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Yamaha has two "intermediate" Eb tubas: the still-in-production YEB-321 and a no-longer-made YEB-381, which is simply the 321 with an added half-step rotary valve located within the 4th valve tubing (dependent valve) and actuated by the left hand thumb when holding the horn in a "normal" playing position (left hand holding on to the front of the valve cluster or valve tubing.

I own a YEB-381 which has been skillfully modified by Lee Stofer to have the 5th valve tubing lengthened to be a flat whole step -- a fairly simple modification that Lee can probably duplicate for other 381 owners. Mine also has an extension added to the 5th valve lever, allowing it to be alternately activited by the right hand thumb, behind the valve cluster -- also a very nice feature for the 381 owners out there.

Regarding the sound of the horn, it is nicely focused, but with a sound significantly "bigger" than I was able to achieve with my YFB-621. Although the bore is the same and the bell only measures about an inch larger, the Eb horn (imo) qualifies to be considered a 4/4. While I never felt my 3/4 YFB was adequate for my quintet, the YEB is in the running. For those prefering a bigger sound, the Willson Eb (5V, non-comp) would be my recommendation for the next larger choice.

Regarding intonation, the two YEB-381's I've owned over the years had/have good intonation. With the standard 321, the low F may be a bit challenging to play "perfectly" in tune without a 1st valve slide pull. With the standard 381, the low F is good, but the low E is lacking. The long whole step mod on my 381 allows the low E to be played in tune as well. If you take the time to adjust the slides properly, I believe the horn can be played well in tune. I used to own a Besson 983, and never had significant needs to adjust slides on it -- nor do I with the Yamaha. I suppose the intonation quirks on any two, different models may not be identical. But if decent musicians are playing them, then the goal is for all notes to be fairly well in tune. If you don't tolerate terribly out-of-tune notes from your own horn, and if your section mates don't either, I've always felt it shouldn't mater WHAT horn anybody uses -- the intonation quirks should be managed well enough.

This past semester I've been using the 381 in the community concert band, playing alongside three BBb Miraphones. The results were good, but I felt a little underpowered at times. The horn works well in a quintet setting if you're looking for a "traditional" bass tuba voice. If your quintet (as mine does) prefers a bigger tuba sound then you (again) may wish to consider something larger like the Willson -- something I may some day consider.

There's my experience with the horn, fwiw.

Best Regards,

The 321 is a wonderful horn. Two of my former teachers still uses a 321 and 381 in major orchestras and for many solos. I myself have used the 381 in quintet and the 321 once for a successful run at Bydlo. Would I use them for the Ride or Fountains? No.

Like many instruments it has its areas of functionality. If there was much work below the staff to do I would grab my CC. Otherwise, if I were looking for a nice soaring mid and high register, the 321/381 is absolutely fabulous.

It's also far less than just about anything dubbed 'pro' out there. I don't mind that it's called an intermediate horn. Pros I respect and I have all be paid to play it.

Al Carter
Toronto, ON

I play a YEP-321S in a community band of about 40 players, and have not had any trouble holding my own when the other tuba players are absent.

It does not have the "fat" sound of my neighbor's Miraphone, but its smoother tone might do pretty well in a quintet (wish that I could find one!).

I seem to be able to lip everything into tune from pedal Eb up to the top of the bass clef A, but have to pick the mouthpiece carefully above there to slot those notes. But then, again, I have yet to see a band score that requires those notes anyway. (Yes, I'm sure there are some, I just haven't seen them.)

I picked mine up off EbBay for a little over 1K, because of several dents, but in a case of if it aint broke..., I haven't had them fixed yet.

In previous post, read YEB-321 NOT YEP. Sorry, still a little woozy from a medical "procedure".

The Yamaha 2XX and 3XX series were a revelation for brass teachers used to fighting to get an acceptable ensemble tuning out of the Dutch and 2nd line British instruments far too common in the, by modern standards, poor musical environments for the youth some 3 decades ago here in Denmark.

I have played a band provided YEB-321, which were among the first 200 made and hence had severe problems with rusting and peeling-off pistons.

Otherwise the instrument was well in tune and very playable. Yet I hated it.

It would blend with everything because it was just so anonymously sounding.

I am no Yamaha basher, as my deep love for my YEP-641 and my YFL-631 hardly have been kept a secret. They are immensely fine instruments combining fullness and projection right after my liking.

I am aware of some fine tubist having used the YEB-321/381 for "for-real" music making. I am admiring them, as I don’t understand how they achieved professional results on an instrument, which in my opinion is a reasonable student instrument if kindly evaluated.

Klaus Smedegaard Bjerre. Who has gone Conn and Besson Eb-wise

Belltrouble wrote:By the way,are there any listings around which allow somebody to date a used Yamaha instrument?

A smile and some flowers and candy may help.

Yamaha's serial numbering system is sui generis. Each model starts with 1 or something like it, so at best, you have to find others with the same model instrument who know when theirs was made and extrapolate serial numbers. Maybe things have changed, but the factory has been pretty unresponsive to serial number inquiries.

Yamaha has a limited amount of history regarding older models on their website:
http://www.yamaha.com/yamahavgn/CDA/Sea ... hCriteria/

Didn't there used to be a five-valved top action Eb Yamaha tuba? It had four on the top and a fifth on the side, like the fourth valve on a noncompensating Besson. I believe Courtois makes a whole line of tubas on this same formula.