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Greetings!

For those able to make it to the conference this year, care to share your impressions of the gear on display?

I'm particularly interested in tuba reviews, though it would be most helpful for many others if this thread included reviews of other gear.

Spent some time at the Miraphone corner. They have the new 6/4 Hagen- wow, just HUGE, but beautiful tone and about as nimble as a tuba that size can be. The Siegfried was about the best large BBb tuba I've ever played- gets around very easily. There were 2 Goldbrass Elektra 481 F tubas there- these played great as well, but I'd like to play a yellow brass version to feel and hear the difference. The rest of the session was more grazing, a Wessex Ophecleide (fingerings?!?!?) which was a neat conversation starter, and a couple of rather- nice-for-the-price Wessex F tubas.

JCradler wrote:... and a couple of rather- nice-for-the-price Wessex F tubas.

Out of curiosity, which Wessex F tubas were tested?

cktuba wrote:Anybody try the Wyvern yet?

I can say plenty of people tried

The best tuba i played was the MRP CC, lighter than the PT6 but a bigger sound and an amazing low register. Compared and played it side by side with a hand made Baer and it was close.

The best tuba i played was the MRP CC, lighter than the PT6 but a bigger sound and an amazing low register. Compared and played it side by side with a hand made Baer and it was close.

cktuba wrote:So, does anyone who played the Wyvern 5/4 CC care to share their thoughts on how it played?

I thought it played like a tuba , but, hey, I'm a eupher, so what do I know?

It was busy at the Wessex tubas booth with often 3-4 people play testing at once. Feedback was very positive on Wyvern, Gnagey, Danube, Berg and other horns - but I will leave for individuals to give their own thoughts. After all the debate about the angle of Gnagey valves, not one person commented on them being any problem.

One of the highlights for me exhibiting was hearing player from Marines Band try the Dolce Euphonium. As a Brit I am used to hearing Championship brass band euphonium players, but I have never heard better sound on euphonium!

Yeah, but did the Gnagey valves look funny?

Glad it went well. I'll meet you there one of these years...

I really liked the Gnagey Eb tuba. I didn't play it for very long, but I didn't need very long to get dialed in and comfortable. It felt really, really good from the get-go. There was no "Well... I'd have to get used to that" feeling about the horn. It was ultra-easy and sounded very even from top to bottom. Low F (thumb-3-4-5) popped right out.

The valve cluster sure looks interesting on first view, but I was perfectly fine playing it. My only interface issue was the placement of the thumb lever for the rotor, but that's an easy hardware fix anyone could make for their particular preference. I asked someone I knew if they were hearing any deal-breakers on intonation. I asked a total stranger the same question a minute or two later. Neither of them did, nor did I.

Easy thumbs-up from me. Granted, I play E-flat all the time, so I'm used to that size of horn. YMMV.

I thought I would share a few thoughts on the new horns I played at the Army Conference Friday afternoon. I compared most of them against my Wessex Dolce (no trigger) with my G&W Carbonaria piece.

The XO euphonium - a Dillon rep explained that this is a Jupiter model, and this one is now being endorsed by Don Palmire, lead euph of Pershing's own. I didn't care for the valves. They were very large diameter, and seemed somewhat clunky. IN all fairness, some attention to the valves might have made a huge difference. The tone seemed nice, even if somewhat dull (in comparison to my Wessex). But again, in fairness, this was done in the elephant room, so perhaps not a completely fair comparison. Pitch seemed very good.

Large Willson with trigger - fantastic valves, but this one felt even duller than the Jupiter. Pitch was great. I didn't spend much time with this one as there were several people waiting to play this one.

Besson 2052 and 967 - still the best valves on the planet. Tone seemed very close to my Wessex, perhaps just a touch darker on the Prestige, and just a touch lighter on the Sovereign. The 6th partial seemed better since I last tried one of these several years ago, but it is still a touch sharp.

Wessex - finally got to meet Andy and Jonathan, and played a gorgeous gold-silver two toned version of my own Dolce. The tone seemed very good, on par with my own horn, and the valves did need a little attention, which Andy promptly took care of. I also tried their new Dr. Young euphonium mouthpiece which felt like a large Wick 4 size...Although my G&W had a slightly better tone, I liked this new piece alot as it was very fast responding, and might consider getting one in the future. They also had a new model...a bell front American style non-compensating euphonium with 4 front action valves. This one had a small shank, so I didn't get a chance to play it, but fit and finish appeared excellent. I think the price point might be a little steep for a horn like this, less than $200 less than their excellent Dolce compensator.

Adams - this was the first time I've played an Adams since I tried a very lightweight one at a Custom Music exhibit several years ago. And given the status of all the endorsements Adams has been collecting, I was really excited to try them again. I played 2 E1s, an E2, and an E3. I didn't like the E2 or E3 nearly as well as the E1. They seemed just a little unfocused to me. I loved both the .7 gauge brass as well as the sterling belled E1s I played. Across the Adams range, the bottom line is I've never experienced more even playing instruments. The upper register seemed effortless. The tone on these were very nice, but in my opinion, I can't say they were much better, if at all compared to my Wessex. Again, the elephant room is hardly an ideal place to evaluate tone, but as you will see by my last entry, I do think I can judge if something really hits my sweet spot from a tone perspective. Still, if I could justify the expense for one of these, I would try to find as many as I could and play it in a quieter environment...these are all just so easy to play. I'm very impressed. Pitch seemed excellent.

Saving the best for last (at least for me). Since I got my Neo baritone, I've been wanting to play the Yamaha Neo euphonium. And I can say that this Neo euphonium is every bit as good as my Neo baritone is. Maybe even more so. This horn has THE SOUND. Years ago when I played the older original 642, people said the tone seemed dull. I didn't agree with that for the most part, but I don't see how anyone can say that now with this latest incarnation. This horn's tone seems as good or better as the gold standard I held everything I've ever played against....a Round Stamp 12" bell Sovereign a former section mate of mine has. It is just phenomenal. It also just fit me like a glove...not a surprise since I played a 642 for years, and my Wessex is based on the 642 platform. Pitch was even better than the old 642, which was very good. The 6th partial wasn't sharp at all, the 5th partial C# was just a touch flat. Valves were the second best I tried that day, only slightly behind the Bessons. No, this horn is not quite as even and easy to play as the Adams, but for my money, this is a keeper, especially since I think tone is the most important facet of any horn. This is the smoothest playing euphonium I've ever played. I'm going to get one very soon, and will be liquidating my Neo Baritone that has been sitting unused for the past 4 months to fund it. Look out for my ad later today.

Some impressions:

1. The Wessex Prague is a winner. It seemed to me to have some of what made the old Piggies so well-loved. Despite the small size, it had an easy, open sound with no hint of small-tuba tonality.

2. The BMB 4/4 was also an open-sounding and flexible instrument. Not tight at all, and it seemed pretty even top to bottom.

3. The Siegfried. This is one of the best Bb tubas I have ever played. Just awesome. But it required the right mentality. I would say it's somewhere in between my Holton (a true American BAT) and my Hirsbrunner (a true Kaiser, or, as some bloke described it, an Alex on steroids), but that leaves a lot of room to maneuver. Not many Bb players at that price point, but there should be. I once described a York conversion that was especially nice as an instrument that would compel me to learn C. The Siegfried should be compelling some C players to brush up on their Bb.

4. The Wessex Strauss is an instrument that brings a classic F-tuba design to a more affordable price point. Very nice. It would be nicer with valve bores ranging from 17mm to 21mm instead of 19mm to 21mm, and Jonathan and I discussed that. I have no idea what he plans to attempt, but I will say that he did not reject the notion out of hand, and some pictures were made of instruments designed in the manner I was recommending. The Berg was nice but the Strauss fit me better.

5. The Elektra is still on my list of instructions to my wife in case she wins the lottery. I don't know whether I would ultimately prefer it to my B&S, but I would like to spend about a decade or so making the decision.

But I wasn't in the buying market, and the only person to get money from me was Lee Stofer--Chris installed new bumpers on the Hirsbrunner, and tweaked the valve linkages, and Lee replaced the water key cork on my B&S, and tweaked the valve linkages.

Rick "noting great designs at lower price points, but still admiring the sheer craft only seen at higher price points" Denney

Ok I preface this with I am a hobbyist, what I have to compare any tuba with is a Yamaha 641 and King 2341 old and new style. Here is what I tested mostly BBb models.

Siegfried- couldn't pass up the chance, In the right hands probably as stated several times a phenomenal tuba. For me felt like to much work (lots of air)
Hagen both 5/4 and 6/4 my favorite by far, took very little effort (air) to play.
Wilson 3100 not as nimble as I was hoping but probably just me. It is a big horn.
Hojo BBb
BMB 4/4 and 6/4 liked them both but not the wow factor of the Hagen.
Eastman (Gr-51 clone) very surprising would have like to have played it back to back with the Hagen.
Fafner CC can't add anything that hasn't already been said about this model
Kanstul 66T Eb felt stuffy to me more restricted than most of the others I played.

Regret not trying any of the Adams tubas, wished there was a 191/1291 miraphone available.
Overall had a great time will plan for at least an extra day next year.

JJ

Thanks for all of the reviews -- I love hearing this stuff when I can't make it out there!

Anything interesting going on with Willson tubas? I have to admit, I never followed them that closely before buying one... but now I'm curious.

Anyone try the Miraphone TU-43 mouthpiece?

Anyone try the Meinl Weston 2155 that bloke brought? Or maybe even buy it?

I spent most of my time at the Eastman/Dillon display.

They had an uncatalogued 3/4 4 (gasp) piston tuba there I really fell for. (Reminiscent of a Yamaha YBB621)

I also performed an unofficial 3/4 rotary valve shoot out between the Dillon 1795, Balt Brass JZ and the Wessex Mosel.

The Mosel is more compact and about $200 less from the start.

I liked the valve spatulas better, they were smaller and placed closer together.

It was difficult to judge sound in there thru the cacophony, and that the JZ and 1795 had a higher chimney.

I determined I don't need another tuba until my abilities improve but I REALLY like the Eastman.

The full size Eastman EBB534 was also excellent.

The JZ and 1795 appear identical.

The Wessex Mosel displayed better fit and finish.

Assuming the Mosel holds up to the tuner-test in better conditions, it's the winner.



Wessex also added some water keys to the 3/4 TB330 Jr BBb (Yamaha 105/Jupiter 378 clone I play now.)

bort wrote:Anyone try the Meinl Weston 2155 that bloke brought? Or maybe even buy it?

I did, and thought it was a fantastic horn, very even, easy to play, with good power. A lot like my 3450, with a different tone color. I didn't check pitch as the elephant room isn't the best play for serious play testing. First time playing a horn with MAW valves in a MW 21xx series horn; I wouldn't even bother with the stock valves. I had a 2145 for a few years and wonder what the valves could do for that tuba.

tuben wrote:

Jerryleejr wrote:Ok I preface this with I am a hobbyist, what I have to compare any tuba with is a Yamaha 641 and King 2341 old and new style. Here is what I tested mostly BBb models.

Fafner CC can't add anything that hasn't already been said about this model

There is a Fafner CC?!?!

It didn't have a tag, and that's what the man said when I asked for a BBb. But I didn't argue...It was in the corner at the MW/B&S booth.

JJ

jtuba wrote:

bort wrote:Anyone try the Meinl Weston 2155 that bloke brought? Or maybe even buy it?

I did, and thought it was a fantastic horn, very even, easy to play, with good power. A lot like my 3450, with a different tone color. I didn't check pitch as the elephant room isn't the best play for serious play testing. First time playing a horn with MAW valves in a MW 21xx series horn; I wouldn't even bother with the stock valves. I had a 2145 for a few years and wonder what the valves could do for that tuba.

Very cool! Many years ago, I almost bought a 2155 from a grad student selling one at the conference. I decided to buy a 1291 instead, but I liked a lot of things about that 2155. Not to mention, the price was CRAZY low compared to what you'd have to pay now.

I hope Joe sold it!

I have to admit that I spent more time conversing than playing tubas. It's been 4-5 years since I attended this conference and I was happy to catch up with people I haven't seen since moving to Texas. Of the tubas I played, Joe Burton's Conn CC ( a Matt Walters' creation) was the best tuba I played there. I was hoping Joe couldn't come up with the $$$, so I could buy it. I also liked the used small York CC at the BBC booth, although some pitches were noticeably sharp and it was difficult to access the 1st valve slide. I loved the sound, though. I also liked the used HB-1P at the BBC booth. I used to own one and loved it, but I got tendonitis playing it due to the valve spread and the way its center of gravity pulled it to my left. Those issues didn't seem to bother me on this tuba. Maybe, I've evolved somehow. Playing this HB made me miss mine. I also played a vintage 186 5U at the BBC booth. It was a nice tuba, but it didn't have the sound of the vintage 4U that I borrowed last year. I played the Ursus, and while I liked how it played, the notes slotted very well and it sounded really nice, it also had the angled leadpipe (like the Nirschls) that, to me, made it almost impossible to play without using a stand. The Wessex Wyvern was a pleasant surprise for me - nice to hold and play. It had a very even, and resonant sound with very quick response. Pitch seemed good and the price was nice too. The Eastman CC was a very nice tuba - 56J on steroids. I would love to find a 4 valve tuba of that size and sound. Joe B., are you tired of your new Conn yet? I only played 1 F tuba and that was the Miraphone Elektra at the Dillon Booth. I wasn't that impressed when I played it at TBA last summer because I just don't like playing rotary F's, but this time, either the tuba or me was very different. It's the best sounding and playing F rotary F tuba that I've ever played.

I didn't play many tubas, and most of the ones I did play have been commented on already. The 4-valve Hirsbrunner BBC has was the one I spent the most time with. It's an excellent instrument, old enough to be handmade, apparently. Not sure I'd pay $8000 for it, but perhaps someone will. The best (to me) tuba I played was the Adams 4/4 CC, whatever that is called now, what used to be the HB21/HBS-392. But it is not by a long shot enough better than the similar Packer to justify the price difference to me. I played the Eastman CC and the Wessex Wyvern, as others did, and I have nothing really to add. One of those two had noticeably heavy valves or springs, but I don't remember which it was. The Wessex Berg feels solid in the hands and plays as others have said. I'm not much of an F player, but was hanging with a distinguished late-career professor when I tried it, and he spent quite a while with it and was convinced and ready to recommend it to a student, for whatever that is worth.

Nothing there convinced me I need a different tuba. I did come away with some music, a couple of mouthpieces, and a Schlipf practice mute, though. As always, the best things were the people and the music.