12M Jam

Interesting thread. I have had the thought when listening to some modern bari players with a ton of buzz to their sound (probably playing really high baffled mouthpieces) that it sounds flat. I have wondered whether that really means that they play flat or that the partials have collapsed (probably not using the right terminology here but hopefully the point comes across). Does this make sense?

The past greats Carney, Charloff, Mulligan etc clearly had a different concept of what they wanted the bari to sound like and it is much more velvety sound with overtones. There probably are many jazz bari players around today that I am unaware of that also play with less buzz.

For rock, I think Pete Thomas' Mr. Lucky is a great example of striking a balance between buzz and body. Perfect rock sound on baritone, at least to my taste.

Oh, and when I do fool around on my Chu Barry once in a blue moon, I use a conventional neck strap and play standing up (insert chest thumping smilie here). Of course, I am a tough 62 kilo Dane. I have no proof though. Anyone with the capacity of taking a photograph have the smarts to bail the premises when I take the horn out of its case.
 
Modern players tend to have more buzz to their sound. My setup has gotten progressively buzzier as I have tried to find mouthpieces that have a wide dynamic range.

I'm probably going to play around with adding some serious baffle to some open links and see if that works well for the intonation. Berg's are great but I haven't quite gotten it fully under control in terms of intonation.
 
I thought players played to the right due more to ergonomics. with straight stacks it was easy to play up front .. soprano .. alto .. tenor .. bari. BUT when one sites down, playing a tenor or bari up front is a tad more dificult the shorter one gets. Offset keywork makes sitting and playing on the side much easier .. IMHOWRKWSIOSTBW

IMHOWRKWSIOSTBW = In My Humble Opinion Without Really Knowing Why Selmer Invented Offset Stacks To Begin With
 
Ed Svoboda said:
I'm probably going to play around with adding some serious baffle to some open links and see if that works well for the intonation. Berg's are great but I haven't quite gotten it fully under control in terms of intonation.
Click to expand...
I once owned an old metal Brilhart in a 9 opening with a gargantuan baffle. It played with ease on my Conn below high G. Above it played progressively sharper. Advanced players can apparently control this on old horns. On newer horns like yours, the problem shouldn't even exist.
 
I can't play tenor or bari with it in the middle. I am one of those who are simply too short. I've been studying with a great local player named Joel Moore who will play once in a while with the tenor in the middle.

He's scary good.
 
I found this thread late, and I'll admit I skimmed thru the posts.

Getting "on top" of baritone sax takes some experience. I think we're talking about intonation here. If you don't fill up the horn the upper register gets sharp and the low notes might not come out at all.

I was playing in a very good society orchestra on baritone and the substitute tenor player complimented my pitch and asked how I got the bari in tune.

I told him, "Only listen to the bass and trombones, never the saxes."

OOPS! THIS IS A WOODWIND FORUM! I'M TERRIBLY SORRY.
 
Groovekiller said:
I was playing in a very good society orchestra on baritone and the substitute tenor player complimented my pitch and asked how I got the bari in tune.

I told him, "Only listen to the bass and trombones, never the saxes."

OOPS! THIS IS A WOODWIND FORUM! I'M TERRIBLY SORRY.
Click to expand...

And horribly correct...
 
Most trombone players I play with have a very good sense of pitch. I normally listen to them more than anyone else for tuning as well. If I'm playing as part of a sax soli then I try to match the pitch of the lead alto otherwise I just try to play in tune.
 
You must log in or register to reply here.
Back
Top Bottom