I would like to ask to somebody have experienced Barone mouthpieces:

1) Someone have experienced a Fusion model of Barone? I'd like to
compare it with the Contemporary sound, already a screamy mouthpiece
for lovers of screamy sound.

2) What are you thinking about the work of Barone. Personally I found
many model with substancial difference that I like. But I've seen many
players take these mouthpieces to reface or modified... When you find
a piece on internet it always advertised as retouched from a "famous"
craftman or repairman... Do you think are always mistakes of the
player when choose the model and looking at the cost they try to
retouch? or some imperfection are well knowed on his job? I dont know
the bla-bla arround there... but I'm interested to know about Phil.

3) Looking at a Barone you can see immediately is a real handmade and
 not strait piece. The theory of Phil is that when he is working on
and testing, as well as he like or get the goal... he stop to touch
the piece. That's why my Jazz brass model it looks as banana but sized
are perfect... table, facing...all, and it play as a dream.

Particular question for Keith B.
The finishing you give on your refaced pieces is amazing, and give me
the idea you have a dedication for finishing. A Dukoff can look as a
Larsen! ...Ohhhh forgot you're player but engineer too!
Reading your notes, always nice source for me as Paul C., it comes out
your method is kinda scientific, and the score you should get when all
is pair and symmetric. This is the logical and rational method take
you in front of a monitor to analyze curves and sizes, before of
course to test...with mouth...
How your method work? I mean on statistic based. When your gauges and
PC tell you all ok and you test it... on how many piece you have to go
back and make changes? or sure 100% are working well and on same way?

Thanks. Gian

--- Gian Luca Corino <cubismofree@...> wrote:

> Particular question for Keith B.
...
> How your method work? I mean on statistic based. When your gauges and
> PC tell you all ok and you test it... on how many piece you have to go
> back and make changes? or sure 100% are working well and on same way?
> 

If I understand your question, I work facing curves until they are within
.1 (on the glass gage) of my targets.  But often my readings do not repeat
better than .1 or .2.  So I take a complete set of readings and plot them
as a set.  Sometimes I adjust the target curve slightly to center itself
within my readings.  Then I have fewer spots to correct to get to a good
curve.  There are many good curves that will work.  I think the key is to
land on one of them as perfect as possible.  This gives great response
throughout the normal range of the sax. 

I usually only play test a piece when I think I am done.  I would say 10%
of the time I will make an additional adjustment, usually for altissimo
response but sometimes for low note response.  I have been tempted to skip
play testing but, the only pieces I did not play test were a couple of
'nino mouthpieces.  I do not own one.  It is too much fun playing them,
plus it is a reality check.

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