King Eastlake Euphoniums

[LargoBone]

I'm curious about the horn my sister is borrowing from her school now that she's starting band (and on euphonium! We can play duets!) It's a King, made in Eastlake from 1970-72 (473XXX) when they moved.

Looks like your average American-style euphonium with a forward-facing bell and the ugly orange King lacquer. Feels like the bore is on the small side but I've never played another American-style euphonium that wasn't in "for parts or not working" condition.

Anyone know what model this is? I can take a picture if needed.

[daruby]

If it is a 4 valve, it is a model 2266. If it is a 3 valve, it is a model 625. To my knowledge, there have been no significant changes to those horns in "eons" and they are still manufactured by King. While there may have been some issues with quality in the changeover in 1965, the Eastlake versions of these horns are pretty much the same as the post WWII H.N. White King Cleveland horns.

[LargoBone]

Must be a 625 then, thanks!

[iiipopes]

I have played these horns off and on since high school band camp in the mid-70's. As posted above, they are, not just essentially, but literally, unchanged since their introduction as the mellow mid-voice for concert bands as a contrast to trombones and tenor saxophones since the 1920's. They have a .562 bore. They work well with a 6 1/2 AL mouthpiece, although that can get a tad grainy in the lower register. The original H.N.White "baritone" mouthpiece, if you can find one, is a little more funnel shaped and also plays very well. The only reason I replaced my horn is that I wanted a tad larger bore to help mellow the low register, and purchased the modern equivalent, the Wessex BR115 with four valves and a .571 bore instead of the .562 bore. I use a Wick SM6B Ultra mouthpiece with it, which is like a 6 1/2 AL, but with a deeper cup, again to help mellow the low register. Here is my review of that mouthpiece, which I recommend for "American" bell-front instruments with the .562 bore:

http://www.dwerden.com/forum/showthr...e#.WbLlyLpFyUk

Another mouthpiece that works well, if you can find one that is not overpriced, is the King version of the "System Blue" baritone mouthpiece. It has a true funnel cup and also helps mellow the low register.

The three valve horn with the direct in leadpipe was also known at one time as the 1165 model. Here is the link to the hnwhite family website:
http://hnwhite.com/King/Euphoniums%2...ll%20Large.jpg

Does the leadpipe go straight into the valve block, or loop? If it goes straight in to a 3-valve block, then it is an 1165. If it loops, then it is a "Cleveland" 624 (Dating back to when H. N. White purchased the Cleveland Band Instrument Company and restructured it as the "student line.") When King was assimilated by the Cyborg, or possibly before when the company was restructured as "King Musical Instruments" after a consortium purchased it from the heirs of Edna White, or maybe later when combined into the proto-cyborg UMI, they changed to the Cleveland series model number, 625, for the 3-valve and changed the 4-valve model number from 1166 to 2266.

Yes, I know - clear as mud. The point is, model numbers don't really matter. It is the same horn built exactly the same way for over 90 years, a staple of the golden age of concert bands, and in my not-so-humble opinion, a better match for a concert band, blending equally well with woodwinds and brass, while providing a distinctive timbre, than does a .580 bore or larger compensating euphonium in the Boosey/Besson style.

[euphdude]

It is the same horn built exactly the same way for over 90 years, a staple of the golden age of concert bands, and in my not-so-humble opinion, a better match for a concert band, blending equally well with woodwinds and brass, while providing a distinctive timbre, than does a .580 bore or larger compensating euphonium in the Boosey/Besson style.

The more and more I play my Olds Ambassador, the more and more I agree with this statement. Now this horn can't match my Schiller or any compensator I've ever played for sheer volume of sound, nor does it produce as rich of a tone as I'd like if I were to solo with it, but for sectional work these horns more than deliver for this amateur. Oh, and one more thing...we just did an outdoor concert that featured a ton of marches, including the ending with Stars and Stripes. Years ago when playing compensating horns, I was always too exhausted to be able to play all of Stars and Stripes at the end of a concert....at least too tired to reliably hit all of those high Bb and Abs. Not so with my Ambassador. For me, it is just far less taxing to play, and I could have gone much longer and I nailed all of those high Bbs and Abs. I'm a big fan!

[Leif]

I’m curious about the horn I bought in the early nineteen seventies.
I have heard that it was a annyversery edition from King, 4 valve, frontbell with real Gold, made in Eastlake (462XXX).
It’s a typical American style, with frontbell covered with real Gold, the rest of the horn is silver style.
Somody told me when I bought it, after a exhibition, that this was produced in a small number and it is possible I have the only issue in Norway.
Anyobe know more about this model