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Reeds Baritone reeds

johnw

New Member
Messages
28
Locality
Lichfield
I have tried different bari reeds and looking to try alternatives -does anyone have any suggestions-i use a DVNY and sometime SR tech pro and mostly big band --

I prefer free blowing set up so usually use 2 or 2.5
thanks
 

saxyjt

I have saxophone withdrawal symptoms
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3,928
Locality
France
Have you tried the Fiberreed Onyx. I have a SYOS mouthpiece (Knoel Scott Signature 7 model) that I didn't like until I tried the Fiberreed and it revealed it. I have an M strength. Not sure if you'd prefer MS.
 

rhysonsax

Well-Known Member
Messages
4,309
Locality
Surrey, UK
I must have played them all for my big band and sax quartet playing. But now on baritone I use Rigotti Gold which sound like a good Rico select but last much longer and I also get about 80% good reeds in a box.
 
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johnw

New Member
Messages
28
Locality
Lichfield
I have tried fibracell and legere classic. I will have a look at Hartman onyx--there is actually a good you tube video of Yanick Coderre but i cant work out which he thinks is best suited to music genres ie big band/pop/jazz etc--Its all in French!--can anyone translate the detail , my French is not up to scratch although i can make out some detail
 

saxyjt

I have saxophone withdrawal symptoms
Subscriber
Messages
3,928
Locality
France
I have tried fibracell and legere classic. I will have a look at Hartman onyx--there is actually a good you tube video of Yanick Coderre but i cant work out which he thinks is best suited to music genres ie big band/pop/jazz etc--Its all in French!--can anyone translate the detail , my French is not up to scratch although i can make out some detail
I'm watching it. Will tell you...
 
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johnw

New Member
Messages
28
Locality
Lichfield
Brilliant-thankyou--send translation to my email or message if its tooo long
 

guidocreo

Member
Messages
225
Locality
anzio - Italy
Hartman Fiberreed Carbon or Carbon Classic are my choiches. seldom Hartmann Fiberreed Hemp.
 

saxyjt

I have saxophone withdrawal symptoms
Subscriber
Messages
3,928
Locality
France
So Yanick's favorite was the Carbon followed by the Carbon Classic then the Hemp. He didn't like the Onyx that was too weak for him... The Carbon Classic has a bit more projection but was a bit agressive in the high register compared with the Carbon.

As he says, it depends on the mouthpiece and I bet the strength too...

I personally like these Onyx reeds on bari and tenor but less so on alto and not at all on soprano.

I still have to try it on more bari mouthpieces to see how it goes.
 

saxyjt

I have saxophone withdrawal symptoms
Subscriber
Messages
3,928
Locality
France
BTW, I thought I posted this s few hours ago, but obviously I did not.

I had another go with the baritone Onyx and I can understand what Yanick sais about it being on the weak side. I can't compare with the other variants, but the Onyx may not be the keeper I thought it was... :confused2:
 
Messages
257
Locality
Dartmoor, SW UK
I've tried various different reeds on baritone, but mostly Rico and Vandoren. Apart from the strength I can't say I can tell much difference. Obviously different makes and types of reed of the same "strength number" aren't always the same strength but apart from that they're just reeds - they flap about when you blow.
I may be weird though because I've never understood why anybody cares whether reeds are French or American cut, or even why there are so many supposedly different kinds of reed from the same manufacturer (who cares what colour the box is ;) ). I can honestly say I don't reckon I can tell the difference between various makes and models of reed (on clarinet, alto or bari sax) as long as they're the right strength for me and my mouthpiece. And I don't understand the "20% of reeds in a box don't work" thing either - OK sometimes the strength isn't particularly consistent and occasionally one may need scraping down a bit with a blade to make it a tad softer, but other than that I don't think I've ever had a reed that actually didn't work.
Perhaps I'm just extremely unfussy - or have no ear for subtleties in sound?
 

just saxes

Member
Commercial Supporter
Messages
150
Locality
Santa Cruz, CA
Rigotti. If they're a good match to your facing, you'll get more good reeds per box than other brands without having to go through a "break in" routine, low notes will play well on reeds that are too hard, and high notes won't choke up (as universally) with reeds that are too soft.
 

Colin the Bear

Well-Known Member
Messages
13,012
Locality
Burnley bb9 9dn
Some bari reeds have a shorter vamp than others. Vandoren blue seems to have the longest.
I use a selmer S80 and prefer a french cut reed. Alexander have a short vamp but play quite well as do Hemke and Royal.
Vandoren blue 4 is just a little stiffer than a Royal 5.
That's all I got.
 

thomsax

Well-Known Member
Messages
3,705
Locality
Sweden
Some bari reeds have a shorter vamp than others. Vandoren blue seems to have the longest.
I use a selmer S80 and prefer a french cut reed. Alexander have a short vamp but play quite well as do Hemke and Royal.
Vandoren blue 4 is just a little stiffer than a Royal 5.
That's all I got.
I think I reed shouldn't be longer than the table. I saw off the reed if it's longer.
 

jbtsax

Well-Known Member
Subscriber
Messages
7,938
Locality
Beautiful Springville, Utah USA
I like to use Legere Signature reeds on both bari and tenor. The consistency and reliability for me more than make up for the slight difference in tone quality.
 

helen

Member
Messages
153
Another vote for the Hartmann Onyx. I play a Couf and I find the Carbon and the Hemp are too "much" for the horn. The natural overtones of the Couf are A LOT. The Onyx sound good and allow the horn's overtones to come out, without turning the tone "brittle". Does this make sense?

I should mention that I use Legere Signatures on almost everything else, but on bari I find that they sound: blah... Boring... I love a big, fat, rich in overtones sound on bari. My Durga 3 and vintage Bergs all give me that on all 3 of my baris. But the Legere seems to take away from the tone. Funny that. Since this is not what I experience on any of my other horns.
 
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