Originally Posted by
Vito
I saw you post this exact same thread on Facebook a while back.
I am not really into assembling all sorts of parts from very distinctly different instruments to create my own imaginary "perfect" euphonium. I'd rather look to my own instrument, think about why I chose it to be mine in the first place, sum up the good stuff and list up things that I wish to be improved for the future versions. I am in fact planning to do this in the near future, inspired by the recent discussions on this forum.
Now to comment on your creation:
-Besson Prestige valves: I think you meant to say "German" Besson Prestige valves. There is quite a lot of difference between English made Prestiges and German made ones. Also keep in mind that Besson uses identical valvesets on their professional grade instruments, those are the Sovereign and the Prestige series. **Correct, I did mean the German instruments, although the valves on the UK ones weren't at all bad, although I concede there were lots of people who had problems with their valves**
-Boosey Globe Sovereign bell and bottom bow: "The metal for the B&H Sovereigns is of much better quality than the models that followed" Well sorry to interrupt your Besson-bashing, but the change of metal over the years has mainly to do with the hydroforming process in the manufacturing of brass instruments. I recently listened to an episode of the "Best Brass Instruments Makers Podcast" (great recommendation by the way) where Mike Johnson, a brass instrument maker from the Manchester area was interviewed. According to what was said there, the Boosey & Hawkes company has been making brass instruments using hydroforming since the 1950s for economical reasons if I recall correctly. Hydroforming has a better chance of succes when the metal used is softer, so that is why the metal has been going softer and softer over the years. But still, a modern Besson is very well made, structurally sound and has no distinct negative sound. Sure, it is different from older examples, but not worse in my opinion. I wouldn't call this bad-quality metal when comparing to an older B&H. It is certainly easier to dent it or deform it, but that also comes with the benefit that it is easier to undent, repair and manipulate. **The heavier the instrument the better the sound, in my opinion. Certainly I feel more in control of the timbre of a Boosey than I do a modern Besson**
-Boosey "Lyndon Baglin" Globe Sovereign false piece: This is very subjective and dependent on your style of playing. I play with the tips of fingers on the valve buttons, but many other players play with flat fingers. That alone can make a very big difference on how far your hand should be from the valves to be able to play comfortably. **I am certain this particular instrument is unique - I've not seen it on any other round stamp, and I've played quite a few. It may be as it was the first one (prototypes aside) it was set up specifically for him**
-Besson Prestige third valve slide assembly: I completely agree.
-Boosey / Besson 3rd valve slide: Interesting observation, I never specifically tested this myself but it could make sense.
-Yamaha Custom 1st valve slide - no water key: Again a personal preference, I like to be able to dump water as quickly as possible, preferably with a water key. **I always empty my slide by removal rather than water key so it wouldn't be an issue for me**
-Boosey Globe Sovereign "S" leadpipe: Leadpipes and their angles are also a very subjective thing. I like the leadpipe to curve around the bell a little more so I can hold it closer to my body and play more comfortably. **I prefer the opposite and over the years some of the lead pipes have gone a little too far round the bell for my preference**
-Besson New Standard valve caps and buttons: Someone should reproduce these in all different thread sizes. I personally do not specifically care for the cosmetic look of my personal instrument that much, but I've heard a lot of people yearn for these so there is certainly a business opportunity for someone who can reproduce these. I think the Wessex reproduction the British F-tuba uses this style of valve caps. **Probably a good idea but I'm not sure there'd be that much call for them, although a brand new set would be quite desirable for me**
-Trigger: Sigh... This is an entirely different topic of discussion on itself and one that I do not wish to start a war over right now. I'll cover my opinion about them in my own instrument "review". **It's fascinating that the trigger issues causes such heat. I've had several be-triggered instruments, and several without, and prefer them without, but my observation of the Adams' system leaves me impressed. It looks substantial**
-Mead springs: Can agree, they make a difference IF you own a B&H or Besson euphonium. Put them in a valveset that is not close to a Besson one and they will have varying degree of succes. In my experience they were way to stiff in instruments that use Bauerfeind valves like Adams, Willson and some Sterling euphoniums. Yamaha valves are even shorter and therefore even stiffer.