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Hi all. I just switched mouthpieces on my Buescher True Tone bari, and the intonation is a bit fickle as you would expect, but perfectly usable except for one note: high G#.

For whatever reason, high G# is flat by 5-10 cents even when I try to adjust (if I don't it's more like 20). It's at least partly a key height issue, because low G# is also slightly flat although I'm lipping it up without much trouble. The problem is, the mechanism on this thing is regulated directly by the F#-G# actuator that ensures the G# stays closed when I play lower, and I need that to work, so I can't just sand that cork down and call it a day.

Other than raising the F# key height, does anyone have any ideas?


It just occurred to me to make sure the body octave pip is clean, which I will do tomorrow, but for the time being I'm going to assume that won't work.
 

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It is usually possible to increase the G# opening height but I don't know about that system.
 

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Hi all. I just switched mouthpieces on my Buescher True Tone bari, and the intonation is a bit fickle as you would expect, but perfectly usable except for one note: high G#.

For whatever reason, high G# is flat by 5-10 cents even when I try to adjust (if I don't it's more like 20). It's at least partly a key height issue, because low G# is also slightly flat although I'm lipping it up without much trouble. The problem is, the mechanism on this thing is regulated directly by the F#-G# actuator that ensures the G# stays closed when I play lower, and I need that to work, so I can't just sand that cork down and call it a day.

Other than raising the F# key height, does anyone have any ideas?


It just occurred to me to make sure the body octave pip is clean, which I will do tomorrow, but for the time being I'm going to assume that won't work.
If you need to open the G# pad height, you will need to increase the at-rest height of some other pads. You will have to inspect carefully to determine whether the limiting ones are in 6the right hand stack or the left hand stack. You have already realized that altering the linkages amongst keys will just screwq up the regulation.

If you are finding that the "in tune" position of this new MP is drastically different than the old one (DO NOT consider how far it goes on the cork, measure from the tip of the MP to some feature on the neck, and compare that dimension), then you may be looking at a MP/horn mismatch. In my experience, using a MP with too small of a chamber on my sax caused the "typically dubious" notes to be very much worse in tuning; and using a better-matched piece brought those notes much better into tune. I suppose a similar effect could occur with a too-large chamber; but the most common mismatch on old saxes seems to be the chamber being too small.
 

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Does it help if you open the side F# key?
 
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