Endorser for Bari Woodwinds, Bassoonist/woodwind doubler based out of Gainesville FL,I do mouthpiece reviews, play tests of some pretty cool instruments and try to get by with a decent tone everyday!
Very nice! Can you provide the model number in this specific horn? I (probably in the minority here) actually like the two tone, especially since it looks on the orange/copper side of things… similar to my Vito (Yamaha) alto and tenor.
I own one, and I've not had any problems other than the high F#, but other than that, the 2 years I've had it has been able to perform the same as out of the box. I've liked that it's been able to perform on it without problems like I expected.
@@VinnyG6053 I had some issues with the octave mechanism opening too much, but I have that for the most part fixed. And I have a selmer S80 C* mouthpiece on the way for it. The stock mouthpiece is waaaaay open so the intonation in the high registers is kinda all over. I’m hoping that helps it some
@Saxman_sam It does always feel like it doesn't want to hit the high notes, but after awhile of playing it I was able to get it under control, and I do also understand the jump from bari because that's what I mainly play also, buy after a few months it should feel more natural to play, you had a great video and I had lots of problems with the seller as well, and you're the only one who made a video over this sax. I enjoyed your video as well as your other ones as well.
No harm but you never use cork grease on a metal flute it's more for instruments like oboe / clarinets or wooden piccolos that have corks on the joints grease attracts dirt and grit and makes the joints harder to fit in time clean the tenon sockets and the inside of the barrel.
Thanks for posting! I thought for sure it was gonna be a thumbs down based on the title, but you surprised me lol. What about the Chinese bassoon options???
I’ll have to see if I can get my hands on one. I’ve been spoiled with a very nice Fox 601 for several years now. So I imagine it would be disappointing. For me anyways
I have, I just don’t have a video on it as I do not own my own Bb contra yet. It’s in the works though. But contra is usually a lot more straight forward than bass sax I find.
So, are you basically saying in this whole video that in order for you to play your bass sax, you have to learn and use alternate fingerings for just about every note? This sounds like it will make it super hard to remember how to play, and also difficult to jump between saxophones if you have others in your collection.
No not quite. Obviously for faster passages you will need to use standard fingers. But say for tuning purposes, if you’re holding out long notes, you want the best note you can get right? So there are alternate fingers to make some notes more in tune or to dampen a note to help blend. And as far as my personal bass saxophone goes I can use standard fingers on it just fine, but some notes are going to suck really bad or be really out of tune, just because of the way the horn was built. Think about it, when you’re playing bass saxophone, you’re not playing charlie Parker licks or playing Michael brecker licks or playing something a soprano or an alto would play, no, you’re the bass, the bottom, so you’re playing the underpinning notes, so you’re technique on the instrument should be more than able to incorporate some of these fingerings to help the bass saxophone not be as out of tune or stuffy. usually whole notes or half notes. But for example, say you have a relatively fast passage, obviously you cannot use a whole bunch of alternate fingerings why would you. But, another example, the Octave D and Eb, I do not think it is too terribly difficult to incorporate the Low C# key to vent those two notes, or the Eb key to vent the Low E, I do not think these are terribly difficult to incorporate.
I know that first comment was very long, I apologize. On the topic of switching from say, tenor to bass or even baritone to bass, you don’t really need a lot of vent fingerings or alternate fingers because there has been a lot of development on these more regularly used saxophones. So these alternate fingerings for bass would be stupid on a tenor or Bari because of how the horn is built. I even believe I said at some point in the video the reason you need some of these vent fingerings is because where the octave pips are placed on the instrument. Now if you had something like a musicmedic bass with the “Altarac vent” (which I did not talk about) with multiple octave pips to assist in certain notes speaking better (specifically the octave D and Eb) than yes some of these fingerings would be pointless. I do hope this helps some
9:30 where the video? It's been 9 months. Also, why do you despise the selmer s80? I just wondering as that was my first mouthpiece I used to play on the bari.
Life happens, its more so for Alto and tenor that I don't like it for, Bari is kinda a weird grey area since your embouchure isn't as tight on Bari but the s80 can cause some not so good playing habits such as for the low register having to bring your bottom jaw back a lot to get it to respond well. That's just for me
Good afternoon, I'm from Brazil, hi, I'm starting to play the baritone now, I have a much inferior sax from the custon brand and the mouthpiece is its original well closed, I still don't have the financial conditions to buy another mouthpiece, could you give me tips for play better to have a beautiful with even with my inferior equipment?
Honestly. Try and find some local sellers. It’s crazy what some knowledge and a 3D printer can do for you. Also if you take a Yamaha 5C mouthpiece, or any stock mouthpiece. And put some mix and set epoxy and make a baffle. That is also very effective and getting a cutting sound if you don’t have the money for a 400-500$ mouthpiece
I have the same Selmer mouthpiece for my baritone. Mine is an F. I believe Selmer mouthpieces from that time period are now called either Scroll Shank or Soloist “style”. Back then I think it was just called a Selmer mouthpiece (and the facing). It’s the only mouthpiece I own, so I use it for everything although it doesn’t have “chainsaw mode”. I’m really close to getting a Durga 5 (7*).
I would advise against doing your own work on your mouthpieces unless you know exactly what youre doing and what aspects you're trying to change about it, not sure where you're at in the world but there are several very good refacers that could do the work. Tommy Occhioto for one is amazing
Wasn’t my horn, I was selling it for a client and thought it’d be cool to record a video of it. It was a very nice baritone. Despite the relaq. A horn is a horn. And it played damn well
I, too, have an old Buffet Super/Dynaction bari -- though not to low A! Do you encounter tuning issues with any mouthpieces on the horn? I find that if I use a more "modern" (narrower-chamber) mouthpiece, I have tuning problems all across the horn, so I use an old Link instead -- but I'm missing out on a little bit of the bite that I want...
Yes a little bit, I mainly use a Theo wanne Durga on that buffet, but I adjust by ear. Those old links are good. Just get em refaced and they have plenty of bark. I’ve also got a woodwind co b6 that sounds amazing on my Buffet and would probably sound even better on a low Bb
I own a mark Vi from 1964. That’s a low Bb horn, the buffet you saw in the video, a Noblet baritone to low A (look up Cecil Payne) and a conn 12m. Low Bb
