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REVIEW OF AUSTIN CUSTOM BRASS
EUPHONIUM MOUTHPIECES: #1, #2, and #3

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Our friends at Austin Custom Brass have been busy! A while ago we learned they produced some nice euphoniums as part of their "Doubler" instrument line. Now we learned that ACB has produced an interesting line of euphonium mouthpieces!

There are three models, numbered simply 1, 2, and 3. However, what is not so simple is the way the numbers relate to each design. ...

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Adams has created an instrument that is unusual and useful. As far as I recall, this is the first time a fully-professional euphonium has been built with a 3+1 valve system that is non-compensating. Normally we in the euphonium world think of non-comp euphoniums as being student or intermediate instruments, so Adams apparently decided to go a step beyond that concept with the Sonic.

"But, why?" you might ask. I asked myself that same question! In my opinion (I did not yet have a chance ...

Many of you know I recently became (officially) an Alliance Artist. I was using an Alliance DC4 and now use the DC3, after many years of playing other mouthpiece from the Denis Wick brands.

It is an usually comfortable mouthpiece! I don't know if it is because of the rim width or contour alone, or if the cup and backbore contribute to comfort by the way the respond. Whatever the case, it surely feels great! I have to thank David Childs for putting me on that track, because I had become ...

Adams has a long history of making fine musical instruments, which began about 50 years ago with their percussion line. Roughly 15 years ago they began adding brass to their line. Euphoniums started appearing soon after. Adams numbered their euphoniums 1, 2, and 3 based solely on the order in which the models were designed - the numbers are not a hierarchy or indication of relative quality. They are all professional instruments, but made for different tastes.

All 3 models come with ...

On my forum and other places euphonium players have discussed the benefit of replacing the standard bottom cap of the 4th valve with a heavier version. The first I heard of this is when I was a Sterling artist. They sent me one for my Sterling Virtuoso and I liked it. The tone and center seemed a bit better for most music. For music that was light and "bouncy" I tended to prefer the standard cap (but that may have just been in my head). Regardless, it was easy to change the cap when I wanted. ...

I put together a video explaining the need for an AGR and also how to use it. Following that I'll post some photos to further illustrate the concept(s).

One bit of perspective first. As far as I know. ALL receivers will cause a gap between the end of the mouthpiece shank and the start of the leadpipe (hidden inside the larger receiver). If the insertion depth of your mouthpiece creates a good gap on the horn you use, then the AGR doesn't matter. But keep in mind that different mouthpiece ...

I just came up in the testing rotation of the Sinfonico, and it is a real treat to test this new horn! In 2019 at ITEC I tried the prototype for this horn and found it very promising. Now we are looking at an early production model. My impression is that that the instrument has changed quite a bit in that time (which is not surprising - that's how the process works).

The Sinfonico, unlike the less expensive Dolce, is hand made from sheet brass. Most other brands (and the Wessex "Dolce") ...

The instrument choices today make this question more complex. Some of this post applies to tuba and other instruments, but I will specifically address euphonium.

Until the late 1970's, there was a pretty wide line between pro euphoniums (i.e. Besson and Boosey & Hawkes) and everything else. That line was largely drawn by the compensating system, but also included the larger bore of the British instruments. Today we have large-bore, compensating euphoniums that cost less than some student-level ...