Dear Maurizio,
the guy are you talking and living in Roma I think is
a guest of this blog too, why you keep his name secret? It's Maurizio
as you! He have all stuff to make the job, but many other can do it in
Italy. Pesonally I have Links re-made in Australia by a friend,
wonderful work on these mouthpieces, but Link!
Why last year you
give the Jazz Barone to me, telling you don't like it, and now are you
looking for the same mouthpiece made from someone else but with Link on
top?
 
The Barone Jazz are Link sound but for me even better in projection and big voice!

I
will appreciate on this blog if someone want to talk about Barone
mouthpiece. The questions are many and players always thinking on
opposite about the job of this manufacturer.
We can start with:
-
why many pieces out from Phil Barone are perfected from someone else as
Wanne o Vie o Yoakun...??? something wrong or just is plenty of people
choose an expensive mpc and after ask to adjust because not happy with?
- it's true what I hear in Italy, that some pieces are a dream and others are far to be perfect?
This assumption make me think... depending how he wake-up?
- Someone have experienced the Fusion tenor model? How it play compared to the Contemporary model?
-
Which model you can compare to a Larsen style mpc? and please... if you
are a Larsen "Rollins sound" player and you know the Barone too... can
you tell me if you need on the Barone too to play with a 130 opening
tip to get all the espression and power from this mouthpiece (as
Rollins do on Larsen) ?

Ciao. Gian


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Just as players have different sound concepts on sax, mouthpiece makers
have different concepts on what is important in mouthpiece finishing.  Some
of this takes into consideration how much time it takes to correct some
issues vs letting them go and keeping the cost down.

Phil believes chamber and baffle design and shaping is what is important. 
He thinks precise facing work is less important.  Many high end players can
blow through facing curve defects by just using a slightly softer reed. 
His cosmetic work inside the chamber can be unpleasing to some.  But they
usually sound great.

Phil had/has a Berg-like piece that has less hand work than his other
mouthpieces.  I think it was called the Contemporary.  

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Not Contemporary... Traditional.