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Discussion Starter · #1 ·
I've had my Barone TC tenor mouthpiece for almost 6 months now and I'm absolutely in love with this thing.

The piece really projects well and doesn't thin out at all...It's got a FULL husky tone that is very flexible...The piece has very little resistance but it's not a high baffle piece...It looks kind of like a Berg Larsen-type baffle but plays like an awesome early babbitt Link STM/vintage Berg combination if you can imagine that...

Piece works with just about any reed I put on it...super reed friendly...

The piece is neither too short nor too long so it fits modern horns AND vintage horns intonation-wise...This piece is super easy to play in-tune with...makes my life easy...

Piece subtones very well and altissimo screams out easily...

I'm not sure about the new price on these and I'm not sure Phil is even making them anymore but I hope so because I think people would love these...I know Phil likes his HOLLYWOOD model better--I've yet to play that model--So for now, I'm hooked on this thing...

I recorded a couple videos with this thing to demonstrate a little of what it can do..I'll post the link a little later once I upload it...

Once again, Thanks for the amazing mouthpiece Phil!


Ryan Knight
Military Musician
 

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Discussion Starter · #2 ·
Re: Phil Barone Traditional Contemporary Tenor Mouthpiece Review

Two Demo Videos of the Barone TC mouthpiece: one with a brighter reed and one with a little bit more mellow reed...

A brighter-reed setup with the Barone...

 

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Discussion Starter · #4 ·
Re: Phil Barone Traditional Contemporary Tenor Mouthpiece Review

hopefully all can see that vid
 

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Re: Phil Barone Traditional Contemporary Tenor Mouthpiece Review

Nice sound you're getting. I see why you like it. Enjoy it!
 

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Re: Phil Barone Traditional Contemporary Tenor Mouthpiece Review

Sounds Great Nitro!!! Phil knows a thing or two about manufacturing mpcs, huh?
 

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Re: Phil Barone Traditional Contemporary Tenor Mouthpiece Review

Nitrosax,
Nice sound man. I have a young gentleman who joined our big band to get some experience. He is joining the army in november and is trying out to play tenor sax. He has learned all his scales. We are working on tone production for a big sweet sound and the overtone series and sight reading. He has to do a level four solo we'll be working on. Any other suggestions to help him get into one of the better bands? Stuff he should focus on that we are not covering, maybe?
 

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Re: Phil Barone Traditional Contemporary Tenor Mouthpiece Review

Boy, you need to stop! Mayho
 

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Discussion Starter · #9 ·
Re: Phil Barone Traditional Contemporary Tenor Mouthpiece Review

The Army audition system is changing very rapidly...It used to be 60% sight-reading/30% prepared piece and 10% scales but it's changing to a more practical system that involves accounting for "other" skills people can do when they join military bands, i.e., sing, dance, improvise and double...So, my advise is to have him thinking about his "other" skills that he can show to the audition panel plus make sure he can sight-read all different styles not just classical concert-band-type excerpts but marches, big band charts, Dixie charts, Latin band parts etc...

Hope that helps...if you have any other questions feel free to PM me...

Ryan
 

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Re: Phil Barone Traditional Contemporary Tenor Mouthpiece Review

I've had my Barone TC tenor mouthpiece for almost 6 months now and I'm absolutely in love with this thing.

The piece really projects well and doesn't thin out at all...It's got a FULL husky tone that is very flexible...The piece has very little resistance but it's not a high baffle piece...It looks kind of like a Berg Larsen-type baffle but plays like an awesome early babbitt Link STM/vintage Berg combination if you can imagine that...

Piece works with just about any reed I put on it...super reed friendly...

The piece is neither too short nor too long so it fits modern horns AND vintage horns intonation-wise...This piece is super easy to play in-tune with...makes my life easy...

Piece subtones very well and altissimo screams out easily...

I'm not sure about the new price on these and I'm not sure Phil is even making them anymore but I hope so because I think people would love these...I know Phil likes his HOLLYWOOD model better--I've yet to play that model--So for now, I'm hooked on this thing...

I recorded a couple videos with this thing to demonstrate a little of what it can do..I'll post the link a little later once I upload it...

Once again, Thanks for the amazing mouthpiece Phil!

Ryan Knight
Military Musician
Ryan,

Yeah baby, you sound real good. I think you'd sound better if the room wasn't so live though. Its making you sound brighter than it is. I played the prototype for many years before going into production with it.

There's a story behind that mouthpiece. I was about nineteen and a dear friend, Ritchie Grando, re-faced my mouthpieces and was teaching me how to do it. Ritchie and Don Menza would buy these blanks from Ponte's Music in Manhattan. The blanks were supposed to be finished pieces but they barely played. They came in three chambers, M, MO and O. The MO's were totally useless and I never could get one of those to play but the M's and the O's which looked a little like Berg's played fantastic when worked on a whole bunch. The MO chambers looked like nothing you ever saw before, like a Star trek spaceship or something like that, really weird.

They were all around .080 (#5) opening and these were tenor pieces, brass with nickel-plating and totally useless unless you faced them and did all sorts of stuff to the chambers. Don and Ritchie used to make them super open like .160 which is a #13 in Otto Link terminology. This was the beginning of cutting my teeth in the mouthpiece business which I regret now but that's another story entirely.

So I acquired a couple of them and they came out okay and I ended up playing on one of them for many years to come. Then eventually when I started making mouthpieces from scratch I put this one into production, if you could call what I do production. I never made more than a hundred of these. I don't think I made fifty in fact. One time I was giving a show in LA and Albert Wing came and he played one of these for two days, he just wouldn't stop. Drove me crazy.

Some of them came in a box with a sticker on it that said "Zim-Ger, Brooklyn, NY" and others had stamped on the barrel "Lucky" I still have one of those but it's an MO which is pretty useless. All of them came with a ligature. Where there would be holes or bands there was hearts cut into the ligature and they were lacquered brass and the bite plates were hard rubber. I'm pretty sure they were made in Japan before Japan was known for manufacturing good stuff. Anyway, the first run were dynamite, they popped when you played anything above middle D then I darkened them up a bit but I think I'm going back to the original design. A few years later Ritchie's mom died and he was in a bad way with booze. A day after his mom died he put a shotgun in his mouth a pulled the trigger.
A friend found him in his back yard. It was a shame, Ritchie was such a solid cat.

Hope everyone has a great Sunday. It's the last show of the season for "Breakin Bad". Is anyone into that show? Phil Barone
 

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Discussion Starter · #12 ·
Re: Phil Barone Traditional Contemporary Tenor Mouthpiece Review

Great story Phil...You should put that story on your site...history behind a mouthpiece is very interesting...I appreciate the legacy too...

BTW, posted a second video above that hopefully is a little more rounder sounding reed...i did two clips of this mouthpiece...the difference may be negligible though...
 

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Re: Phil Barone Traditional Contemporary Tenor Mouthpiece Review

Thanks for the info for the Army. I will pass that knowledge along. I like your " Bada Bing " quote. My jazz group is doing that one now.
 
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