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I contacted Adam @ Wessex and he said would remind their webmaster to post it on their website. I am also interested in a good 4-valve front "American" bari/euph, as my community band is flush on tubas, but no euphs, so for that ensemble I am switching over. I have another thread out there about purchasing an old King.

My wish-list seems to be endless. I would like to have a baritone horn with:
- detachable bell so it could used different types of bells (with different diameters too...)
- good and solid "tuba-like" pedal notes (in contra octave)
- good and firm big C (4 valves down plus some tube adjusting...)
- large shank (not small baritone) to allow wide variety of mouthpieces (of bass trombone, small shank tuba..)
- made "not-so-easily-dented-soft-brass"
etc etc...

The bell front baritone is what it is, and we have no plans to make other versions.

However a bit later this year Wessex will be bringing out a fully compensated front valve euphonium (large shank) with upright bell which I believe will be nearer to what some of you require. In effect it will be a front-valve version of the Dolce, although we are considering if to make with different diameter bell

Swappable bells on an American baritone usually means you'll end up with a lower receiver.

58mark wrote:Some sort of tuning trigger to help with low Eb would be a nice thing too (I know the chances of a 5th valve are slim to none)

Since the horn appears to have a decent pull on 4th and also a top 3rd slide the 2280 method might work (tune 4 flat, use 3 for 13 and 123 combos). A long top 4th slide would certainly be slick though.

I notice it has a .57 bore. Yamaha 321's have the same size and have a nice low range even with a 6 1/2.

tubasaz wrote:My wish-list seems to be endless. I would like to have a baritone horn with:
- detachable bell so it could used different types of bells (with different diameters too...)
- good and solid "tuba-like" pedal notes (in contra octave)
- good and firm big C (4 valves down plus some tube adjusting...)
- large shank (not small baritone) to allow wide variety of mouthpieces (of bass trombone, small shank tuba..)
- made "not-so-easily-dented-soft-brass"
etc etc...

Except for the detachable bell, what you are describing is he now-obsolete French C 6-valve tuba, as made by Mahillion, Courtois and Couesnon in prior generations.

Here is first glimpse of the new Wessex front action compensated euphonium. There may be design changes yet, as this is first prototype.

Designed so 4th valve can be operated by little finger of right hand, or by left hand as preferred.

Neptune wrote:Here is first glimpse of the new Wessex front action compensated euphonium. There may be design changes yet, as this is first prototype.

Designed so 4th valve can be operated by little finger of right hand, or by left hand as preferred.

YES!!!

Cool! Jonathan, what receiver size does the smaller horn have?

Bob Kolada wrote:Cool! Jonathan, what receiver size does the smaller horn have?

Which smaller horn?

The baritone has baritone size receiver
The euphonium has euphonium size receiver

58mark wrote:That's pretty exciting! Quite different than the Willson, can't wait to hear more

If we are satisfied with prototype - it will be at ITEC in June

Regarding the existing Wessex 4-valve American-style euphonium ("baritone"), I would not personally prefer a removable bell. The screws that hold is on can be troublesome, and now and then a bell "rebels" and falls off. I once watched mine bounce down 2 flights of stairs (somehow it managed to turn the corner!) backstage during a live concert with Rafael Mendez on the stage. We had played as part of a pair of antiphonal brass choirs and were supposed to be sneaking quietly back to stage.

dwerden wrote:Regarding the existing Wessex 4-valve American-style euphonium ("baritone"), I would not personally prefer a removable bell. The screws that hold is on can be troublesome, and now and then a bell "rebels" and falls off. I once watched mine bounce down 2 flights of stairs (somehow it managed to turn the corner!) backstage during a live concert with Rafael Mendez on the stage. We had played as part of a pair of antiphonal brass choirs and were supposed to be sneaking quietly back to stage.

I agree totally. Not only are there security issues, but intonation issues as well. The TNFJ will recall I had a removable bell on my 186, and I had both recording and upright bells. 1st ledger line Eb always had centering issues until I changed out the bell for my favorite Besson BBb 17 inch bell.

Also, I have now seen the pictures of the BR115 front bell "American" bari/euph. Is it the camera angle, or is the bell canted out to "compensate" for the way that a front valve instrument is usually held? If so, I am very much in disagreement with this, because sometimes, with the very limited number of mutes available, sometimes you have to dip the bell (kind of like the jazz trumpet direction, "in stands") in concert band to modify the tone color or otherwise adjust the timbre to blend in ensemble to suit the particular sequence, especially with woodwinds (we all know that in concert band, the bari/euph part is frequently doubled with either tenor sax, bassoon, or both).

For the time being, I will be playing my King with the larger-than-spec 6 1/2 AL until these issues are sorted out.

Seeing that beautiful front action compensator just made me have heart palpatations. Very very excited!!

OK, now that it has been awhile, can anybody post playing impressions of the BR115? Thanks.