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Discussion Starter · #1 ·
As the thread title suggests, I have a vintage Buescher Aristocrat bari. Currently I am using a Selmer metal jazz mouthpiece. I love the free blowing edginess of this mp, but playing in tune is a bit of a problem. I have the mp pulled out as far as it will go on the neck. Even had extra cork added to the neck to allow for a better seal with the mp teetering on the edge of falling off. I loosen up my embouchoure, pull the neck out of it's socket a bit, think "in-tune" thoughts, and the horn still wants to play sharp throughout its range.

I gather from reading this forum, that larger chambered mouthpieces might help with this problem, especially on vintage horns such as my 'Crat. What I'm looking for are some suggestions on what makes/models to try. My current thought is to get ahold of a Link Tone Edge and give that a shot. Thoughts? Suggestions? Abusive comments? ;)
 

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I had a late 50's (rear bell keys) Aristocrat bari. Link Tone Edge and Hite Artist both worked well on it.
 

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I use a Sparkle-Aire on my 1929 Conn. I'd second awholley's recommendation. You may want to check e-Bay for some deals, though. I was very fortunate to snag a new old stock (in the box, lig, etc.) for $35.

A larger chamber piece may not have quite the same edge as the Selmer metal piece. Some of the edge can be re-gained through reed selection. A number of Bari players here like the Fibracells for that task. YMMV. Best of luck, and keep us informed! - Jeff
 

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Some might call it controversial, but I have had good luck with a neck extension. I added about 1/2 inch to the end of my neck, giving the mouthpiece something to get a good grip on. It is reversable, but I've yet to have a desire to do so.
 

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Tophat sax has a number of pieces up on eBay. Included is a Woodwind "Educator B5" - http://search.ebay.com/_W0QQsassZtophatsax .

Starting at 99 cents, you may be able to get it cheap just to see how you like it. Heck, you could add custom work from Mojo (baffles, tip, etc.) to go for your target sound palette. You'd probably spend less than most current production pieces and wind up with a customized piece made of a very high quality hard rubber.

A link tone edge may work too, if you can find one, and afford it ;) .
 

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The vintage horns are made to be played with a larger-chambered mouthpiece, due to the acoustical differences between them and the modern instruments. Even though I am not a jazz player, there are some vintage jazz mouthpieces floating around out there (eBay for starters, and probably some other websites, as well) that have a larger chamber that would work well with these instruments. I wouldn't go so far as to add onto the neck or the cork at the end, unless it is in an extreme situation.

Brian Kauth
 

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I have a 1949 Buescher Aristocrat bari, and I use a Runyon quantum delrin (not metal) on it. Works great for a big bari tone, and I have no tuning issues with it at all.

Of course, a lot depends on what sound you're looking for. I double on bari, for R&B and R&R, so I want a raspy, fat sound. That might not be what you're looking for. But for me, the Quantum with plasticover reeds fits the bill on that horn. Good luck!

Dale C
 

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Discussion Starter · #10 ·
Wow, gotta love this forum :) . Thanks for all the feedback. I've got some suggestions that I hadn't considered, exactly what I was after. I'll let you know how the hunt progresses. You guys are da best :headbang:
 

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I've been through the same on my Big B bari.

For traditional sound add Brilhart and the rare NY Link's to the list

For contemporary I've had the best luck with a custom RPC (longer shank) mpc with a medium high baffle. Other good options include the Runyon Quantum already mentioned and Vintage Bergs.

My experience has been that cavernous chambers (@ 30ml) play in tune well, with a rather dark sound. Slightly smaller chambers (@27-28ml) work if the design is right and there is extra length (which is why I believe my RPC, Q's and Bergs work)

I had a large chamber, high baffle piece made and found it to be trickier to control than pieces that had more length.

Hope that all makes sense, good luck and please keep us informed.
 

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Why not extend the shank on the mouthpiece?

Building from what tophatsax says: "For contemporary I've had the best luck with a custom RPC (longer shank) mpc".

Instead of extending necks in order to use a certain mouthpiece, I've wondered about cutting off a piece of shank from a junker or cheap piece and epoxying it to the too-sharp piece as an extension.

Seems like I could wrap the neck cork in teflon plumber's tape to ensure the release.

Any thoughts?

Thanks,
Len Bates
 

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Discussion Starter · #13 · (Edited)
Update

I am now using an Otto Link Tone Edge #8. The larger chamber seems to have fixed the intonation problem I was having as you all had suggested. I'm not getting quite the cutting edgy tone I had with my Selmer mp, but my tone is now much "meatier" and perhaps a bit more pleasing to the ear. I'm still using cane reeds for the time being, but will have to pick up some Fibracells to see what that does for my sound. After all, I still need to play with and over at times a very energetic drummer, and a bassist who truly believes if you think he is too loud then you are getting too old ;) . I am still interested in trying out some of the other mps suggested in this thread. Just gotta wait for the $$$ and another attack of G.A.S. Thanks again for all the useful suggestions.

For some reason this post wasn't showing up as new, so I have edited to see if that changes its status.
 

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Hey Len,
Extending the mouthpiece could definently work, but you would have to do it to each mouthpiece you plan to play on the bari. I am very happy with the neck extension on my bari because I can play almost any mouthpiece at any time instead of having to modifiy each piece before I play it. You wouldn't necessarily extend your neck for a certain mouthpiece, I extended mine because EVERY mouthpiece played sharp.
 

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"For contemporary I've had the best luck with a custom RPC (longer shank) mpc with a medium high baffle. Other good options include the Runyon Quantum already mentioned and Vintage Bergs.

My experience has been that cavernous chambers (@ 30ml) play in tune well, with a rather dark sound. Slightly smaller chambers (@27-28ml) work if the design is right and there is extra length (which is why I believe my RPC, Q's and Bergs work)"


Phil - I'd be curious to know how much Ron extended the shank and when you refer to a medium high baffle, is that his "B" chamber?
 

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Bob,

I traded for the piece, so I don't have specifics directly from Ron. I'd be happy to measure it, and I'll try to remember to do that and to also post a picture of the baffle. It's not as high as his "B" baffle, but it's not the roll-over either.

Phil
 

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Phil - Thanks. I would really appreciate a picture showing the baffle too!

Bob
 

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cbcohick, and anyone else for that matter, I have a vintage Brilhart Ebolin for bari sax spare and in very good condition which I would be willing to sell. Pics available; please send a PM if interested.
 
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