Originally Posted by
davewerden
In my Besson days, my 967 satisfied that need, but I was a little frustrated when trying to play softly or in a "small environment" (i.e. recital hall with piano). I find the E3 handles both situations to my satisfaction.
The tone color of a euphonium has always been a yes/no factor. The original Willson 2900 was in the "no" category for me, for example, although I would not have ruled out the 2960 if it had been around then. I always liked the British sound flavor, which is why I stuck with Besson and then moved to Sterling. But the Adams had the same quality I look for in tone, but had superior response and intonation.
I played a 967 built in the early 2000s for years. It suffered from poor intonation above the 5th partial, and it developed several cases of red rot. It was not the best experience with an instrument so I sold it and I have never really considered Besson instruments ever since, although their quality has supposedly improved since they moved production to Germany.
I too am partial to the British sound, which is primarily attributable to Steve Mead being an influence during my younger days. I played a Sterling for several years before switching to the Adams E3, which gives me a good British sound with incredible response and intonation across the board (I had to rely on a trigger with the Sterling when playing above a F4). The only issue I have with Adams is their finish on both lacqured and plated instruments -- it's not as well done as other manufacturers.
James Kircoff
Genesee Wind Symphony - principal euphonium (Adams E3 Custom .60mm yellow brass bell w/ K&G 3.5)
Capital City Brass Band (2019 NABBA 2nd section champions) - 1st baritone (Besson BE956 w/ Denis Wick 6BY)