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Chris said:
Otto Link, Berg, Selmer....
From my experiences, all those pieces will play sharp on that horn... but that's just going by mine, which is a 98K. You'll need to find those old fat, pickle-barrel pieces; the ones that are practically bass sax sized. Old Woodwind Co. pieces can be less stuffy than some of the other choices, but in original facings, most of these pieces are going to be fairly closed tipped. The only modern mouthpiece that I could find that would play in tune on my old Conn bari (and with some edge), after trying/buying/trading countless pieces, is an RPC rollover. It's got a big chamber and a long shank (5 1/2" total length), and after years of searching, was the answer to my prayers.
 

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wwbw has the Jerry Hall bari mouthpiece on clearance. I think it's modeled after the old "fat" mouthpieces. It might be worth researching.
 

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Chris said:
What do you think of a selmer s80 d or e?
When was your alto made though? And this isn't to say that you must have a vintage mouthpiece with a vintage horn. Just in this case, Old Conn baritones can be fickle. Don't those Selmer mouthpieces have flat side walls? I think you'll really need an extra large, round chambered mouthpiece; preferably with a long shank to boot. Test them out and see, but make sure you can return and/or resell any mouthpiece that doesn't play in tune.
 

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Discussion Starter · #6 ·
I play s80 on conn wonder alto and buescher truetone alto. The sound is excellent.
Now, on soprano,alto,tenor i play selmer s80.
The wonder 1 is my first bari horn.
I have not that big embouchure for large chamber mothpieces.


@grumps
RPC rollover = new 235$ are they really good?
 

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I spent quite a while trying to find the right piece for my Buescher Big B bari (324,xxx). I have found that you need a peice with a chamber volume of 28ml-30ml to play in tune and not have the mouthpiece falling off the cork. Your options are:
  1. For a classical or darker sound - A large chamber fat body piece
  2. For a more modern sound and more flexibility - A large chamber piece that is based on a slim design with wedge or bullet baffle. For the older horns this means it needs to have extra length to get the chamber size right and keep the piece in tune.
My short list

Fat Body
Vintage Bundy
Vintage Buescher
Vintage Brilhart (not sure of chamber size)
Babbit Blank
Custom made

Slim Design
Lamberson - I play an 8DD
Vintage Bundy with wedge baffle
Vintage Conn very similar to the Bundy above
Vintage Berg Larsen

To get any real projection, I've found the tip opening needs to be .110 or above, I've settled on .120

I'm sure I've left a few off the list. This has been my experience and of course, your mileage may vary. I will tell you that it helps to
  • Listen to people that have the knowledge or a similar experience
  • Make sure the horn is regulated, so that it's not adding to or causing the problem
  • Make sure you support and embouchure are correct
  • Spend an hour or more with a mouthpiece before deciding how you like it
Feel free to email or PM me with any questions. I also have one of the Bundy Fat Body pieces I might be willing to part with.
 

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I play a '53 "The Martin" bari and went through pretty much the same trial and error process that tophatsax and Grumps talk about, and my findings are essentially the same.

My primary piece is a Lamberson 7M. I also have an extended shank RPC 110R that works really well from an intonation standpoint. Others I had some success with include a vintage HR Berg 120/2 and a current production Meyer 9 which also worked really well.

Good luck!
 

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Chris said:
RPC rollover = new 235$ are they really good?
I think that's a bargain for a hand finished mouthpiece these days, but I got mine for a little less second hand. A new one will take a few months to be made and delivered after your order, so you wouldn't get it right away. Something to consider before purchasing. Also, what works for me might not be best for you, Older Conn altos and tenors might be more forgiving concerning mouthpiece choices. From my experiences (and reports from others), the bari isn't.

Have you played this sax yet? Do you have a bari mouthpiece?
Let us know a bit more about your experiences so far.
 

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Discussion Starter · #11 ·
For a new band project i brought a nice conn wonder bari on ebay. The laquer and pads looks fine.
I play 10 years tenor and alto and 3 years soprano.
I haven't played this bari yet. This is my first one.
Can somebody sell me a good old big chamber mouthpiece?
On tenor i hate old conn and buescher mouthpieces with a big Chamber. They don't work for me on tenor. The tip opening is very close.
Is this a problem on bari, too (tip opening to close)?

For about 2 hours i have brought a s90 selmer on ebay? In a few days i will write my first experiences on bari.
 

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Chris said:
Can somebody sell me a good old big chamber mouthpiece?
On tenor i hate old conn and buescher mouthpieces with a big Chamber. They don't work for me on tenor. The tip opening is very close.
Is this a problem on bari, too (tip opening to close)?
I gave away my last spare "pickle-barrel" not too long ago, but yeah, just about all of the old ones are pretty closed. I just did a search using the word "pickle" (as this has come up before), and found quite a few discussions in the past regarding this issue. You might want to take a look at some of these threads for more ideas:

http://www.saxontheweb.net/vbulletin/search.php?searchid=487429
 

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Just to share some data: A while back I did some volume measurements to compare mouthpiece volumes (subtracting the cork length used) to the volumes of the missing "cone" of the sax. This was not real useful for me, but I do it from time to time.

I measured these bari MP volumes (full length of the MP):
RPC 110 = 24 ml
RPC 125 = 27 ml
Quantum 11 = 26.3 ml

To get calibrated, you can gain 1 ml of chamber volume on bari by pulling out a MP by 4 mm more on the neck cork. But a long small cross-section volume that matches a short fat cross-section volume will not play the same on the sax. The longer one will have flatter palm keys and/or sharper bell notes depending how you tune it. The short/fat one could have sharp palm keys and flat low notes. So chamber volume can be adjusted to help these kind of intonation tendencies. But you should to make sure your embouchure support is in the correct ballpark before you mess around with various mouthpieces. Do the mouthpiece pitch check.

I have not found where this is a real big deal except on sop sax. The little beast can be very unforgiving.
 

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I had the horn at that Md. get together a few years ago, but not many chose to give it a whirl; what with all the other beauties in there. When I tried a Quantum on it, it just seemed to me that the baffle was an obstruction. Can't put it in scientific terms, but that's just how it felt blowing it. There is a lot not to like about these old Conn bari's; keyed up to Eb3 only, ultra sharp mid-range, poorly situated octave lever, limited mouthpiece choices. I was really about to move on not too long ago, and was even combing Ebay for a deal. Getting that RPC that worked had me weighing the positives instead; great sound, great sound, great sound. So, although I'm playing more bari these days, investing in another one really wouldn't be necessary. Love the one you're with, I guess...
 
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