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The Miraphone compensator is a great horn. I myself use a Besson Prestige, so I am quite partial to our friends across the ocean. When trying out the Miraphone recently, I came across a few problems with it:

1.) The thumb rest was unusually far away from the valves. It was quite, how do you say, (not uncomfortable), but definitely different than most horns out there.

2.) The valves - while they were quite fast, they were very klunky. This was evident on all of the ones that I played. Sure, you can sort this out - but it might be an inherent problem w/ the brand.

You should never buy a horn solely on recommendation. Go up to the WWBW and play horns. Play them for a good-long-while. Enjoy!

I personally have never liked the miraphone euphs. The intonation wasnt too much different than the besson, and the sound of it made me feel like I was playing a pillow. This was evident on all the miraphones I played.

Ive been playing a besson 967 for 3 years and just recently switched to a yamaha 642. The intonation is better than the besson and it gives me a sound between that of the besson and the willson, which I think is more versitile. The besson can be easily played BETTER in tune (not perfectly) by using the right mouthpiece. The denis wicks dont work unless your steve mead. The doug elliot cleaned alot of things up for me. So choose wisley and go for the horn that gives you the sound you want regardless of the brand.


and by the way for the post earlier by bloke, The meinl weston was my second choice for a horn. I think it has the best intonation tendencies and a great sound. So BUMP!

I played a Miraphone for several months at the very end my undergrad years (80's) and found it to be a very good playing horn. The grip was large , as was mentioned above. I played a Besson Imperial for many, many years after that and loved it. It was severely damaged in an accident and I found myself in dire need of a horn - quick. I went to a regional conference with every intention of replacing the Besson with a Besson. I decided to do a double blind play test with a dear friend. Neither of us looked at tags or labels, I just put in a mouthpiece and started playing. I ended up with three very nice horns and arrived at the best of the best. I bought the Sterling which I had NEVER even considered before. I absolutely love the sound I get on it. I do have things to deal with (as anyone does with any horn) but the sound is worth it to me.

My point is this... find a horn you love the sound of (because that is what the audience hears) and learn to play it (because only you know that stuff).

edited

yup

I'm not in bloke's league, but I will echo CJ on the 842. Lovely intonation and a big, free blowing dark sound.

This free blowing aspect is commented on but not really talked about. With the Willson 2900, at least in its North American configuration with the euro shank (the only kind I have played), the resistance is in the horn, which sets up a much different dynamic between chops, mouthpiece and horn than in the Yamahas; which, because they are so free blowing, moves the necessary point of resistance more to the chops/mouthpiece side of the system. You play them differently.

John

Joe knows!

I have been told by good authority that, except for the Prestige, the new Besson euphoniums are made in India. If you buy a new Besson, I wouldn't get anything but a Prestige.

Manufacture in India explains the unworkable valves on a Soverign.

The Miraphone is a fine instrument but it isn't in the same class as the Willson or the Yamahas. For value, try the Yamaha 642.