[DTExpress]

Last month on Ebay I bought a Barone Contemporary model for tenor. Gold plated in brand new condition for $225!!! (if had played it first I would have payed 4X that for it!!!) . I am so happy with it that I thought I should comment. I will preface my comments by saying it's been difficult to get excited by a mouthpiece. It seems that if you play different mouthpieces of a particular type or style their characteristics start to blur and confusion sets in.

I played a rubber Link for 3 years, a Dukoff D7 for 4 years, a metal Link for 4 years then I settled on a Barone NY model for 10 yrs. Then my wants changed when I started playing in a popular non acoustic band and needed more edge. So I went back to a Dukoff D8 for 3 yrs but as comfortable as it felt, on recordings it's sounded hollow and lacked a real core, so I tried 3 Guardalas a King a Super King and a Studio. The first two could peel paint they were so shrill (for me) so I decided to stick with the studio for a year and half and it has edge and the altissimo pops out great but It's got this spread sound and the low end sounds brittle. So I kept my eyes open and I tried a Barone Soundmaster which plays like a really good Link with great low end response but the sound was not "compact' enough for me.

While perusing Ebay one day I came across a Barone Contemporary made in '92 in mint shape. It has a step baffle not too long or high and the chamber is about the same as the Studio but it has the unbelievable ability to DO IT ALL. Yes I know there is no Holy Grail. But it's got a more focused, warmer and someone said "sweeter" sound than the Guardala but is not lacking for balls and the hi notes scream and it is a joy to hear myself. I play in a big band also and it blends great in the section and on Blue n' Sentimental I get a great husky sub tone out of it. I've sold everything else except for the Barone NY.

Phil, I don't know how you do it. How can mouthpieces that look so much alike
play so differently? I love you man!

 

[Sasquatch]

Thanks DT. I woke up feeling fine, now all the sudden I have G.A.S.

Seriously, congrats on your find.

 

[Subbie]

Phil, I don't know how you do it. How can mouthpieces that look so much alike
play so differently? I love you man!

"It's the inside values that count"
:twisted: :twisted:

 

[Phil Barone]

Last month on Ebay I bought a Barone Contemporary model for tenor. Gold plated in brand new condition for $225!!! (if had played it first I would have payed 4X that for it!!!) . I am so happy with it that I thought I should comment. I will preface my comments by saying it's been difficult to get excited by a mouthpiece. It seems that if you play different mouthpieces of a particular type or style their characteristics start to blur and confusion sets in.

I played a rubber Link for 3 years, a Dukoff D7 for 4 years, a metal Link for 4 years then I settled on a Barone NY model for 10 yrs. Then my wants changed when I started playing in a popular non acoustic band and needed more edge. So I went back to a Dukoff D8 for 3 yrs but as comfortable as it felt, on recordings it's sounded hollow and lacked a real core, so I tried 3 Guardalas a King a Super King and a Studio. The first two could peel paint they were so shrill (for me) so I decided to stick with the studio for a year and half and it has edge and the altissimo pops out great but It's got this spread sound and the low end sounds brittle. So I kept my eyes open and I tried a Barone Soundmaster which plays like a really good Link with great low end response but the sound was not "compact' enough for me.

While perusing Ebay one day I came across a Barone Contemporary made in '92 in mint shape. It has a step baffle not too long or high and the chamber is about the same as the Studio but it has the unbelievable ability to DO IT ALL. Yes I know there is no Holy Grail. But it's got a more focused, warmer and someone said "sweeter" sound than the Guardala but is not lacking for balls and the hi notes scream and it is a joy to hear myself. I play in a big band also and it blends great in the section and on Blue n' Sentimental I get a great husky sub tone out of it. I've sold everything else except for the Barone NY.

Phil, I don't know how you do it. How can mouthpieces that look so much alike
play so differently? I love you man!

Thanks DT, the Contemporary is a sleeper because I'm primarily known for my Link style pieces. The Contemporary is like in between a Dukoff and a Guardala but the quality of the sound is better. One thing I can't do is sacrafice sound and I feel like the sound of the sax has gone down so much in the last twenty years. What happened to the days when players had a unique sound? Anyway, if you play a Guardala then this is an excellant choice. Phil

 

[J.Max]

Last month on Ebay I bought a Barone Contemporary model for tenor. Gold plated in brand new condition for $225!!! (if had played it first I would have payed 4X that for it!!!).

Shhh....don't tell Phil that! He'll raise prices...

 

[Phil Barone]

Shhh....don't tell Phil that! He'll raise prices...

I already did hoping I'd get less orders and I got more. UH, I'm so tired. Phil

 

[LeftySaxDude]

Have you thought about getting an apprentice to help you? I know some mouthpiece makers guard their secrets with their life, but couldn't a non-disclosure agreement work out for you?

 

[Phil Barone]

Frank Vicari was helping me for years before he passed on a year ago but it's very hard to train someone at this. If anyone lived closeby I'd interview them though. Phil

 

[LeftySaxDude]

I've always wanted to learn how to make mouthpieces. If I lived in NY I would definitely try to learn from you. I tried to work out a deal to come out to California to work with Charles Bay for a summer, but he doesn't let anyone near his secrets. It's a family business for him.

 

[DTExpress]

I've got GAS now from too much stuffing. Thanks Saquatch for your congrats.
Seriously, it is a good feeling to be really pleased with your setup. Thank you again Phil.

 

[dstack79]

If you like the Contemp you might want to check out the T/C model as well. It's probably not quite as bright as the Contemporary, but has that real tight/compact thing going on.

-Dan

 

[Martinman]

I would love to learn how to do this kind of stuff. I have a Rico Graphonite bari mouthpiece I hot rodded as a sample of my work.

 

[dirty]

If you like the Contemp you might want to check out the T/C model as well. It's probably not quite as bright as the Contemporary, but has that real tight/compact thing going on.

-Dan

Man, he's happy with his mouthpiece. Don't encourage GAS. Why you gotta be like that?

 

[dstack79]

Man, he's happy with his mouthpiece. Don't encourage GAS. Why you gotta be like that?

MU HA HAH AH AHA HAH HAH.......:twisted:

 

[Phil Barone]

I've always wanted to learn how to make mouthpieces. If I lived in NY I would definitely try to learn from you. I tried to work out a deal to come out to California to work with Charles Bay for a summer, but he doesn't let anyone near his secrets. It's a family business for him.

It's hard and really not worth it. Guys thing there's money in it but that's wrong. Why would you want to learn from Bay? What junk, who plays it? Phil

 

[dstack79]

It's hard and really not worth it. Guys thing there's money in it but that's wrong. Why would you want to learn from Bay? What junk, who plays it? Phil

Miles Osland for one....he sounds great.

-Dan

 

[Clarinetdude108]

There are some clarinet players who love his pieces... personally, ill stick to my grabners.

 

[Phil Barone]

Miles Osland for one....he sounds great.

-Dan

Clarinet I can understand but not sax. -P-

 

[LeftySaxDude]

It's hard and really not worth it. Guys thing there's money in it but that's wrong. Why would you want to learn from Bay? What junk, who plays it? Phil

I got the same speech from Bay about how not glamorous mouthpiece work is. He has to work so many hours and he gets so little return. He's such a nice man, and has tons of stories to tell.
Bay makes some pretty cool mouthpieces for sax. I played on one of his metal pieces at a convention a couple years back, and it was like a fat Cannonball Adderley sound, and I was able to put so much air into the piece and it wouldn't distort. Unbelievable projection without sacrificing tone. I wish I could afford one.

He makes some nifty ligatures too.

 

[LeftySaxDude]

I just had another thought to follow up on my last post. Everyone has different tastes when it comes to sound, and everyone definitely has different physiology and a different approach to their sound concept, and what works for one may not work for the next guy. It's impossible to make a mouthpiece that will work for everyone.