I gently put the mouthpiece in the horn anyways and continued playing. To my surprise the horn played completely different, IN A GREAT WAY. The difference was amazing.
I took the horn in to get it fixed (Dennis Pollard) and asked that he keep the leadpipe away from the bell for the repair. The result was this one solder joint, replacing two, and keeping the good qualities of the damage intact.

A lot of the Besson 983's have the leadpipe soldered two the bell in two places. Just past the reciever and then in the middle section of the leadpipe (directly to the front of the bell). These solder lines can be anywhere from 5 inches to 9+. One horn I have seen actually had the leadpipe soldered on (from the factory) almost the entire length of the leadpipe around the bell! By moving the mouthpiece a little lower Dennis was able to keep the leadpipe away from the horn the entire distance, except the beginning (done at the reciever upstream of the mouthpiece shank "gap"). I never imagined that solder line would hamper this horn so much.

By moving the leadpipe directly down by about an inch, plenty of room was given around the bell to keep the leadpipe off of it. This mod is ergonomic for most players because Patrick Sheridan is so large and the shank is very high. It is very similar to a mod I have seen the guys at BAC Brass in Kansas City do to several of the Besson 983 they have had in house.
It really got me to thinking.... Has anyone else seen any small horn changes that make big differences in how the horn played? I've heard stories of a big dent in a horn changing the tuning of certain partials for the better (node alteration).






