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New Phil Barone Tenor Mouthpiece Review

65K views 116 replies 36 participants last post by  Dr G 
#1 ·
Phil Barone
Tenor Sax Mouthpiece 7*
Selmer 404 Ligature
Rico Royal Jazz Select 2H


So I caught up with Phil Barone over the summer. I can’t believe this guy has been in the music business for that long and no one has written a book about him ? Seriously. Who else out there has been doing incredible mouthpieces for what seems like a gazillion years. You know I feel like I owe the guy a debt just for his experience. Let me say however old he is, he doesn’t look his age, he has kept well.

Check out my photos and you will see the mouthpiece in question. Long baffle, 7*, chamber, etc. etc. etc. Your all smart so draw your own conclusions about the design, I’m going to tell you about how it played for me. Oh by the way it doesn’t have a name engraved on it, and I guess I’m one of the lucky few who has one, so if you want one I’ll sell it to you for $10,000.00.


So here it is. I put it on tried it for 5 minutes and then took it off straight away. It was bright compared to the SNY.

But then I thought no I am going to give this a real opportunity and I put it back on. It was Saturday afternoon and I played it for the rest of the day about four hours in total. Whatever this mouthpiece is called, it just grew on me so much. It really took me by surprise. I think that I got used to the brightness, and in fact, it became “less bright” the more I played it, and the more time that passed I focussed the sound. In other words the sound changed over time believe it or not, and I very much moulded the timbre to what my ears were telling me.

You know what really blew me away was that the tuning was flawless, and the altissimo is EVEN EASIER than the SNY. It’s just incredible. You have no idea how easy but let me tell you anyone can play altissimo with this mouthpiece even the kid next door.

So for a baffled piece where the baffle looks twice the size of the SNY to me, and given I have NEVER played a baffled piece of this size before, Phil’s reputation as a master is only enhanced. I love his work.


Any questions please ask.
 

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#63 ·
Phil and I have not always seen eye to eye. However, I don't see the call for this level of hostility aimed at his craft, especially with no context, information, or explanation.

It appears to be little more than an unprovoked attack at a guy who has been around a long time.

I wonder if people would behave this way person to person and in a manner that was not hidden behind a screen name.

Sometimes the internet brings out the worst in people.

SOTW is a community. Not just an internet billboard for people to home their negative emotions.
Phil E.
 
#70 ·
... and you don't have to, just to satisfy an aggessive newcomer.

I personally ordered the same mpc from Phil and am awaiting it these very next days. I'll keep you posted.

My main on tenor is a Barone Hollywood and I also very frequently use 2 fantastic bari mpcs "made with pride" 2002 (one solid silver, one brass; BTW both sound almost the same and I'll have to sell one of them one of these days). All three are great players. Doing business with Phil is straightforward, direct and perfectly clean. He repared the silver bari, which had fallen on a tiled surface and was damaged; the end-result is so good that the piece plays better than in its original condition (on the lower end especially) !

I simply don't understand well why Phil is so shy about a piece which seems to trigger here enthusiastic reviews and why he doesn't add it to his product line, advertising it a bit more aggressively, here and elsewhere. May be is it because of the high baffle, whereas he often disparaged this kind of mouthpieces ? In any case, the present model seem to have a sufficient number of other features to set it apart from those other peashooters he doesn't cherish.
 
#73 ·
I'll jump into this thread just to post a couple pix of this new Barone mouthpiece side-by-side with an MB and MB II. Some obvious similarities, and defining differences. Bottom-line, I'm feeling fortunate to have all three! MB II in the middle, Barone without the DG cross-hatch file marks.
 

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#86 ·
Okay that is strange given how long you have been in this business. Its actually disappointing to be honest with you. Firstly and fore mostly Id really like another Super New York if that's the case ? And would you consider making a Custom Solid Silver Hollywood.

What are you going to do ?
 
#87 ·
Okay that is strange given how long you have been in this business. Its actually disappointing to be honest with you. Firstly and fore mostly Id really like another Super New York if that's the case ? And would you consider making a Custom Solid Silver Hollywood.

What are you going to do ?
I think there's just too many people doing it now. Sorry but no more silver blanks are available. I think I'll just be selling horns once I run out of blanks but it's hard to say when that will be. Phil
 
#92 ·
Received my Trad/Contemp II a few days ago. As my sax neck was being recorked, I only had a few opportunities to test it yesterday. And the result is a sad remainder of how pitty it is to learn that Phil thinks about giving up the mpc design and manufacturing : this piece is, as a first impression anyway, fantastic : it elegantly mixes the easyness, punch, volume and brightness of a high baffle model, especially in the higher range - with a wide spectrum up to the highest notes - and the broad, warm, lush low end of a larger chamber piece "à la" Link. I still have to test it on a gig - this will be done this Friday - but seldom have my first impression been contradicted by the passing of time. Of course, my tastes slowly evolve and I might be on the hunt again one of these months or years. I'm nevertheless convinced this sample is about to remain on the Top2 list for a long while.
J
 
#94 ·
Jacques - How does the altissimo pop on this piece for you ? And did you gig test it ? Id be interested in what your other mouthpiece is in the "top 2". Its a shame Phils not doing them any more but he said he is doing saxophones so at least he is still in the business and things may change ? Or they may not. Glad I got one of the very last ones.
 
#93 ·
Regarding the sound clip things, I am pretty sure this is the same mouthpiece Phil introduced months ago and myself and Dawson were interested in playing. I still have not been able to make up the bread to buy one, and alas, I am too late. Anyway, there was a guy who owned an MB II type mouthpiece from Sakshama, as well as a few others that he recorded on. His last mouthpiece was this one and recorded on it as well. Maybe Dawson or someone else can find that thread and post that sound clip. In my opinion, compared to the other really killer mouthpieces the guy had, this Barone sounded the best.
Also, if you get 5 different people, you will get 5 different recordings and sounds. But that is a better starting point than nothing, especially if they are all solid players.
 
#97 ·
I picked up one of Phil's new Trad/Contemporary II's in a trade. Much better than the MBI type clone 'piece I traded for it, especially on the low end. And louder than anything I've ever played, without feeling the sound was breaking up. However, while I like the way many others sound on higher baffle 'pieces and flirted with a few lately, I like my sound best on Link-type 'pieces. I play on Phil's SNY and will stick with it, so I'll be posting the Trad/Cont II on the Marketplace shortly, if anyone is interested.
 
#99 ·
Phil...I do hope you think really carefully about this. I'm sure you have, but it would be a heartbreaking loss. I certainly can't say as I blame you for feeling discouraged. The mouthpiece landscape has turned kind of surreal, and honestly, I've quit paying attention to most of it. A lot of the new stuff out there now is probably great, too, but I don't have a whole lot of curiosity about it. Some, sure, but thanks to Phil I've got what I need. These days, whenever I think about getting another mpc, I think about getting another Barone. Some of the copies of old Links look interesting, especially now that the prices of vintage Links are so far beyond what they're worth. After I got my last Hollywood from Phil, I sold all but two of my Links, and the ones I kept are newish pieces that outplayed them. I haven't worked with anyone who's come onto the scene in more recent years. I'm sure there are plenty of great makers who will work well with their clients, but I'm all done kissing frogs.

I hope you'll hang in there Phil I hope you'll get your miracle. Either way, stay strong Brother Phil.
 
#100 ·
Just a small chiming in to confirm the Trad/Contemp II is really a marvelous beast, which needs a bit of time to get accustomed to, for me anyway. Needs a large volume of air to fully explode, what I didn't practised enough for my first gig with it. Just like JonL, I do think Phil's work is kinda designed for guys like you and me...I still keep my Hollywood as a backup and like it a lot whereas it hasn't such a full broad edgy-but-warm sound all around.

It is definitely not our business to interfere with Phil's. A small hint however : the experience of the Trad/Contemp II shows that a relatively small batch can be easily disposed of here on SOTW, and certainly on other fora as well. This could be kinda business model to study : small blocks of ca. 20 pieces, one size, to be offered periodically on specialized fora, at almost no marketing or ad cost.
 
#101 ·
This is a very interesting idea, and I hope Phil will give it some thought. I just hope he keeps making great mouthpieces. But that may just be selfishness on my part. But I'm also very curious about this new model, wondering if it's anything like the original Trad/Con. I had a couple of those in the past, and I wish I'd never let them go (yeah, yeah, yeah...I know). They were the best "bright" mpcs I ever played, including several handmade original Guardalas, Lawtons...and the list goes on...I mean, it REALLY goes on. But the original Trad/Con is like the best long table Berg ever made. Just wondered if the design is related at all. Wish I'd caught one when they were still available.
 
#102 ·
NAMELESS - my recently acquired Barone Traditional/Contemporary II mouthpiece. (When I ordered it, Phil hadn't named it yet, so I just called her Nameless...and it kind of stuck.)

The fit and finish are superb and subtle at the same time. Not a piece of metal is wasted- it is simply enough metal for the mouthpiece, and that’s it.
Got a chance to play my Traditional/Contemporary II on a variety of horns today. As far as sound quality goes, it is what you put into it, it is what you shape it to be. I was on a borrowed Superba 1 and a Selmer Mark VII, and we were able to scream at the high end and to sub tone with the best of them.
This mouthpiece disappears in your mouth (no pun intended!) - it’s like your brain plans some notes and the sax produces them. The mouthpiece doesn't get in the way of what you’re trying to accomplish. The mouthpiece and reed almost disappear during playing, it’s as though your mouth is talking to the sax directly, without an interpreter.
It does expose you, however: if there are flaws in your technique, or sloppy habits that you've been meaning to correct, now would be the time to get your house in order. Just as you don’t buy a Ferrari to learn how to drive a sports car, you don’t just grab this mouthpiece without thought: you have to bring something to the table. Likewise with Nameless, she’s not what you should choose to drive the first time you go around the block. After you’ve been on the road a bit, though, strap Nameless onto your cork...she’ll take you wherever you want to go.

Many thanks, Phil, and have a safe and happy TurkeyDay!



Sent from my iPad using Tapatalk
 
#109 ·
I haven't been on SOTW in many years and the second thread I read after renewing my acquaintance with the Forum is about Phil Barone. I stopped playing pretty much as a beginner, but Phil was influential in selecting one of my first tenor mouthpieces. I'm glad he's well and still going strong. Quite a character if I recall.
 
#110 ·
I remember the first time I fell head over heels in love with a tenor mouthpiece. I bought a Phil Barone SNY 7* about a year ago and even though I loved it immediately, my love for this piece continues to grow. After experimenting with various reed choices over several months, I am finding with the perfect reed strength I can shape my sound on this mouthpiece like no other piece I have ever played. Sometimes I marvel at the huge warm core (with just enough edge) sound coming out of my German high copper content Guardala and for the first time in my life, instead of falling short of my concept of sound I am surpassing it. I can’t believe the huge sound coming out of my horn so much so that I have a hard time putting my horn down once I start playing. I have owned just about every mouthpiece brand on the planet and yet I am glad I never stopped trying new mouthpieces because once I played the Barone, I sold all of my other pieces because they didn’t even come close. Now I have 2 Barones, the second is a Jazz 8 but I think I need to save up and purchase a second SNY because if anything ever happened to this piece, I would be devastated. I think I will buy a SNY 8 and keep my 7* as a backup piece. In response to the previous discussion about the new Barone being similar to a MB, having tried a half dozen MB and MB 2 pieces I don’t care for the MB pieces because the chamber is indeed not large enough to give me that huge core sound I get with a Barone. I feel like I can finally stop searching for mouthpieces because I found one with the sound, playability and versatility that surpasses my expectations instead of falling short like every other piece I have tried. Long live the king of the tenor funk, rock and fusion mouthpiece!
 
#115 ·
I remember the first time I fell head over heels in love with a tenor mouthpiece. I bought a Phil Barone SNY 7* about a year ago and even though I loved it immediately, my love for this piece continues to grow. After experimenting with various reed choices over several months, I am finding with the perfect reed strength I can shape my sound on this mouthpiece like no other piece I have ever played. Sometimes I marvel at the huge warm core (with just enough edge) sound coming out of my German high copper content Guardala and for the first time in my life, instead of falling short of my concept of sound I am surpassing it. I can't believe the huge sound coming out of my horn so much so that I have a hard time putting my horn down once I start playing. I have owned just about every mouthpiece brand on the planet and yet I am glad I never stopped trying new mouthpieces because once I played the Barone, I sold all of my other pieces because they didn't even come close. Now I have 2 Barones, the second is a Jazz 8 but I think I need to save up and purchase a second SNY because if anything ever happened to this piece, I would be devastated. I think I will buy a SNY 8 and keep my 7* as a backup piece. In response to the previous discussion about the new Barone being similar to a MB, having tried a half dozen MB and MB 2 pieces I don't care for the MB pieces because the chamber is indeed not large enough to give me that huge core sound I get with a Barone. I feel like I can finally stop searching for mouthpieces because I found one with the sound, playability and versatility that surpasses my expectations instead of falling short like every other piece I have tried. Long live the king of the tenor funk, rock and fusion mouthpiece!
That sounds like you have The Grail mouthpiece for you. Congrats!
 
#111 ·
Just noticed this thread is several years old. Oh well. I think I will still be raving about my Phil Barone pieces 20 and 30 plus years from now.
 
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#112 ·
You'll certainly do. My 2002 Bari "Made with pride" mpc is now my #2, my taste having shifted from "bright" to "medium-bright" with my using an old Geoff Lawton 6* BB. But the Barone will remain very close to the preferred status. And Phil, as said before, was a delight to deal with. I wonder how he's doing now.
Keep swinging.
 
#113 ·
After hearing all this talk on this thread about Phil's no name/MB1/2/contempo piece, next thing you know I just bought one for $350 shipping out of Wisconsin on Ebay. Unfortunately it is a 7* and Phil himself said he only made this piece in an 8+ because it takes a larger tip opening to get enough air in with the high baffle. One of a kind perhaps? Guess I will most likely be sending it to one of you SOTW mouthpiece gurus for a little refacing.
 
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