entire horn like 60 cents sharp:(

[Trumansax]

Hi all, I need some advice, I have a silver plate Martin Bari, I play a Jody Espina Bari Mouthpiece on it. THe mouthpiece sounds great, the Bari sounds great, but the whole thing is out of tune. I have been working with my jazz instructor, and we are not sure what the deal is. If I pull the mouthpiece as farr out as it will go and make sure to keem my embechure very loose, I can play fairly in tune.

Do I need a vintage mouthpiece, bigger chamber, what am I doing wrong, thnx alot for your help!

Trumansax

[Subtone Sam]

Try large chamber mouthpiece.

[super20dan]

here we go again! get the neck extended.or you can be stuck using a stuffy underpowered large chambered out dated obsolete mpc.

[Howlin]

Is it high pitched? Check the serial no. Is there an H in there ? :roll:

[MonchMan]

I had a "The Martin Bari" #202xxx, It was sharp until I pulled the neck 1/2 way out. A Guy Hawkins I had worked pretty well that way. I'm fighting the same thing on a Conn 1970 vintage, I had a JJ Q and loved the sound but was 20 cents sharp across the horn. A Otto Link STM 7* that brought it in tune. But it is not the piece the JJ Q is. :cry:

[Trumansax]

it is not high pitched they no longer made H pitch at this point. It is a great sax a silver plate The Martin that Steve Goodson overhauled for me. Ok so tell me about this neck extension. How is this done, and how much does it cost? Do all repairmen know about it?

Thanx alot!

-Trumansax

[ralph lh]

A neck extension is one way to fix this but you will need to get it done by a tech that really knows how to do it. Check around in your area by asking other bari players and talk to techs - if you don't want to send the horn any distance. My Conn 12M has had this done and it plays great with the mpc pushed on to the cork a reasonable amount.

Another method that you can try without much trouble is to pull the neck out of the body crook a bit. Did this with one of my bari's and used the white plumbers teflon tape wrapped around the neck to hold it in the 'out' position and seal the connection well. Worked great. A better, longer-term solution would be to get a 'washer' that will fit, is the right height, and will also help the seal. Hope this description makes sense to you.

[vick]

i also play a the martin bari and have had the same problem. i used a rubber o-ring around my neck tenon so the neck would sit out a little bit, but i could never get my octave mechanism to work right with it. i'll keep on experimenting and keep you posted.

[super20dan]

my neck tech is will grizzle-1-770-831-1886. he is an expert at this and cost is around 100$ but well worth it .you dont have to send the whole horn -just the neck. on most bari,s you need to extend the neck around 1 inch .the conn,s are the worse and may need an even longer extencion.this is the best solution to this problem unless you want to be stuck playing an link. grizzels turnaround time is very fast . you will have your neck back within a week usually.

[Trumansax]

thank you, I will give that number a call tomorrow!

btw where is that tech located?

[super20dan]

atlanta georiga

[Subtone Sam]

super20dan,what I meant was that large chambered mouthpiece (like RPC) is ONE WAY to solve this problem;neck extension is another way to do it.
Third way is to get something like Berg 1 chamber mouthpiece,its bright and powerful but not sharp like many other bright pieces on bari.

[Grumps]

If you go for a neck extension, make sure it can be undone as it might have an undesired effect upon overall intonation. I would suggest using a stuffy, underpowered, large chambered, out dated, obsolete mouthpiece..... preferably one made by the Woodwind Co.

[super20dan]

subtone -even a 1 chamber berg in rubber or metal is too sharp on most vintage bari,s .yes these neck extencions can be undone and do not affect intonation but do allow you to use any mpc you want on a vintage bari. i have had them done to every bari i ever owned and i am telling you its the way to go. problem solved! i play rock &roll mostly and must have a high baff mpc. the conn 12m is by far the worst as for playing sharp .its like its in another key its so sharp.

[Bootman]

For a Martin Bari speak to Ron at RPC for one of his shallow baffled mpcs, these are the best playing, biggest barking mpc I ahve ever played on a Martin Bari. It is loud enough to play with an electric group. If you're playing a 12M, try a lamberson 8DD, this is thunderous and no intonation issues. It will bury the rest of the enseble with ease.

[Spencer]

Hi all, I need some advice, I have a silver plate Martin Bari, I play a Jody Espina Bari Mouthpiece on it. THe mouthpiece sounds great, the Bari sounds great, but the whole thing is out of tune. I have been working with my jazz instructor, and we are not sure what the deal is. If I pull the mouthpiece as farr out as it will go and make sure to keem my embechure very loose, I can play fairly in tune.

Do I need a vintage mouthpiece, bigger chamber, what am I doing wrong, thnx alot for your help!

Trumansax
Push in and relax.

If the Mpc backs up on the low notes in particular you should try a bigger chamber and or larger facing.
And remember the bigger the Mpc the softer the reed. It is not a macho thing.

[ralph lh]

Bootman
What is the Lamberson 8DD like - tip opening, chamber, baffle, HR/metal etc. Since I play a 12M and since I'm not familiar with this mpc, could you provide a few more details? Is this a jazz syle mpc or rock...?
Thanks

[Bootman]

The 8DD will allow you to play big band, Jazz solo gigs or RnB or Rock ensemble gigs with ease. This is the most flexible Bari mpc I have ever found.

[Trumansax]

It turns out the horn has some leaks. So I will not need an extension at all. I am going to try and get in touch with Steve, and see if it can be fixed very soon, as I need the horn within a 2 week time frame.

[Mike Ruhl]

I am going to try and get in touch with Steve, and see if it can be fixed very soon, as I need the horn within a 2 week time frame.Good luck. :roll:

[Grumps]

The horn may in fact have some leaks..... but trust me.... I've been there..... you can fix the leaks and you will still be sharp..... and out what the tech charges you for the leaks.

Large chambered mouthpiece. Live it, learn it, love it.

[MusicMedic]

I have to agree with Grumps here. Although I have done extentions...I always lean toward the proper set-up.

BTW, this thread is making large chambers sound like a bit of a death sentence. I use them every day and I love them.

[Trumansax]

Well I successfully got in contact with Mr. Goodson, he is going to take a look at my horn. He really is a great guy and I look forward to hearing what is going on with the horn. As far as your advice with the large chambers everyone, I believe it is a matter of oppinion. Find a mouthpiece that suits your style and feels comfortable to you and then figure out how to make it work. Mouthpieces are very much a personal preference. People should not feel they need to switch mouthpieces to get the intonnation they need. Some aspects of performance are the responsibility of the player.

Thank you all for your input and support!
Happy playing.

[Morry]

You were able to get in touch with Steve Goodson??? Hmmm, you must be the only one. :-)

[Bootman]

I use a big chamber mpc with ease on the Magna Bari, also on tenor and most horns. It isn't a problem.

[shmuelyosef]

The horn may in fact have some leaks..... but trust me.... I've been there..... you can fix the leaks and you will still be sharp..... and out what the tech charges you for the leaks.

Large chambered mouthpiece. Live it, learn it, love it.

I agree...with an efficient facing and the right reed, large chambers can scream...I have for a long time now played a Morgan 8EL on tenor (Big Band and Rok n' Rol) and recently scored a Lamberson 7SB for bari (really short little wedge baffle. These are both really powerful pieces if you want or they can both whisper a ballad all dark and steamy...