I suspect most euphonium players have never worried about the gap between the end of the mouthpiece shank and the beginning of the instrument's leadpipe. To understand the terminology, the receiver is the two or three inches of tubing attached to the end of the leadpipe. The mouthpiece inserts into the receiver. The gap is hidden underneath the receiver. The drawing below shows this:



Different manufactures may use different sizes and degree of taper for either the euphonium receiver or the mouthpiece shank. This means that in some setups the gap may be narrower or wider. As a practical matter, it is necessary to design so that there will be a gap. Otherwise a particular mouthpiece might hit the leadpipe before it is tight within the receiver. That could cause the mouthpiece to fall out of the receiver or to "rock" inside the receiver.

On the Adams Custom euphonium, which I play, there is an innovative "adjustable-gap" receiver. The concept is simple. The receiver is threaded on to the leadpipe instead of being soldered. Turning the receiver one way or the other will adjust the gap. The photo here shows the receiver adjusted all the way in and then a considerable distance out. There is a collar around the receiver that can be loosened for adjustment and tightened when the optimum setting is found. It seems logical to assume that the narrowest possible gap is ideal, but in practice that is not the case. The amount of gap affects response, tone, and intonation.

One might still think it is not worth worrying about because we usually pick out our horns playing the mouthpiece we prefer. So if that combination feels right, why worry about the gap? For one thing, if we can adjust the gap further we may find a position we like better. And for another thing, if we buy a new mouthpiece it may fit differently and increase or decrease the gap. If you test a mouthpiece that has a significantly different gap in your horn, you may reject the mouthpiece because of the gap, as opposed to the qualities of the mouthpiece itself. Below is a chart showing six mouthpieces I tested in my Adams euphonium. It is presented in inches (top) and millimeters (bottom). The Overall Length is the distance from end to end of the mouthpiece. The Shank Insertion is the amount of the shank that fits inside the receiver. The Overhang is the amount of the mouthpiece that extends outside the receiver. Then in Italics beneath each set of numbers is the difference between the largest and smallest measurement in each column.

As you can see from this chart, the insertion (which controls the gap) varies more than 1/3 of an inch (about 7.5mm) between my own Denis Wick 4AL to a Schilke 52E2. But even between two mouthpiece that one would think would be similar, the Wick 4AL and the Wick Ultra SM4U, the difference in insertion (gap) is about 1/4 inch (more than 6mm).

This series of measurements was educational for me for two reasons. First, from a general interest perspective, I didn't know the gap varied so much. And second, I have heard and experienced for myself the difference it makes on my Adams euphonium when I modify the gap adjustment; it then stands to reason that to fully test/compare the SM4U against my 4AL, for example, I should at do some of my testing with both set to the same gap.

As a practical example, at ITEC 2010 I was visiting all the displays and trying every euphonium. On my rounds of the second display building, I was playing the Adams Custom from the display, trying unsuccessfully to play Claude Smith's Rondo for Trumpet. The piece has some powerful jumps over an octave up to high Bb and B-natural concert. I could not make the jumps with accuracy. I mentioned to Miel Adams that I was having trouble finding the horn's center. He took it from me and noticed that the receiver was turned in pretty far (toward a narrow gap), so he loosened the lock and turned it a while to open the gap. Then he gave it back to me. As you can imagine, I was skeptical that it would make much difference. But I felt much more secure as I tried the same passage. That was very easy to detect in such an on-the-edge passage. It made a difference in tone, too, but that was harder to judge (Better? Worse? Just different?). But the experience made me a believer. Once I got the loaner that I am currently playing, I experimented and found that I was most comfortable with a position about halfway between the two shown in the photo.

The adjustable-gap receiver was a feature that I thought was interesting when I first heard of it, but I have since learned that it is indeed quite useful.

As I have announced earlier I am now playing the Adams Custom Euphonium. Of all the horns I've ever tested, this one was clearly the best choice for me. Several colleagues have asked me for more detail about why I chose Adams, so here is my perspective.

I've been play-testing professional-quality euphoniums seriously since about 1978, and I have gotten used to testing instruments in all kinds of situations. The Adams seemed to "brag" about itself a little less as I was playing in my normal practice room. It wasn't as clear from the player's listening position how excellent the tone was. But when I got it into a larger room it was easy to hear the nice Adams sounds coming back within the room's reverberation. To investigate more, I asked some musicians who know my playing well to listen to me in the hall, which was encouraging on the Adams' behalf. Then I did a set of comparison recordings, which I shared with musicians whom I trusted, and their opinions were also very positive regarding the Adams.

One of those who listened to my A/B testing is a well-established professional euphoniumist, whose comments were, "[The Adams] has a bigger/richer sound to me that seems closer to a preferred euphonium sound. I think the extreme soft dynamics were much better on this horn and seemed more in control, as was pitch. When you decrescendo in passages it's really beautiful on this horn and showcased your control. Also, the loud range stayed nice and big and didn't seem to get thin/bright."

Tone was the first part of my decision, because without a good tone I would not be happy with the horn, no matter what other qualities it possessed. But having learned that the Adams has the rich, dark sound I prefer, I moved on to other factors.

I learned as of my first testing of the Adams at ITEC 2010 that it had excellent intonation. I did not have a chance to fully test that factor until later, but when I did (on a different sample) it was indeed the best of any horn I've ever tested. See the actual testing results here: Euphonium Intonation Comparisons. In current professional euphonium models, most are offered with a trigger (including the Adams), at least as an option. A trigger can add a level of comfort to your playing, because you are more often able to play "in the center of the horn" (with the trigger pushed out for sharp notes) instead of having to work to lip the pitch down. When the intonation is as good as on the Adams, it becomes less clear that one might want the trigger. There are still some notes where it would be convenient to have a trigger, but they are closer to true pitch and relatively easy to control (especially compared to vintage horns!). So a buyer needs to carefully consider if the convenience of the trigger is worth the cost, weight, and maintenance on a horn that is as well in tune as the Adams. My current tendency is to use a non-triggered Adams, but I'm still considering if I want a trigger for my own use.

The response of the horn is particularly fine. It is easier to play many tricky passages, especially when I am pushing the limits of dynamic range or rubato in an expressive passage. I can "feel" the Adams' sound with more confidence. Its smooth response has made the 4th-valve register (4 + other valves) much more dependable for me. That is a range I have always struggled with, and the Adams makes it easier than with any horn I've played. And it has great capacity in very loud passages. I can push it quite far without it showing signs of strain.

It's always difficult to theorize about why a horn does this or that thing better, but one factor in the excellent response and resonance may be Adams' insistence on maintaining the tubing thickness for the entire length of the horn. They feel it helps create more consistent vibration characteristics as the waves travel through the horn. Or it could be partly due to the excellent assembly quality. The more accurately all the many joints are fitted, the better will be the response because there is less disruption of the sound waves. Whatever the reasons, it's rewarding to play a horn that responds so well.

Probably the most unique design feature of the Adams Custom is the adjustable-gap receiver. The "gap" I refer to is the distance from the end of the mouthpiece shank to the beginning of the actual leadpipe (which is hidden from view inside a euphonium's receiver). If I were to check this gap with my personal mouthpiece on various brands of euphonium, no doubt it would vary from brand to brand. And with any one euphonium, a change of mouthpiece can affect the gap to the leadpipe. By offering a method of adjusting that gap, the player is able to find a more optimum balance of response, tone, and intonation for any mouthpiece.

The receiver's integrity seems not to suffer at all because of the adjustment mechanism. It is very sturdy and locks solidly at any desired position. The threading of the mechanism is extremely smooth. No doubt it would be beneficial to put a little lubricant on it now and then, but there is so little movement and wear in this area that the grease is likely to last a very long time. The difference as you change the gap is not hard to notice. It was easy to feel a difference in the "directness" of response as I moved it toward the narrowest setting, and just about as easy to hear the difference tone. It's such a logical idea that one almost wants to ask, "Why hasn't anyone done this before?"

As mentioned above, the build quality is excellent. All slides work smoothly and the finishing is done to the same high level. Valve action is very sure, smooth, and fast. Adams uses the Bauerfeind valves. In fact, they recently acquired the Bauerfeind Valve company, so Adams now has more control over quality and design.

MISC: The horn accepts a large (bass-trombone size) mouthpiece shank.
The bell is about 12 inches in diameter.

CASE: Adams offers the rarely-seen (at least in the USA) Marcus Bona case. This is one of the lightest hard cases I've ever seen, and seems very sturdy. It's quite attractive and looks somewhat like a gig bag, but it has a rigid fiberglass liner (which makes it heavier than a soft bag). For more protection, the case has a strap that holds the bottom bow firmly against the bottom of the case. This helps to keep the bell from striking the other end of the case in the event you encounter careless baggage handlers. There is a removable music folio on the outside. There is a double mouthpiece holder inside (removable) and a very small accessory area. The case comes with removable shoulder straps for easier carrying when you are also toting luggage. In that position it would not be as comfortable as a soft bag, but it's still a nice option to have.

It's exciting to see Adams' line of instruments grow and to see the research and development they are doing. They are committed to producing top-quality instruments, and the sample I have now proves the point. It is simply the best euphonium I have ever played.

Here are two free recordings for the Christmas season, both by the U.S. Coast Guard Band Euphonium-Tuba Quartet.

Both are Gary Buttery arrangements from Cimarron Music. Find the sheet music on Cimarron's Euphonium Music Page.

English Folk Christmas (medley)

Greensleeves (What Child Is This?)

Merry Christmas!

On today's date in 1944 during World War II, Air Force Bandleader Glenn Miller was lost somewhere over the English Channel. His band carried on, and later became known as the Airmen of Note (or simply "Note" by other AF musicians).

I am linking up a few holiday songs from the Airmen of Note in honor of Glenn Miller's terrific work.

O Christmas Tree

Oy Chanukah

We Three Kings

Go Tell It On TheMountain

Here's a little diversion if you are getting stressed out. Below are a list of euphonium players. All are living players, and as of a few days ago I could find all of them on YouTube in the first several pages of a search for "euphonium." Each phrase below is a mixed-up version called an anagram. You build an anagram by using all the letters in the name and rearranging them. No letter is duplicated unless it is also duplicated in the actual name. Do not pay attention to where the spaces fall or where the upper-case letters are.

As an example, my name ("Dave Werden") could be either of these two anagrams:
End Red Wave
Ever Dawned

To see the answers, just drag your mouse over the white area below the anagrams to select the hidden text (or use CNTL-A on your PC). But try to figure them out first - it's good for your brain!

NOTE: You may or may not see some names here that you would expect to see. This list is not intended to be comprehensive. Is some cases names were not included simply because I could not find a "cute" anagram of that name in the time I was willing to spend on it. I tended to include only players whose anagrams could make a phrase that seemed to me to have an element of humor.

Here are the euphoniumists:

Vented As Me
Now Rabbi Man
Dye A Farm
Tweet With Ham
Thorny Beach Girl
Farm Hikers
Kinked Acre
Go Rev Mr Root
Old Maced Dish
Cello Mind Rink


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Steven Mead
Vented As Me

Brian Bowman
Now Rabbi Man

Adam Frey
Dye A Farm

Matthew White
Tweet With Ham

Charley Brighton
Thorny Beach Girl

Mark Fisher
Farm Hikers

Derick Kane
Kinked Acre

Trevor Groom
Go Rev Mr Root

Michael Dodds
Old Maced Dish

Riki McDonnell
Cello Mind Rink

Is the budget tight this year? In spite of that do you want some more Christmas music to play at home or on your portable player? No problem! The United States Marine Band has once again made available some of their excellent recordings, which you can download for no charge. Here is the description:

Need the perfect soundtrack for a holiday party, decorating the house, or just sitting by the fire? In a nod to the season, the Marine Band has made three holiday audio selections available for download during the month of December:

• Joy to the World
• We Wish You a Merry Christmas
• Parade of the Wooden Soldiers

Go to this link to download:
Free MP3 Christmas Music, U.S. Marine Band

(They even look "Christmas-like" in their photo, don't they?):