[Urdaddoobie]

Helloooooo
Right now I play on a Otto link super tone master 6 and I love it. It reminds me a lot of pepper adams and I enjoy the sound. However I wanted an alternative mouthpiece more in the aim of Harry carney. While I was considering a syos mouthpiece they had the sample thing with carney and put him at a rather bright timbre. To me his sound is powerful but slightly dark, would that be right? And also, what hard rubber mpcs do you recommend as a darkish but bellowingly strong still sound? Straight chamber and medium baffle maybe?
And I do know the player is 90% the sound concept, so I’m working on my end too
Thank you so much in advance!

 

[lydian]

Link Tone Edge
Runyon (not large chamber, but Harry did play them at one point)

 

[Urdaddoobie]

Link Tone Edge
Runyon (not large chamber, but Harry did play them at one point)

I’ll give it a looksie fasho

 

[whaler]

I would think one of those old “Pickle Barrel“ mouthpieces would work.

 

[Urdaddoobie]

I would think one of those old “Pickle Barrel“ mouthpieces would work.

I’ve never heard of these, what’s the most common pickle barrel mouthpiece. I apologize for being uninformed I’m kind of a greenhorn player 😅

 

[whaler]

The last one I had was a Leblanc. They’re large chamber, small tip kind of mouthpieces that I prefer for baritone.

 

[AddictedToSax]

I have an old baritone pickle type mouthpiece. It's probably a Martin. Big chamber and probably a 3 tip. Here's a picture of the type. Babbitt Fatboy Pickle Baritone Saxophone Mouthpiece | Reverb
I'd gladly sell mine for $450. Haha.

 

[rzzzzz]

Tone Edge seems right for a real dark sound. Maybe a little tubby. You may want to track down an RPC rollover. Warm, without filtering out too much of the upper frequencies. With fair punch. However, Ron was inclined toward generous tips, but no worry about them blowing free and easy.

 

[Reet McVouty]

You're going down the wrong road looking at mouthpieces for help. According to documentation, Carny played a Woodwind Steel Ebonite large chamber B4, and it was refaced. Bottom line even if you had his mouthpiece you most likely wouldn't sound like him. Best way to get that sound is to put on his music and play along with it.

 

[dexdex]

Sorry, Mr. Carney. Capitals are out of fashion these days.

 

[John_Dikeman]

While on one hand I agree with Reet McVouty that the mouthpiece won't make you sound like Carney, I do think certain mouthpieces would help you get closer to that territory. I'd vote for one of the pickle barrel mouthpieces as well. An old Woodwind and Co. would be good. I've been playing one on bass lately which I like a lot. Or any of those old mouthpieces, Buescher, Conn, Martin.

Syos may be able to make you something similar. I'm not sure how big their biggest chamber is. But you can ask them for their absolute largest chamber and lowest baffle. That might be close.

 

[reeddoubler]

The late Joe Temperly sounded very much like Harry Carney on a Link Super Tonemaster. It’s not your mouthpiece

 

[John_Dikeman]

The late Joe Temperly sounded very much like Harry Carney on a Link Super Tonemaster. It’s not your mouthpieve

This is an interesting point, but I don't entirely agree. I feel like he could definitely emulate Carney's approach but the actual tone sounds more modern to me. Not quite as dark and syrupy.
Just my take.

EDIT I thought rather than just adding a stupid opinion I'd share this great clip I just listened to while comparing Harry Carney and Joe Temperley. Whether you think this sounds just like Harry or not it's still a great example of the kind of beautiful sound Joe was able to get from a mouthpiece much like the OPs.

Now here's Leo Parker on a Master Link, on of my favorite baritone sounds

And of course, Harry

 

[B Flat]

An old Woodwind Co New York piece will put you in the ballpark (at least equipment wise).

 

[John_Dikeman]

And also, what hard rubber mpcs do you recommend as a darkish but bellowingly strong still sound? Straight chamber and medium baffle maybe?
And I do know the player is 90% the sound concept, so I’m working on my end too

Just reread the original post.... Yes this is the opposite direction you'd want to go. Actually I think Link is about as good as you'll get for a new piece. I'd recommend big chamber, low to no baffle pieces.
I wonder, since Woodwind & Cos aren't so easy to get these days, what about trying a Caravan and then maybe get the tip opened slightly? Anyone try that?

 

[Merlin]

I chased HC’s sound for a few years. In my experience, the horn was a huge part of the sound - possibly even more than the mouthpiece. When I first played a Conn 12M, I knew it was key to getting close to Harry Carney’s sound.

 

[rhysonsax]

I chased HC’s sound for a few years. In my experience, the horn was a huge part of the sound - possibly even more than the mouthpiece. When I first played a Conn 12M, I knew it was key to getting close to Harry Carney’s sound.

I agree for me. But when Joe Temperley played his old Selmer (with a Soloist mouthpiece I think) he sounded just the same as when playing his 12M with STM.

Rhys

 

[reeddoubler]

I think you get the sound you hear in your head eventually regardless, some setups just make it a bit easier.

 

[MTKilpatrick]

I really don't think you can approach the Carney sound unless, as Merlin says, you have the right equipment, and I don't think it's remotely true to say that you get the sound you hear in your head "regardless".

My set up: a 1945 Conn 12M and an original, unaltered 1930s (?) Woodwind Co NY mouthpiece with the largest roundest chamber possible, B5, and no baffle nonsense.

Here's a full (mobile phone) video of Serious Serenade (a bit too fast, sadly) performed at St George's Guildhall, King's Lynn: http://www.harmonyinharlem.co.uk/SeriousSerenade.mp4

A brief solo after the trombone opening in this moblile phone recording of my arrangement of Sweet and Lovely: http://www.harmonyinharlem.co.uk/Olney/SweetAndLovely.mp4

There's a brief solo behind the trumpet 1min 50seconds into this audio recording of Anytime, And Day, Anywhere I made at a rehearsal a few months ago, which I'm particularly fond of: http://www.harmonyinharlem.co.uk/Anytime.mp3

Michael

 

[GSax]

Try a Jody Jazz Custom Dark HR 6*: very large chamber, very good intonation, beautiful warm and colorful sound, but also enough projection and brlliance. With this mouthpiece you can approach Harry Carney's sound. Highly recommended!