TubeNet

I have a Besson tuba here. How can I find out it's model number? Thanks for your help.

Either before the serial on the back of the bell (992-xxxxx, etc) or under the stamp on the front of the bell.

@Andy - neither one of these. Serial number is 481xxx

tclements wrote:@Andy - neither one of these. Serial number is 481xxx

So it must be very old one, 1960's or earlier with 17" bell? Best to post picture.

@Neptune - Yes, older horn, 17" bell.

tclements wrote:@Neptune - Yes, older horn, 17" bell.

I don't know if they had model numbers then. Maybe just 'Imperial'. What is engraved on bell?

<small banner>50 Medals of Honor UK
Besson
<star>
London - Paris - New York
Made in England

New Standard?

I have NO idea ...

Way, way too little information about number of valves, valve button’s shape, comp-or-not, size of receiver, or placement of main tuning slide. High resolution photos of front and rear would be helpful.

My 1967 Imperial baritone out of the same factory has a # just short of 350XXX, so it definitely is later. My galleries hold a number of Besson and Boosey & Hawkes catalogues plus immense numbers of tubas from these brands. The index’ address is in my TN profile.

Klaus

@Klaus - BBb, 3+1 full comp

If sloping valve buttons, then a pre-1979 New Standard.

If plain valve buttons on a Besson of that era, then possibly a special order to circumvent exclusive dealership contracts.

Pre-1982 only Class A instruments had the compensating system. Yet also the Sovereigns from their introduction shortly before 1970. Since circa 1988 only comp on Sovereigns and later on also the Prestige’s.

Klaus

I don't know model numbers for sure, but "765" has been thrown about elsewhere for a Besson New Standard. Your's is just a tad older than the one I used to have, so yours is @1970 or so. I hope you still have all three original "gum drop" valve buttons and fluted valve caps. These horns are known more by name, anyway. Great playing horns. I sold it to a guy I've known for over 30 years, so if I ever need to borrow it back, I know where it is.

It will have the smaller receiver unless that has been changed out, and works best with a Wick 1 (no letter) mouthpiece; although, surprisingly, if you want a tone with a little more "presence" (think, an American "ah" as in "dad" instead of a British "ah" as in "father"), the Kanstul version of an 18 works really, really well, even if it does stick out of the receiver a little more because of the standard shank instead of the smaller shank.

It does have the old receiver on it, I'll change that out so I can use it with my usual mouthpiece. Thanks for all your help, everyone.

tclements wrote:It does have the old receiver on it, I'll change that out so I can use it with my usual mouthpiece. Thanks for all your help, everyone.

With all due respect, because of the different resistance characteristics and throat/bell flare geometry on an old Besson, your "usual" mouthpiece may play more stuffy than a Wick 1. That was my experience, and after trying several mouthpieces, went back to the Wick 1 for most ordinary playing, the Kanstul for when I wanted more presence, and believe it or not, a Kelly 18's throat and backbore geometry do really, really well outdoors on this tuba, in spite of the regular shank mouthpiece sticking out the extra little bit. Before you change the receiver, try it first as is. This tuba is not sensitive to the "mouthpiece gap" that a lot of tubas are, or that trumpet players think they are.

Thanks. I'm not going to change mouthpiece for a horn I'll play once or twice a year.

Another little snippet from the dark ages.

Back in the 60s, when Bessons were very popular not only in high schools but, universities as well (U of Illinois, among others had nothing but recording Bessons in the bands) they came with a tuning bit a'la sousaphone. The standard was the British shank size, which matched the stock mp. One could also get one which accepted a standard American shank mp. With the latter I found a Conn Helleberg worked quite well and even used anything from a Bach 18 to 7 and a 24 AW was a common mp with that set up.

The shank also made these horns much more comfortable ergonomically and if anything response and tuning were better with the shank.

And exactly the ergonomics were the point of these bits.

Klaus