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Discussion Starter #1
Howdy,

I bought a '66 Conn 12M at the start of the year (had it shipped to aus), it needed a fair bit of work. I got it in to the repairers and after a while it's now back (though I've noticed a couple of things I'm not happy with...hard to find a good reliable one-shot repairer!)

Anyway, needless to say I now have a bari, and would like to get playing it! I'm mainly a tenor man though I have played a little alto and a tiny bit of the clarinet family.

Whoever else has added bari to their sax family, how have you gone, how long did it take you to get 'reliable' on the bari? Any tips on making the transition easier?

I'm very early on in the process, but low C# and down I can't play subtly, and the rest doesn't have a desireable tone yet. The mouthpiece is an Otto Link Tone Edge 5 (figured a more-closed mouthpiece might be a better place to start) and I'm using a regular Vandoren 2 reed.

Cheers,

Dave
 

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Howdy,

I bought a '66 Conn 12M at the start of the year (had it shipped to aus), it needed a fair bit of work. I got it in to the repairers and after a while it's now back (though I've noticed a couple of things I'm not happy with...hard to find a good reliable one-shot repairer!)

Anyway, needless to say I now have a bari, and would like to get playing it! I'm mainly a tenor man though I have played a little alto and a tiny bit of the clarinet family.

Whoever else has added bari to their sax family, how have you gone, how long did it take you to get 'reliable' on the bari? Any tips on making the transition easier?

I'm very early on in the process, but low C# and down I can't play subtly, and the rest doesn't have a desireable tone yet. The mouthpiece is an Otto Link Tone Edge 5 (figured a more-closed mouthpiece might be a better place to start) and I'm using a regular Vandoren 2 reed.

Cheers,

Dave
Wow, does this sound familiar! My first bari was a Conn 12M. Up to that time I had only been a tenor man.

So this is how I started because, man, the bari took a lot more air than the tenor. I started with a #2.0 reed but it was a Rico Royal since I used a RR on my tenor (a 2.5 or 3.0) and I prefer a file cut reed. I started with a a Selmer C* and then switched to a J&D Hite (they make only one bari mpc). I thought the Hite was a good match for the Conn.

After that it was lots of practice and plenty on long tones. Gotta build up your air support. I did notice that after practicing on the bari, tenor playing was a breeze!

Good luck. Let us all know how it turns out for you.

RM
 

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Use a looser embouchure than you do on tenor. Then relax it even more.
 

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your off to a sensible start!,the tone edge" is as good as pieces come when starting on bari"when i first got my bari, i tried the meyer,a roussaeu and a tone edge" out of the three the tone edge had that extra something.
Its a safe piece to start with they blow easily,that will get you going until you develope more,links always give the bari" the depth they are renowned for i feel.
 

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Discussion Starter #6
Howdy,

Thanks for the info everyone! It seems that I'm roughly on the right track with the hardware then - that's good :)

Michael, I'm using a V16 T9 mouthpiece on the tenor (more open than the bari MP) with rico jazz select 3M reeds.

Looks like embouchure loosening, lots of long tones & practicing are orders of the day.

Cheers,

Dave
 

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The main tip would be to play it regularly so it becomes as familiar to you as the tenor. This, of course, takes time.
 

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I don't know about you, but when I started doubling on bari I felt like my right arm was reaching all the way to the floor!
It took a bit of trial and error to get that hand position figured out so that I could keep the *C* spatula key down while using the left pinky cluster.
If you can't keep that pad closed tight there will be issues with C# and lower.

I had my tech set my old Buescher 400 bari up so that it would accomodate the lighter touch of my 'girlie hands'.
No more issues with getting out low C# and below.
 

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Howdy,

Thanks for the info everyone! It seems that I'm roughly on the right track with the hardware then - that's good :)

Michael, I'm using a V16 T9 mouthpiece on the tenor (more open than the bari MP) with rico jazz select 3M reeds.

Looks like embouchure loosening, lots of long tones & practicing are orders of the day.

Cheers,

Dave
This is what I think. Baritone is no harder than tenor ( easier in my opinion) and shouldn't take any transition other than a bit of adjustment

If you're playing as you are an open tenor piece with a hardish reed and you have a developed embouchure and also presuming your bari is set up you should not have any problems. Get a piece to match your tenor. If you like the Vando try a B75 or B95 Vando bari piece with some Rico jazz select reeds to match try 2H and you will be away.
 

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Discussion Starter #10
This is what I think. Baritone is no harder than tenor ( easier in my opinion) and shouldn't take any transition other than a bit of adjustment

If you're playing as you are an open tenor piece with a hardish reed and you have a developed embouchure and also presuming your bari is set up you should not have any problems. Get a piece to match your tenor. If you like the Vando try a B75 or B95 Vando bari piece with some Rico jazz select reeds to match try 2H and you will be away.
Howdy,

It turns out the 'bari setup' was the main problem - the left-hand G key was kicking up the lower octave vent a little (without the octave key pushed.) I had that fixed up and it is a lot better now.

There's still a little bit of embouchure training left for me but the low notes are definitely behaving themselves more!

I have heard good comments about the vando bari V16 mouthpieces though, I probably will get one of those once the finances recover from all the servicing I've had done on instruments recently!

Cheers,

Dave
 

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Hey eldavo, how have you gone with doubling on bari?

I have just started doubling on bari last week after playing alto for over 15 years. The issue I'm having is when I try to switch back to alto, my tone gets very airy because I can't get my embochure tight enough!

It's only been a week though, so I'll see how I go.
 

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Howdy,

It turns out the 'bari setup' was the main problem - the left-hand G key was kicking up the lower octave vent a little (without the octave key pushed.) I had that fixed up and it is a lot better now.

There's still a little bit of embouchure training left for me but the low notes are definitely behaving themselves more!

I have heard good comments about the vando bari V16 mouthpieces though, I probably will get one of those once the finances recover from all the servicing I've had done on instruments recently!

Cheers,

Dave
I recommend the V16. Very versatile, and really fun to play on! I think it is based on the older Bergs with what looks like a bullet or double chamber of some kind, but I may be wrong. All I know is that it can bark and scream with the best of them, but it can also be soft and lush. I know all the V16 models are based on classic pieces that are considered somewhat of a "gold standard" for each instrument. They are incredibly consistent.
 

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It is very nice to double with baritone. For a number of years I've been concentrating on the tenor, but lately have taken up doubling with other horns. Particularly soprano is easy, same key gives a similar feeling to tenor. However, regular bari playing is excellent exercise for air support. I find that concentrating on the bari really helps the tenor tone as well. In my opinion another issue to consider while juggling different size saxes is to find roughly similar setups in terms of tip openings and reed strengths. I've tried to play up to 5 saxes in one concert (bary to sopranino), if one horn has a stronger reed it becomes more of an effort to control tone and intonation. Using soft reeds (2 - 2.5) and fairly open mpcs (8+/-) on all horns makes it a breeze to switch.
Bjorn
 

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Great point on using similar setups. I'm using a fiarly closed tip mouthpiece on the bari and was having a lot of trouble switching back to alto, where I was using a 7-star Otto HR. I've swithed to a Meyer 5M mouthpiece on the alto (nice and closed), and now there is no problem going back and forth.
 

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Great point on using similar setups. I'm using a fiarly closed tip mouthpiece on the bari and was having a lot of trouble switching back to alto, where I was using a 7-star Otto HR. I've swithed to a Meyer 5M mouthpiece on the alto (nice and closed), and now there is no problem going back and forth.
yes, I had a problem with alto too. I used soft reeds (2,5) / open mpc on all the horns, except the alto on which I used a stiffer reed, 3-3,5. it worked fine for playing alto only, but doubling with other horns, the alto went funny on the intonation. now it's 2-2,5 all over and no hazzle.
 

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I bought a '56 Martin bari about 4 months ago, along with a HR link (to match my tenor setup and make doubling easier). I really like the tone of the link (not too aggressive through the Martin), though it might lack a bit of volume and cut in certain situations. I'd be careful to try out any new mouthpieces with a tuner because I found that with certain pieces (HR berg) the Martin intonation was terrible and the mouthpiece had to be pulled out until it was almost ready to fall off the neck. Since your Conn is of a similar vintage you might find the same. The Link seems to work acceptably well in this regard, if not perfectly.
 

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I just got a myself a Bari (1970 Beaucher) after 15 years of alto playing.
Like aaronrod and bjornblomberg, I also have an issue when returning to play my alto. Very hard to get any sound at all and when it does come out, not as good as it used to be.
Wondering if you could recommend what do you think I should change in my setup in order for the transition to be more smooth.

Alto setup: Yanagisawa a901, Metal Berg Larson 80/2/SMS, 2.5 Java reeds.
Must add that I was rather satisfied with my sound until doubling. Haven't changed the Sax/mp for several years.

Bari setup: 1970 Beaucher (actually labeled Bundy), Rico Royal B7 mp, Rico Royal 2.5 reeds.
This is a temporary setup until I learn to play it Bari and find what works best with the Beaucher.

Thanks!
 

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Your alto set up is pretty standard and good. I don't know anything about the Rico Royal B7 but Rico Royal 21/2 is a great bari reed.

With you alto set up to match it to your bari I would be looking at a Berg 110/ 115 with preferably a 1 chamber. Be aware that Bergs are often closer than they say. So a 120 Berg is probably 115. a 115 could be 110...could even be wider..not sure about the new Bergs..
There are other bari options that would match like a Lawton 6starB ...A good Berg is hard to beat though if you can find one
 

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Thanks for the answer.
Not sure if I got you right. You're recommending to get a Berg for the Bari?
 

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For what it's worth the Rousseau JDX baritone pieces are excellent for a piece in their price range.
NB: order one from US rather than local where they are twice the price.
 
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