I saw it too. His gear is quite freakish anyway you look at it. Jody DV #10 and #4 Rico OB reeds. I probably wouldn't get a sound out of it even if I held my lips around the MPC with a iron tool. Not my favorite bari sound though.
Yeah a 10 is very open may be a bit much for most. I play a JJ DV 8 on bari and if I'm using Rico Orange Box I'd play a 3 1/2 . Of course, an OB #4 is not like a Vandoren #4 but playing anything on a piece with a .140 tip is going to present challenges. However, I think if you're on the horn 3-5+ hours every day you can work your chops into the kind of shape it takes to play that sort of setup if that's your jam. I've tried some bari pieces with .130 tips with the idea of playing them with the funk band I'm in but didn't care for the sound (too buzzy), the extra work necessary to control the intonation, and that I felt like I had to take a breath almost every measure.
I agree with him on the need for a strong attack on bari and bass instruments in general but I'd argue all the buzz or "slap" as he calls it in the sound doesn't help as IMO it quickly gets lost in the mix when playing in groups.
Funny he says he doesn't use any "customized equipment he can't replace" but I'm guessing the neck and lead pipe on his Mauriat are solid silver which I don't believe is a normal option for that horn but something they've made custom for him.
I'd also agree that he's be a bit presumptuous about people's motives in choosing vintage instruments. I don't doubt it's true for some players but their are lots of folks who could have or even do own newer instruments and chose to play older vintage horns who have the skills, experience, chops, and ears to make the artistic judgement for themselves.
That being said he's a really fine player and it's always interesting to hear what these guys have to say.
