I just ordered one of these from Phil. What tip opening do you have?
Barone Vintage Soprano piece
Just wanted to say that I finally found the right reed for my Barone Vintage soprano piece (a Rico Royal 2 1/2) and it really makes my horn come alive! Very free blowing, nice tonal center, and good intonation (which is saying something since I play on a Buffet SDA). The intonation is as good as my Morgan 2C! If anyone is looking for a Meyer/Selmer Soloist/Link type piece, you might check these out.
Not trying to shill for Phil, BTW. I just figured that someone might be having a similar problem, and reeds really make a big difference with some mouthpieces more than others...
Not trying to shill for Phil, BTW. I just figured that someone might be having a similar problem, and reeds really make a big difference with some mouthpieces more than others...
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My Barone Vintage 6 is my favorite mouthpeice hands down. I use a Hemke 2.5, which is a really soft reed for me, but it works great.
What kind of sound are you going for? I am going for Wayne Shorter's sound on "Bitches Brew," and I think I am remotely close, athough it could be darker. Also, what kind of lig are you using on it? I am just using the one that came with it, since I don't have anyting else.
What kind of sound are you going for? I am going for Wayne Shorter's sound on "Bitches Brew," and I think I am remotely close, athough it could be darker. Also, what kind of lig are you using on it? I am just using the one that came with it, since I don't have anyting else.
My tip is a 6*, which I think is around a .064 tip. I'm using a Rovner Mark III lig, but I'll probably get a Consoli Lite once I get some cash.
As far as the sound that I was going for, I was actually going for a bit of a contemporary sound. Something that I could play in a variety of situations from a studio setting to a rock band. IMO, you can't play super-bright pieces on soprano because you end up sounding like Kenny G, and you can't play super-dark pieces because you won't be heard. This one was just right.
I will say that I tend to keep Dave Liebman's sound in my head. I don't know why, but when I think of contemporary players of the late 80s/early 90s (which is when I grew up, so to speak) I think of Liebman (soprano)/Sanborn (alto)/Brecker (tenor)/Cuber (bari).
As far as the sound that I was going for, I was actually going for a bit of a contemporary sound. Something that I could play in a variety of situations from a studio setting to a rock band. IMO, you can't play super-bright pieces on soprano because you end up sounding like Kenny G, and you can't play super-dark pieces because you won't be heard. This one was just right.
I will say that I tend to keep Dave Liebman's sound in my head. I don't know why, but when I think of contemporary players of the late 80s/early 90s (which is when I grew up, so to speak) I think of Liebman (soprano)/Sanborn (alto)/Brecker (tenor)/Cuber (bari).
For Jazz, seems like the bigger the horn...the brighter the mouthpiece I go for...So, my sop piece is my darkest piece of all...it can't be big and dark enough...I love a full, dark, tubby soprano sound...ie that of a curved sop...and then from there...it gets a bit brighter with each horn...alto, tenor, and then finally bari..I need like a chainsaw bright laser-sharp piece to hack thru stuff...interesting isn't it...
Nitro
Nitro
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