily, and he really enjoyed play testing it. It plays great, and is very easy to play at all volumes anywhere on the horn.If you listen to the clips in the bari shootout thread in the bari section you'll realize that the setup and player have a lot more to do with the way the horn sounds than the maker. With a bari the bigger issue is typically the construction and bracing which will keep you from being frustrated by trying to play a horn that is mechanically deficient or often out of adjustment. So far Phil's horns seem to be holding up pretty well with the baris rarely coming up for sale used.
I'm glad you like it! I'd love to get together to give it a try sometime soon!I love my Barone baritone. I ordered the vintage bare brass finish last December. Phil was very easy to deal with. He initially told me two months but it ended up taking three to arrive, however, Phil kept me up to date on the progress and I understand that the horns are made to order and he does not have much control over small delays. I am primarily a tenor player and I wanted a baritone for fun that would not break the bank.
The horn shipped directly from Taiwan. Phil warned me that baritones by virtue of their size may need a lot of adjustment because of movement during shipping. However, the horn played great out of the box. I took it to my tech and he only found two minor leaks. The tone is big and rich. And when I say big I mean big. This horn can get huge if you push it. I have an SR Tech pro mouthpiece and with a plasticover reed I can get a great raw sound for rock and with a Rico Jazz Select reed I can get a Pepper Adams vibe for jazz.
I had a local pro try it out and he was impressed. I tried it against a Cannonball and found them both to be great horns but Phil's horn is lighter, most likely because it does not have the double arms for the low notes. Baritones are heavy enough as is so I like that it is lighter. The only advantage I could find in the Cannonball over the Barone was that the Cannonball came in a fancier case but it was over $1000 more so if you do not like the case the Barone comes in you can upgrade and still come out ahead. The Barone case is not fancy, but it has wheels and seems to have the padding to protect the horn well.
I cannot comment on long term quality because the horn is still new, but after three months the only other adjustment it has needed is because I bumped one of the key cups and it needed to be reset. I own a Mauriat tenor that has been great for years so the quality of Taiwanese horns for me was not a concern, I already know they can be fantastic. Regardless of price, the Barone baritone is a great horn. Factoring in price, it is unbelievable.
A very under rated bari mouthpiece is the Yanigasawa's either the metal or rubber. Get rid of the Yamaha, you'll never get any power from them. Thank you for your comment; I need all the help I can get. PhilI got a silver-plated baritone earlier this year. Phil was good to deal with - did what he said he'd do on all counts. I'm really happy with my horn, too. Had a minor, self-inflicted mishap with it about a week after I got it. Knocked a key shield loose on the low D#/Eb because I wasn't used to the extra horn sticking out. The sax tech that repaired it is a bari player and thought it was a well-built horn that played well. He said it was heavier than a lot of baris he'd dealt with. I don't have a wealth of experience to compare that.
As far as sound goes, a LOT depends on you, the mouthpiece and the reed. I've been looking for a punchier, louder mouthpiece and have tried a bunch of lower-cost options so far - Graftonites, Metalites, etc. - and some various reed types and reed strengths. The thing can honk and scream with a Metalite. I'm currently mostly using a Yamaha 5C with a Rico Royal 3 reed. It's not particularly loud, but I really like the tone I get with that (and so does my wife). But I played it against some electric guitars for the first time last night and really couldn't compete. These are the same guys I can compete with on my tenor, so I'm going to keep looking for something louder for that venue. Tone doesn't matter so much there, though
Well, to be perfectly honest, Rico mouthpieces are s**t. Is that too candid? If it is than I apologize but most mouthpieces are that, what I said, the word starting with s, but Rico mouthpieces are big s**t. And baritone mouthpieces on the market, well, don’t get me started. You need a BIG pooper scooper before going into a music store. However, if you feel that you really have to play that because there's nothing else in your price range then put more of it in your mouth and that may solve your problems. Most players that I come into contact with, in fact probably 90% of them don't put enough of the mouthpiece in their mouth. If you don't you close the tip opening off and that causes squeaking and a lot of other problems not only in the upper register but in the lower register too and intonation problems. Also, you’ll get much, MUCH more sound and volume because since you’ll no longer be closing the reed off the reed will now be vibrating the full width of the tip and this is good. On tenor facings are about an inch long so take a little more so your teeth go in past the break of the facing. On baritone it’s a little more but just a little. I posted once that you can’t take too much in but that wasn’t accurate, you certainly can take too much if you choke but if you take an inch on all of them than you’ll be okay. If anyone is questioning this than look at pictures of Sonny Rollins, John Coltrane, Mike Brecker and the guys with HUGE sounds because these guys all take a ton of mouthpiece in their mouth. I do all the wok on Ernie Watts mouthpieces and he's up past the bite plate on his mouthpieces, all of them. I also make Sonny's bite plates and he's very close to the metal and it looks like he's partially on the metal. When I used to work for Mike Brecker we talked about all of this stuff and we both agreed that you have more control when you cover the length of the facing so don't debate it, just try it for a month and do the exercises but try not to go back to your old way of playing or you'll ruin any work you've done. You don't want to go backwards.I have a couple of different Metalite mouthpieces. They are loud. But I can't find a setup that I can play reliably without squealing horribly at either the upper end of the horn, or as I'm reaching the end of a phrase and getting low on air support. They have much bigger tip openings than I'm used to. I've gotten a variety of different reeds in different strengths, but haven't found something that's consistent. Since the common point of failure is me, I suspect that my embouchure needs a bunch of rework to play confidently on the bigger opening mouthpiece. My Yamaha 5C with a Rico Royal 3 reeds actually works well and sounds good. Just not loud. I play alto mostly, and a bit of tenor, but the mouthpieces I have for those are fairly narrow tip openings, too. Like I say, I think I need some serious time on long tones with a tuner, and some patience that I'm sadly in short supply of. I want to go out and blast this thing, but can't get there just yet. Work in progress...
I see this sort of question a lot and with mouthpieces too and as far as modern horns are concerned I don't think they sound very different. I think the mouthpiece will distinguish the sound a lot more than the sax. I couldn't tell the difference between one of my horns and a new Selmer or Cannonball or any other new horn for that matter. That's the truth. Phil BaroneCan anyone give me a description of the sound they get from a barone bari and compare it to other manufacturers? Thanks!
My go-to bari piece is a Metal Yanigasawa #7. My old dealer friend pulled it out from under the counter one day and said "I've been keeping this for myself, but my health won't allow me to play baritone any more." He gave me the piece and I've enjoyed the way it sounds on various baris. I borrows a Yamaha 52 bari for use in a show last year, and they are great together. No discernable intonation differences between D1, D2 and D3. That's unusual for me.A very under rated bari mouthpiece is the Yanigasawa's either the metal or rubber. Get rid of the Yamaha, you'll never get any power from them. Thank you for your comment; I need all the help I can get. Phil