TubeNet

From time to time I sniff around the auction sites because, well you never know. I found something I'm really not interested in buying but picked my curiosity because it has a rather curious design as far as most tubas go.
Anyone know what the idea was behind this design?

That's a really old one. Besson was still figuring out where and how to put everything.

It's so odd that it's tough to guess, but it looks like it might have been wrapped so small players could more easily hold it and reach the valves. The British also ride horses with full brass, so maybe that is at play here, instead/too.

Basically...Besson had good high brass and crap low brass, and B&H had good low brass and crap high brass. Good thing they merged, although the history is more complicated than that. A besson of this age would probably be a french design.

Seems to match the first entry that pops up on Hornucopia http://horn-u-copia.net/display.php?sta ... 2Besson%22

The design makes some sense...they were using the Enharmonic compensating system although this example doesn't seem to have it. It works by entering at third valve, which is the shift valve and goes to two separate valve slides for valves 1 and 2. Hence the weird leadpipe and valve tubing on the "wrong" side of the valve.

Here's one with a King valve section for sale by Art Hovey! I'll give a free plug.
http://galvanizedjazz.com/tuba/4sale/TubasForSale.html

Old French design.

Straight sections are easier to make. Hence ferrules at both ends of these. This trait is also seen in some Courtois tubas marketed within more recent decades.

Fewer windings equal fewer bows. Hence the tall design with the top bow near the edge of the bell flare.

Slides on the player’s side of the body allow for a hand rest made from acoustically active tubing. Over time new models had the valve tubing on the front of the body. The 3rd valve tubing was the last to move away from the rear.

Klaus

Edited for spelling.

Thanks for the info!