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Discussion Starter #1
I promised to get back after I've had my new (to me) Barone NY 7* for a week so here's some more feedback.

I'm not having near the same impression as I first had. I went, as suggested, to a LaVoz MS and that made a difference. The sound is fuller, a bit louder and clearer. And naturally, I've had some more time with it.

In contrast to my Tenney Link, the Barone seems a bit more, for want of a better word, "complex" in sound. My Link sounds more open and also blows a bit freer and brighter. However, I'm now getting more volume out of the Barone, although the volume comes easier on the Link, and it's a very interesting contrast in the two mpcs. Earlier, also, I didn't get my altissimo notes as easily as on the Link but now that's also not a problem.

Since I've been allowed to return the mpc if it doesn't work for me, and since it's a higher-end price wise, I'm still not sure I'll keep it, but it makes a very interesting compliment to the Link. I can say definitely though, that anyone wanting a complex sounding Link-like mpc should give one of these a try.

I notice that most on SOTW seem to be playing either the Hollywood or the Jazz. The NY is said to be a bit brighter than these other two but I can also tell you that the term "brighter" in this respect is relative to the other two Barone mpcs, and it is not what I would consider on the bright side by any means; really nice and interesting mpc.
 

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gary said:
I

In contrast to my Tenney Link, the Barone seems a bit more, for want of a better word, "complex" in sound. My Link sounds more open and also blows a bit freer and brighter. However, I'm now getting more volume out of the Barone, although the volume comes easier on the Link, and it's a very interesting contrast in the two mpcs. Earlier, also, I didn't get my altissimo notes as easily as on the Link but now that's also not a problem.


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Gary
What you mentioned mimics my impression when comparing my Mojo tweaked NY STM Link with my Barone Jazz. Altissimo initally came easier on the Barone, until Mojo helped out by retweaking the Link ( the infamous Neutered Link thread we had a while back). I had a Barone NY for a relatively brief period; didn't like it because it felt too bright or "complex" for me.
 

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Thanks for the review, Gary, which is really interesting.
 

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Gary - Thanks for the update. You know, I have some LaVoz MS at home and will have to give them a try on my NY8. You might also consider RJS 2Hs, which I have found to be a good match.

Brightness...Like you, my main horn is an SX-90R, but I also have a Couf Superba 1 (which is gaining quickly, by the way). If have found the S1 to have a darker, more complex and more spread sound than the SX-90R. So much so that my Links sound a bit dead on it (bottom line is that the SX-90R is more mouthpiece friendly). For me, the brightness of the NY8 complements the S1 really well and works for a lot of situations.
 

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Discussion Starter #5
Bob - you may have been the one to suggest RJS 2Hs on my other Barone thread (can't find the thread at the moment). I went to both our local music stores and neither had these reeds. If I decide to keep the mpc, I'll probably order some RJ's by mail and check them out.

BTW, judging from your set ups, can I assume you're not playing primarily R&B and pop?
 

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yea they do retain some of that NY tonemaster thing.
it's a very different way of playing to get volume.
relax and let your body open up to it rather than push more air and tighten up the airstream like you do on modern pieces.
it is a very worthwhile thing if you can develope it.
its actually a beter way to play that will help no matter what piece you play.

i have an old unaltered NY tonemaster 8 i practice on sometimes.
i can't get any volume out of it at all but the tone is so beautiful.
I never play my barone NY in public for the same reason but something tells me if i would stick with those pieces my playing would improve alot because they force you to play correctly.
 

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Gary -

Yeah, I play in a swing oriented big band and sub frequently in a R&B/swing/funk band.
 

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Cool, Gary.

Glad to hear you're diggin' it. I've been playing on a NY 9 for about 2 years & have really started getting the most out of it in the last 4 months. I've been playing on Alexander Superial's & they've really helped to bring out that "complex" sound that you were talking about.

Give us another update in a little while when you've spent some more time with it - it'll be interesting to see what you think a few months from now if you stick with it.
 

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NY vs Jazz

Gary -- didn't you also have a Barone Jazz? I'd be interested in your comparison.

I've been playing on a Jazz for a few years now, but a few days ago I also got a NY. By looking at the the two mpcs it becomes obvious that they are both derived from a Link design. The overall sizes & shapes of the mpcs are identical. Chamber size seems to be near-identical. The location of the baffle is different, but its a similarly small baffle. One major difference is the thickness of the walls (the NY has very thick walls and I had troubles finding a lig that opens enough), which shouldn't affect the sound. So by just looking at the two pieces, I expected them to play & sound similar. So I put the NY on and immediately felt "at home". The NY is so similar to the Jazz that I needed zero time to adjust (unlike the Tradtional/Contemprary which is a very different beast). The Jazz and NY play and sound near-identical (which I describe as "fantastic"). The NY has a touch of a more complex sound, but it's rather subtle. Keep in mind that I only played the NY for an hour or so, so time will tell which mpc I will stick to in the end.

Anyway, just wondering if someone else has a similar experience.
 

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Discussion Starter #10
Thanks for the thoughts, Giganova. I've never had a Jazz though so I can't compare them. I have played a Trad/Contemp and didn't like the sound at all; sent it back. (In all fairness, it was a test from WW&BW and I don't know if anyone monkeyed around with it before I got it. It didn't appear that way though.) Apples and oranges in any case.
 

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Okay, I'll clarify things. When I made my NY model I literally took a Tonemaster and made a mold of it but first I spent a great deal of time working on it. It seems that everyone wants these but they're always disappointed because they're so dead. So, I lowered the table and raised the baffle so they'd be more alive, brighter, and faster. I think I did that.

From what Gary describes he probably spends more time with the Ponzol than the Link. I had a discussion with a friend of mine today who was actually the one who proposed this idea because my NY model should be considerably faster than any Link. That is more responsive but I guess there could be one that's not. I will add though that playing Rico Jazz Select is very important.

When I made the Jazz model, my friend Frank was playing a old NY Super Tonemaster but one of the rare ones that were made in NY. Those are without a doubt the best ones and the rarest. So, when I made the NY model Frank started playing that and gave me his Link that I then also made a copy of. They were great but recently I made a change to them and not they blow the old ones away. Neither of the Hollywood, Jazz, or NY play like each other, while they're all in the same class of mouthpiecethe're all different.

Someone having to choose between any of them would have a hard time because while they're all similar in design they play very differently. Like chocolate and vanilla whereas one of my high baffle pieces would be like a different food all together. A customer just called to tell me that he was playing a NY and now he's playing a Fusion but still manages to play jazz on it. That's because my concept stays the same on all the models. I try to make them all very versitile within their class. Phil
 

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Discussion Starter #13
When you post stuff like this, it's just really interesting, Phil. Thanks. :)
 

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Phil Barone said:
....When I made the Jazz model, my friend Frank was playing a old NY Super Tonemaster but one of the rare ones that were made in NY. Those are without a doubt the best ones and the rarest. So, when I made the NY model Frank started playing that and gave me his Link that I then also made a copy of. They were great....
I spun off that statement to your NY piece being a tweaked NY Link. Maybe it's a stretch since the current crop of Links aren't like the one you mention.
 

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jazzbluescat said:
I spun off that statement to your NY piece being a tweaked NY Link.
Either I can't read or you can't! :D
Phil said:

Phil Barone said:
When I made my NY model I literally took a Tonemaster and made a mold of it ...
...
When I made the Jazz model, my friend Frank was playing a old NY Super Tonemaster...
Where did you get the idea that the Barone NY is based on the Link NY design?
 

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Giganova said:
Either I can't read or you can't! :D
Phil said:



Where did you get the idea that the Barone NY is based on the Link NY design?
That's easy. A tonemaster is an old Link, the old Links had large chambers, the current NY Link has a large chamber modeled after the old Links. There you go. :)
 

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jazzbluescat said:
That's easy. A tonemaster is an old Link, the old Links had large chambers, the current NY Link has a large chamber modeled after the old Links. There you go. :)
Yeah but they're really not like an old Link and don't play like one. Phil
 
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