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I just played the two models back-to-back at Dillon Music two days ago. Both were good examples of their kind, and are listed at a movable price.

The 2000 was lighter/brighter, overall a more flexible horn (as it should be being handmade). The 2155 had a tremendous amount of core to it, darker timbre than the 2000, sound was more "compact" overall, and featured a bit tighter "slots" for all the notes between C and G in the staff than the 2000.

Both are good horns, but I would take the 2000 over a 2155 if I had to choose.

The NYC skyline engraving is worth several thousand dollars.

But really, I like both, but the 2000 plays easier and bigger to me. The 2155 is fine, and I almost bought one many years ago.

Sidebar -- the 2155 was originally described as being WD's ultimate quintet tuba?

I think the 2145 was supposed to be their hot quintet horn. Sam Palifian helped develop it. Warren Deck worked with them on the 2155 and 2165. The 2155 was their "all around" horn. I had one and liked it quite a bit.In fact, when I played Chris Olka's 2000 I preferred the 2155. Like someone above said, the sound was darker. Ed

EdFirth wrote:I think the 2145 was supposed to be their hot quintet horn. Sam Palifian helped develop it. Warren Deck worked with them on the 2155 and 2165. The 2155 was their "all around" horn.

You (and everyone in this thread) would know more about their original intentions than me, but Meinl Weston certainly markets the 2145 as an "all around" instrument for people who are going to do everything with one tuba:

This is an ideal instrument for general playing, especially if you own only a single tuba or need a high quality instrument for the unpredictable demands of free-lancing. This instrument is at home as a solo instrument, in chamber music, in average-sized orchestras, or lighter orchestral repertoire.