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bloke wrote:The pre-John Fletcher B&H comp. E-flat featured a 15" bell, and - in my opinion - was the optimal bell diameter to offer adequate sound color contrast to cover an "E-flat bass" part in a brass band.

Do those generally play in tune with a modern size mouthpiece or do they need a cut? I've been eyeing the one for sale here for a while...

I own it. My BBb Bessophone.

bloke wrote:

Bob Kolada wrote:

bloke wrote:The pre-John Fletcher B&H comp. E-flat featured a 15" bell, and - in my opinion - was the optimal bell diameter to offer adequate sound color contrast to cover an "E-flat bass" part in a brass band.

Do those generally play in tune with a modern size mouthpiece or do they need a cut? I've been eyeing the one for sale here for a while...

' pretty sure the 19" bell is the factor that caused the need for shortening those instruments, and not "people using normal-sized mouthpieces".

The old stock "Besson" small-shank mouthpieces (back when a few were still floating around, and though I view them as "stinkers") aren't super-small.

I seldom post here, but read once in a while. Lots of threads about the 3+1 e-flat peaked my interest. I agree with the opinion on the 15" bell vs 19".
I own a Besson e-flat (1970's) with a 15" bell and the small receiver. I have had it for about 29-years so I have had a chance to find quirks. Good all around horn, but best in BQ. The best mouthpiece that works for me is a Wick 4 or 5 (small shank). Wick 4 and 5 mouthpieces solved pitch issues I had with flat pitches above the staff, especially the D. The Wick also adds color and allows the horn to 'almost' cut like a f-tuba. I tried a Wick 3, but didn't work for me; didn't like the sound and pitch became an issue up top. The Wick 4 and 5 work very well for me on this horn. Tuba works very well in band with a B-flat partner. I am not a fan of the 19" bell. The Yamaha with a 17" bell is OK, but for me the Besson 15" bell tuba I have is the best Brit 3+1 I have ever played.

Previous owner that I bought this horn from found this tuba to maybe be too pretty, monochromatic or not much color, but did think it was the best tuba for the Hindemith Sonate, used it on some orchestra recordings, and I think I remember reading he thought the Besson e-flat 15" is an excellent BQ tuba. So despite the "pretty" short comings he still had some positive opinions for this horn. Not sure what mouthpiece he used, likely not a Wick 4, but I am sure he sounded better than me any day of the week on what ever he used. However, I believe the Wick 4 or 5 does give it more color.

Don

Let's be honest here, is not the grass always greener on the other side?

I have a great horn - Nirschl CC 4/4 purchased new from Custom Music in 1997. Fantastic all the way around but yet I wonder, would the 6/4 version give me slightly more oomph and satisfaction? But at what cost? Only the shadow knows.....

Of course, if you are playing a real clunker, it's definitely greener on the other side.

If I were to only pick one tuba for the rest of my career I would shoot for a 5/4 CC. Most likely either a Bruckner or a PT6 would be at the top of my list. If money were no issue I would also consider a Nirschel York.

I am among the ones on here that play several different horns. I don't know what I would do if I could only have one horn. I love my Reynolds BB Sousaphone, so unless I have the option of having a Tuba and a Sousaphone, that makes the decision much harder. Lately I have been spending some time on my 6/4 Holton BB that Lee Stofer restored for me a few years ago. This horn has such beautiful full sound, but I will admit that it is a struggle in the low registers. I have been getting better the more time I have on the horn, but if I have a set that has a ton of basement notes, I am probably better with my 1964 Reynolds 170 with either the recording or upright bell, or my Meinl Weston 25. In actuality, the Meinl Weston is a very versatile horn, and would most likely be my "If only" horn. That said, I have not spent that much time on it lately as I have been having great fun with the Holton. (Isn't that what it is all about anyway?) I did three Christmas concerts this past season with the Holton in three very different rooms. One classic church with high ceiling, with the ensemble at the front of the church. One at a modern style church with an open room that is very lively and great sound, and one in a large several hundred seat Siebert Chapel at Carthage College, https://www.youtube.com/watch?v=sOVLuRrdIv8" target="_blank
In each case, I was thrilled to have the Holton.

Steve