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Thread: Wessex Festivo

  1. #11
    Join Date
    Apr 2014
    Location
    Summerfield, Florida Sturgis, SD (summers)
    Posts
    1,867
    Wessex includes the case (and mouthpiece) with the purchase of the horn. Check it out: https://www.wessex-tubas.com/shop/eu...ivo-euphonium/
    John Morgan
    The U.S. Army Band (Pershing's Own) 1971-1976
    Adams E3 Custom Series Euphonium, 1956 B&H Imperial Euphonium,
    1973 F. E. Olds & Son Studio Model T-31 Baritone
    Adams TB1 Tenor Trombone, Yamaha YBL-822G Bass Trombone
    Year Round Except Summer:
    Kingdom of the Sun (KOS) Concert Band, Ocala, FL (Euphonium)
    KOS Brass Quintet (Trombone, Euphonium)
    Summer Only:
    Rapid City Municipal Band, Rapid City, SD (Euphonium)
    Rapid City New Horizons Band (Euphonium)

  2. The case is included in the price.

    I'll post an update soon on my impressions after playing the horn in a variety of ensembles. I'm still discovering a few quirks as well as strengths.

  3. I stopped playing euphonium out of frustration with the ergonomics of the instrument. I love the sound of the euphonium, and it's overall easier and more enjoyable for me to play euphonium than trumpet, which is what I am now focusing on. I've always been a more successful euphonium player, and the consensus among people who have heard me play both is I should be a euphonium player. But I always found it physically exhausting to hold the horn. I have played a marching-style bell-forward "American baritone" and found it very comfortable to hold and play. I wonder if this new (old) design with the valves in a more comfortable position, that doesn't force your left arm to wrap around the instrument to the opposite side of your body, could be the key to my returning to the euphonium.

    Please tell us how the instrument feels to hold and what the weight feels like on your left arm.

  4. #14
    Join Date
    Jan 2006
    Location
    West Palm Beach, FL
    Posts
    3,853
    If the discomfort to you was holding your old 321, the Festivo could be the answer. It's also less cramping to your right wrist when fingering. I could be interested in one of these myself except for the fact it wouldn't fit in well with the euph section of the band (bell direction is opposite).
    Rick Floyd
    Miraphone 5050 - Warburton BJ / RF mpc
    YEP-641S (recently sold)
    Doug Elliott - 102 rim; I-cup; I-9 shank


    "Always play with a good tone, never louder than lovely, never softer than supported." - author unknown.
    Symphonic Band of the Palm Beaches
    El Cumbanchero (Raphael Hernandez, arr. Naohiro Iwai)
    Chorale and Shaker Dance
    (John Zdechlik)

  5. #15
    Join Date
    Jan 2015
    Location
    Smoketown, Pa
    Posts
    233
    Has anyone had further experience with the Festivo? My concern is the ease of fingering it with the right hand with the 4 valves in a row as this is what I've been playing for the last 54 years. Also the sound or the tone quality. I think I read it was similar to the King 2280 which even a great sound is not what I'm looking for.
    B&S 3046 Baritone/Euphonium
    Wessex Festivo
    B&S PT37-S
    Schilke ST20 Tenor Trombone
    Jupiter XO Double valve bass trombone

  6. I have had the Wessex Festivo now for a little over a month and have played it with a full wind band, an octet, a quintet, and a quartet, so I now feel confident in making a few observations about the instrument. Anytime I play a euphonium that is new to me, it takes a little while to get used to each instrument’s idiosyncrasies, and this is especially so with the Festivo because it is so different from any other euphonium. Just finding the most comfortable way to hold the instrument takes some trial and error. From the 1960s through the 1980s I played an American style bell front euphonium with front action valves. I assumed that I would hold the Festivo much like those instruments, but the placement of the lead pipe requires you to hold the body of the Festivo at about a 45 degree angle from your torso instead of a more parallel position to your torso like those American style euphoniums. Perhaps this was done to make it more comfortable for those who want to use their left hand to play the 4th valve, but I would have preferred to have the lead pipe positioned more like the American style euphoniums. However, with time I am getting more comfortable with holding the Festivo.


    Perhaps while I am complaining, I should go ahead and mention all the things I do not like about the instrument and get that out of the way. The case is huge. It offers very good protection for the horn, but it is a little ungainly to carry. In each group I have played with, there have always been comments about the size of the case. However, by far and away the most aggravating thing about the Festivo for me has been the valve caps. You have to be very careful to keep them from cross-threading when you screw the caps back on after oiling the valves. I had similar problems with my Schiller 3 valve compensating British baritone (also of Chinese manufacture) when it was new, but eventually the problem got better. Perhaps with time the threads will wear in and thread more easily. My only other complaint is that high B-natural (4 ledger lines above the bass clef staff) is a difficult note to hit on this horn. That note is problematic on many euphoniums, where you can get the B-flat below and the C above but not the B-natural. Using the same mouthpiece, that B natural will pop right out on my King 2280, but it is much harder to do on the Festivo.


    Other than those few complaints, I think the Festivo is certainly a good buy for the money. It has a good sound throughout its range. To my ear, it is just slightly brighter than my King 2280, but it projects much better than the King. If I had to hazard a guess based on memory, I would say its sound is similar to a Yamaha, but take that with a grain of salt as I have not been able to do a side by side comparison with any other euphonium other than my King 2280. The Festivo has a strong low and middle range, and it sings very well in the high range. However, the King is easier to play in the upper register. The best feature of the low range is of course the auto-compensating system, so playing in that compensating range is much simpler without any slides to pull.


    The valve action is very good, and the valves are the quietest of any horn I have played. It has nylon valve guides and a rubber pad under the valve spring to dampen any spring noise. My other euphoniums have brass valve guides, which create a little clatter but last forever. I will be curious to see how long the nylon valve guides last. The springs are a little stiff for my taste, so I may try some lighter springs at some point in the future as it is more tiring to play for long periods compared to my King. The valves are also more widely spaced than on my King. That has not been a problem, but for someone of smaller stature with small hands it might be an issue.


    The intonation of the Festivo is the best of any euphonium I have played. According to my tuner, even the 6th partials are right on the money. Intonation was one worry I had about buying an instrument of Chinese manufacture. My Schiller British baritone was the only other Chinese instrument I have purchased, and while the build quality was good, the intonation was less than I had hoped for on that instrument. I was pleasantly surprised to find that the Festivo did not have that problem. Its intonation is good throughout its range with no obvious rogue notes.


    The build quality of the Festivo is very good. I have had no problems with any part of the horn other than the balky valve caps. Wessex adds several little upgrades that seem to put their products a step above most of the other instruments I have seen in this price range. The Festivo comes with a gold plated mouthpiece that is very similar in size to a Wick SM4. That was a pleasant surprise to find a useful, quality mouthpiece rather than a generic 6 1/2 AL clone.


    There is no doubt that the Festivo is a niche instrument. With all the other instruments out there, I don’t expect all the 3+1 guys to be flocking to the Festivo. The majority of folks who will buy it will do so because it is an auto-compensating horn with 4 inline front action valves. In modern instruments, it is the only one available with those features unless you can find a used Willson 2975 somewhere. It will be a good choice for old guys like me who have played inline valves all their lives and don’t want to change. It will probably be popular with euphonium doublers like tubists or trombonists. It may also gain popularity with those who suffer from shoulder or wrist problems. Regardless of the reason, those who buy one will have an instrument that plays as well as some other models that cost much more. It is a quality instrument with good sound that plays well and can more than fill the needs of most euphoniumists. Kudos to Wessex for giving us another option that has been sorely missing from the euphonium market.

  7. #17
    Thanks for the review. Having bought a total of three Chinese instruments (well, one of them is a rotary, so it doesn't count), I'm familiar enough with the cross-threading that it is no longer a problem. I'm still interested in getting one.
    David Bjornstad

    1923 Conn New Wonder 86I, Bach 6 1/2 AL
    2018 Wessex EP100 Dolce, Denis Wick 4ABL
    2013 Jinbao JBEP-1111L, Denis Wick 4AM
    2015 Jinbao JBBR-1240, Denis Wick clone mouthpiece of unknown designation
    Cullman (AL) Community Band (Euph Section Leader)
    Brass Band of Huntsville (2nd Bari)

  8. #18
    I still have major cross-threading problems with my Wessex Dolce but it is much better almost a year after purchase than when the horn was brand new.

    I should also add that this is probably due to me learning how to re-thread the valve caps in such a way to minimize cross-threading and nothing really to do with the horn.
    Adams E3 0.6 with SS Bell
    K&G 3.5D
    ---------------------------------
    Founder and Solo Euphonium
    San Francisco Brass Band

  9. During Wessex last visit to factory, we looked in details at valve threads to make more reliable. As a result the thread profile is being changed on future production. We hope this will eliminate this problem. We will have to see! Whenever customers find a problem, we do our best to correct to stop reoccuarances in future. Threads are already a lot better than when Wessex started selling 6 years ago, but I know there is still room for improvement.

    I know that may not help existing customers, but all we can do is identify the cause of problems one at a time and put in measures to correct to steadily raise the standard of quality.

    Although our instruments are manufactured in China at factory who make for other companies, Wessex has a unique close relationship with the production team with whom I am in contact daily. That relationship now extends to a dedicated team of the best technicians at the factory just making brass for Wessex
    Last edited by Jonathantuba; 07-12-2017 at 03:44 PM. Reason: Further information
    www.Wessex-Tubas.com
    Customer Services & Chicago Showroom visits: Dolce@Wessex-Tubas.com
    Shipping & UK Showroom visits: Coda@Wessex-Tubas.com

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  10. #20
    Considering I had cross-thread issues with my Adams horn, this problem is not limited to budget horns! I definitely appreciate your candor and attempts to continually make the horn better!
    Adams E3 0.6 with SS Bell
    K&G 3.5D
    ---------------------------------
    Founder and Solo Euphonium
    San Francisco Brass Band

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