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I would say, "Give it a try." I don't play baritone, so I can't help with direct comparisons. However, I've recently switched from Selmer (S-80 C**, S-90 190, etc.) to Vandoren mouthpieces on alto, tenor, and soprano. On alto and soprano, I now play the Optimum (AL3 and SL3), and on tenor I play the V5 T20. I like the sound of round chambers better than square chambers. The S-80 has a square chamber, so I think it will always tend to be a bit brighter than a comparable piece with a round chamber.
 

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I find the Selmer C* too close for bari, and in many player's hands, thin sounding on top.

My classical bari pieces are a customized Vandoren B35 or a Buescher. If I had to go shopping for a new one, I'd look at the Vandoren Optimum BL4.
 

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I agree with Merlin on the opening of the Selmer C*. As to your question, it depends on what you are trying to do. I spent at least 10 years using a Baritone C* with Vandoren blue box size 5 reeds. I thought the mouthpiece responded well with those reeds in Wind Ensemble settings and Solo setting as well. Recently (The last 2 or 3 years) I have changed the way I play and I don't play anything stiffer than a blue box 3. I ditched the C* and got a Vandoren Optimum that I had Brian Powell open to a .080 and rework into a super dark player. My advice to you? Experiment with reeds before you ditch the mouthpiece!
 
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