[rsclosson]

A few years ago, I purchased a Phil Barone Super New York mouthpiece and loved it. It was better than anything I had ever played. Very foolishly, I let a student hound me out of it, and never stopped regretting my decision. After that, (and, frankly, before that) I ran the gamut of and constantly succumbed to the seductive appeal of all the new glittery pieces that were and are thrown out there looking for a home, still looking for the "one piece to bind them all." I never got that SNY out of my head and bruised my backside constantly kicking myself for my stupidity.

Recently I found another one at a super deal and jumped all over it. It was among the last ones he made available at a super price. No plating, logo, or serial number and no bite plate. Frankly, I love the spartan, no frills look of the piece and am back in tone nirvana. No need to bother to gush over all the qualities and versatility of the piece. It has been thoroughly described here and it lives up to all the superlatives. The best thing I can say about it is that when I play, I totally forget about the mouthpiece.

My quest now, in my autumn years, is to get good enough to deserve this piece! It is a much better mouthpiece than I am a player. Henceforth, I will stop searching and just practice and play; everything from my Bach for saxophone to standards and bop, (this piece will do it all!). I'm just going to shut up and play. I know I said this many times before, but I can see the "bucket" approaching and need to concentrate on my bucket list while I still am blessed to have a measure of health and lung capacity.

I am an old dog, but there are still new tricks out there within my reach.

 

[buddy lee]

I have one of those as well and it is a great piece. I don't play it anymore but there's no way I'd sell it, mainly because they aren't being made anymore and they were never that common in the used market to begin with. Well done!

 

[turf3]

Man, I thought I was all done with tenor mouthpieces till I recently bought a tenor and in the case were an Otto Link hard rubber and a Brilhart Ebolin; foolishly I tried them out and now I own more Links and Brilharts.

As to the Barone piece, from its name I wonder: is it a Meyer inspired piece (as in Meyer New York) or Link inspired (as in Super Tone Master New York), or something else altogether?

 

[buddy lee]

Man, I thought I was all done with tenor mouthpieces till I recently bought a tenor and in the case were an Otto Link hard rubber and a Brilhart Ebolin; foolishly I tried them out and now I own more Links and Brilharts.

As to the Barone piece, from its name I wonder: is it a Meyer inspired piece (as in Meyer New York) or Link inspired (as in Super Tone Master New York), or something else altogether?

It's based on a NY Link but it's more like a NY Double Ring than a TM

 

[Dr G]

It's based on a NY Link but it's more like a NY Double Ring than a TM

That's different than what I recall. Phil commented here that it was a nod to the New York sound - in contrast to his other Link-inspired "Hollywood" model, that was a nod to the West Coast vibe. The New York model was not based on the NY Link, nor was the Hollywood model based on the Dukoff Hollywood. The third of his STM Link-inspired pieces was the Jazz.

From Phil' website: https://www.philbarone.com/store/mo...tal-tenor-saxophone-mouthpiece-brass-new-york

"Designed specifically for jazz, the New York features a medium rollover baffle with a large round tone chamber for a fat, lush yet clear and loud, traditional sound. Also produces fantastic sub-tones with an abundance of overtones. Perfect for post-bop and modern jazz players. New York is the brightest of the darker models. Currently the preferred mouthpiece of legendary sax man Steve Grossman."

FWIW, here, also, is Steve Neff's review: https://www.neffmusic.com/blog/2011/09/phil-barone-super-new-york-tenor-saxophone-mouthpiece/

 

[1saxman]

'I am an old dog, but there are still new tricks out there within my reach.'

Me too, and while I haven't changed tenor mouthpieces in over 20 years, it wasn't from not trying. It's like, just when you think you're set and you'll never have to think about another mouthpiece, neck or horn, the very next day you try something new. It really never ends. As long as you are actively playing, you will be 'curious', and that's really a good thing. Just yesterday I had my two tenors out with four necks and four different boxes of reeds. I was doing 'mix and match' and a little practicing thrown in, just getting ready for the gigs when they start again. At least there was no second mouthpiece in the mix! I use my phone app tuner anytime I play for any reason now because it can really tell a tale. For example, I had the MK VI neck worked-on last year and really had not been playing it since. When I tried it after getting it back, I didn't think much had changed. But yesterday, using the tuner, I discovered that the mouthpiece had to go on farther than I thought, which changed the playing characteristics of the neck to the point that I was really digging it. This is what its all about!

 

[MLucky]

From Phil's description: "It’s a dark mouthpiece but loud as hell ... the sound is dark it’s also very bold and vibrant."

That pretty much summarizes my experience with the SNY. A really great mouthpiece, and I'm grateful to Phil for selling me one at bargain price while he was getting out of the business. If you're at all interested in Links, and you have a chance to get one of these, you really should try it out.

 

[stingray3]

I bought a Hollywood Limited from him that was also one of his last pieces. It too has no engraving but does have a bite plate. When i first purchased it, i was playing a Hollywood that had been modified and i thought it was perfect until i played the limited. Im no pro by any means, but it is by far the best mouthpiece i have ever played! He is also a really cool guy to deal with! I also love the “spartan, no frills” look too!

 

[rsclosson]

I will not say that there is no better mouthpiece out there, or that nobody will come up with a better one in the future. I’m just saying that, for me, this Super New York is the best one for me. Even Phil has been quoted as saying to stop searching for the holy grail and practice, or words to that effect.

It’s a better piece than I am a player and it makes me want to play my sax. That’s good enough for me.

 

[jrsopsax]

I keep my SNY and 10mfan Classic in my Mark VI case.

“It don’t mean a thing if it ain’t got that Super New York Zing!”

 

[rsclosson]

Well, I finally got to play my first gig with the Barone. (Very safe gig. Outdoors at a restaurant with a stage at least 20 feet away from the audience whose tables were at least 10 feet apart.) The piece was magnificent! While shedding with it was very satisfying, the gig is what made it really shine! I could completely forget about it and concentrate on the music. Very versatile and responsive to my playing style, volume and air pressure. It seemed to almost instinctively create the sound in my head. Got compliments on the tone. I am one happy camper!

 

[Grumps]

I will not say that there is no better mouthpiece out there, or that nobody will come up with a better one in the future. I'm just saying that, for me, this Super New York is the best one for me.

I went on all sorts of mouthpiece quests when I got here nearly twenty years ago. All in all, this site was very helpful in letting folks know what's out there, and though it wasn't quick nor easy, in time I found better mouthpiece matches for all my horns. It's a good place to be, having confidence in what you're playing on so there's no further temptation to buy and try each and every new thing out there.

Though my mouthpiece quests ended years ago, I still see the same people buying, trying, trading, selling, reviewing mouthpieces that were doing it all those years ago. Like an endless cycle. I even asked at one point on the site... is that what keeps you interested in playing; getting new stuff.

I think though that most players are pretty much set in their ways and are happy with what they use. Just the constant gear conversations here might have folks believe otherwise.

 

[rsclosson]

I think I finally figured out the criteria for the perfect setup. **over generalization alert** When you can forget about the equipment and get totally lost in the music.

I went on all sorts of mouthpiece quests when I got here nearly twenty years ago. All in all, this site was very helpful in letting folks know what's out there, and though it wasn't quick nor easy, in time I found better mouthpiece matches for all my horns. It's a good place to be, having confidence in what you're playing on so there's no further temptation to buy and try each and every new thing out there.

Though my mouthpiece quests ended years ago, I still see the same people buying, trying, trading, selling, reviewing mouthpieces that were doing it all those years ago. Like an endless cycle. I even asked at one point on the site... is that what keeps you interested in playing; getting new stuff.

I think though that most players are pretty much set in their ways and are happy with what they use. Just the constant gear conversations here might have folks believe otherwise.

 

[rsclosson]

I meant to mention that when I was shedding with this piece, I kept a tuner open. While there is no perfect intonation and I refuse to use the term "spot on," I found that this piece stayed in or close to the green better than any mouthpiece I have ever used. One less thing to be over concerned with.

I will be putting a Link Millennium with an additional Selmer 404 lig (refaced by MoJo) on FeeBay soon. (Never had success selling anything here)

 

[10mfan]

My friend is looking for a used 404 lig, so let me know what you need for it...thanks.

Email me at: [email protected]

 

[rsclosson]

Am I getting feet of clay? My only issue is that my embouchure gets very tired when playing this for a longer time. Visually I can tell that the Barone is much more open. I have no way of measuring. Last evening after a long practice session and my lip was failing fast, I went back to my Link Millennium. It felt fantastic! sounded pretty good too! My next step is to try softer reeds. If that doesn't work, I have a decision to make.


So much for my final quest! ; (

 

[buddy lee]

Am I getting feet of clay? My only issue is that my embouchure gets very tired when playing this for a longer time. Visually I can tell that the Barone is much more open. I have no way of measuring. Last evening after a long practice session and my lip was failing fast, I went back to my Link Millennium. It felt fantastic! sounded pretty good too! My next step is to try softer reeds. If that doesn't work, I have a decision to make.

So much for my final quest! ; (

What size is your Link? What size reeds are you using on the Barone?

I find that the one I have I use the same size reeds on it as a Link, so the facings must have similar curve length. I'd guess that the Barone is more open than what you're used to then.

 

[rsclosson]

What size is your Link? What size reeds are you using on the Barone?

I find that the one I have I use the same size reeds on it as a Link, so the facings must have similar curve length. I'd guess that the Barone is more open than what you're used to then.

The Link is a 7* but it was worked on by Mojo so the tip opening might be different. Visually, I can tell that the Barone is more open. I would not have it closed because Phil is so good that i would not want to change his work. I use 2.5 Rico Orange. I hate to go down to a 2 but it is worth a try.

 

[HeavyWeather77]

@rsclosson -- Out of curiosity, do you do regular cardio exercise? (Run, swim, elliptical, power walk, hike, etc.) I found that when I started running regularly and really engaging my air system properly for the first time in my life -- I was in my twenties by then! -- it became much easier for me to play the saxophone with the sound I wanted. The increased air support helped me relax my embouchure since my air stream was naturally faster. I ended up moving up in reed strength after that and I haven't gone back, even though I don't run nearly as much as I used to any more!

Maybe you already do this, but in case you don't, I think it would be worth trying out so you can get the most out of a piece that you clearly genuinely love. That's hard to find!

 

[rsclosson]

@rsclosson -- Out of curiosity, do you do regular cardio exercise? (Run, swim, elliptical, power walk, hike, etc.) I found that when I started running regularly and really engaging my air system properly for the first time in my life -- I was in my twenties by then! -- it became much easier for me to play the saxophone with the sound I wanted. The increased air support helped me relax my embouchure since my air stream was naturally faster. I ended up moving up in reed strength after that and I haven't gone back, even though I don't run nearly as much as I used to any more!

Maybe you already do this, but in case you don't, I think it would be worth trying out so you can get the most out of a piece that you clearly genuinely love. That's hard to find!

Between my age and the covid stay at home, I admit I am out of shape. I can do light exercise but nothing significantly more rigerous than brisk walking.