FS: Sterling Virtuoso 4-Valve Euphonium In Silver/Gold w Trigger

[davewerden]

This looks like the configuration I used, with a heavy red brass bell. It would have a great sound, in the classic British style in between a Sovereign 968 and 967. A heavy 4th valve cap is shown, and it includes a 3rd-party case. The starting bid is $3999.00 and the buy-it-now price is $5500.

SOLD FOR $5500 - CONGRATS!

https://www.ebay.com/itm/175519415198

[Arnbone Euph]

Dave:
Didn't realize professional level euphoniums such as the ADAMS and Yamaha were nearing the 10k range these days. Wow. Last time I was in the market for a euphonium, seems like the prices were half that. So I'm wondering if the Buy it Now price of $5500 of the ebay Sterling virtuoso is a bargain price, given the market for new models. From what you can tell by examining the listing, do you think so? JP used to carry a Sterling Virtuoso IV for $7500 or thereabouts. Guess i need to start doing some serious saving.

[davewerden]

I played a Sterling for about 20 years, and a Virtuoso model for maybe 5 or so. I liked the Virtuoso a LOT, because it scratched my "British sound" itch. It was also a nice improvement over the Sovereigns I had played for intonation and response (especially in the 4th valve register). There are several new brands & horns that have a big, smooth sound, but in some I feel that something is missing in the tone. The Sterling and the Adams model I chose have that "something". The Adams wins over the Sterling for intonation and has a slight edge that 4th valve register response. But the Sterling has a trigger, which takes care of the intonation nicely (I strongly prefer to not have a trigger for comfort reasons).

The red brass bell adds a nice bit of zing to the Sterling's sound. I did an A/B test between the Sterling Virtuoso with red brass bell and the Adams E1 with silver bell that I was testing. The Adams won among a pool I had listen to my recordings, but it was not a shut-out game. There were VERY close.

I know two top players in the British brass band scene who played on a Sterling until they got a "can't refuse" monetary offer from Besson to switch. In one player's case, he had companies giving him horns previously, which Sterling did not do. The Sterling was the only euphonium he ever actually bought.

The asking price is fair, all things considered, but you could also gamble and put a bid lower than that. If you got it for under $5k I'd think it a bargain.

[daruby]

I will second Dave's comments regarding Sterling v. Adams. My Sterling Virtuoso with red brass bell is a twin to the one being offered for sale with the exception that mine has a 300 mm bell instead of 12" (305 mm). The biggest difference for me between the two makes is that the Sterling takes more strength to play and I find myself getting tired more easily. My Adams E3 with sterling (small "s") silver bell is incredibly light and responsive yet still gets a fantastic rich sound. Last Sunday I was playing the New England Brass Band having to soar above the ensemble. Tonight I rehearsed a Christmas cantata with a church choir where I was playing a cello obligato part at pianissimo under two elderly vocal soloists. This kind of dynamic range is more difficult for me to execute on the Sterling (big "S").

Doug

[tjjc]

The Sterling will really sing in a church sanctuary. In a wind band, I thought it seemed to get lost in the texture at lower volume levels. I'm sure it's optimized for brass band playing given its British pedigree. It's a heavy horn, and the leadpipe is very "straight" relative to the valve cluster, which results in the instrument being held at an angle away from the player's body. I used an Ergobrass device with it successfully, but it was still rather cumbersome. I hate to let it go, but for my playing posture and the types of playing that I do, my trusty Besson 767 is a better fit. Here's a link to a church service in which the Sterling was used for prelude and postlude - I think it illustrates these features pretty well: June 28, 2020 - First Presbyterian Church of Gainesville, FL - YouTube

Tom

[iMav]

June 28, 2020 - First Presbyterian Church of Gainesville, FL - YouTube

What pieces did you play for for the prelude and postlude?

(I guess the postlude was called out (and recognizable)...can you share the arrangements of both and, possibly, where to get them?)

[Arnbone Euph]

I did put in a bid on the horn; I'm grateful for tjjc putting in musical examples and explaining the odd playing angle one is forced to use because of the position of the lead pipe. That does give me pause. We'll see how the bidding goes. So far, I think I'm the only bidder.

I wonder how the sound does compare to ADAMS E3, YEP-842, and other high end horns.

[tjjc]

The Panis Angelicus (C. Franck) arrangement is from this book: Sacred Solos By Various - Sheet Music For Baritone B.C.; Trombone - Buy Print Music HL.4472030 | Sheet Music Plus

James Curnow's arrangement of I Sing the Mighty Power of God is from this book: Great Hymns By - Softcover Audio Online Sheet Music For Euphonium; Trombone - Buy Print Music HL.44003652 | Sheet Music Plus

Both books have many other fine arrangements for soloist and piano. I've used them frequently over the years. The Curnow book comes with a practice/accompaniment CD. SMP is a good source, but I've also seen these books in local music stores from time to time.

[tjjc]

I did put in a bid on the horn; I'm grateful for tjjc putting in musical examples and explaining the odd playing angle one is forced to use because of the position of the lead pipe. That does give me pause. We'll see how the bidding goes. So far, I think I'm the only bidder.

I wonder how the sound does compare to ADAMS E3, YEP-842, and other high end horns.

Some players seem to prefer the straighter leadpipe angle. I guess it depends on your body type and what you're accustomed to. It seems to me that the Besson Prestige has a relatively straight leadpipe as well, but I've never had the chance to do a side-by-side comparison.

[davewerden]

I did put in a bid on the horn; I'm grateful for tjjc putting in musical examples and explaining the odd playing angle one is forced to use because of the position of the lead pipe. That does give me pause. We'll see how the bidding goes. So far, I think I'm the only bidder.

I wonder how the sound does compare to ADAMS E3, YEP-842, and other high end horns.

The leadpipe angle is probably more ergonomic, based on my experience. Adams changed their angle in a similar direction, the idea being to not force your elbow back so far. That relieves strain. But I don't know if the current Adams angle is different from the Sterling's angle.

[tokuno]

. . . the odd playing angle one is forced to use because of the position of the lead pipe. That does give me pause. . .

I wonder how the sound does compare to ADAMS E3, YEP-842, and other high end horns.

I play a goldbrass-bell Virtuoso (son's hand-me-down).
The straight-out horn position is cumbersome, especially for standing, but it's better ergo to ease the fingering strain on my right forearm. Overall, I'd prefer a more "traditional" position, given the option, but it's not a big deal.
In blind sound-tests, we preferred my son's Sterling tone over the E3 sterling bell and all the Yamahas, which seemed to have too much of that Yamaha "pure" silvery, brittle sound.
The one vexing "hmm, maybe I should shop for a different horn" issue: I have to keep the Sterling super clean or the 2nd valve sticks badly (probably unique to my particular sample).
My other complaints:
concert BNat an octave above the staff seats poorly and only plays on 2nd valve. D above it won't seat clean for me - those might be me, not the horn, but neither my Willson 2975 nor 2900 acted this way. High concert C sits well using 1&3.
I prefer a horn that slots a bit tighter, but that's totally personal player preference.
Concert G in the staff is best tuned on 3rd valve, but that's common and not a deal-breaker.
Biggest playing beef is that the scale's not as even as on my son's Prestige, but again, that might be unique to my sample, and it doesn't affect the final result - it's just not as fun for me, as the player.

[iMav]

Yeah, my Adams lead pipe looks pretty “straight”. (Parallel to the ground when horn is perfectly upright.)

[tokuno]

Yeah, my Adams lead pipe looks pretty “straight”. (Parallel to the ground when horn is perfectly upright.)

I think that's a different axis.
In the Sterling's situation, the leadpipe sticks more straight out to the side of the horn instead of curling around the bell so you end up holding the horn so it juts out and away from your chest. You can't cuddle it.

[iMav]

Ahhh. Got it. Need to check my horn again!

[daruby]

The modern professional euphoniums such as Besson Prestige, Sterling Virtuoso, Adams (any model), Miraphone, etc all use the "straighter" leadpipe. The major benefit of positioning the horn (especially the valve body) out straighter from the body is that one keeps the elbow up higher rather down against the body and strain on the wrist, fingers, and forearm is reduced. This makes fast and efficient finger action for technical passages more efficient. Yes, when standing, more stress is placed on the left arm to hold the horn up. The solution is to "cradle" the horn in the left arm rather than just hold it up with the left wrist or right thumb via the valve body handhold. The other benefit is in breathing since the body of the horn is out away from your stomach and diaphragm. For someone like myself (5' 11" 225lbs), this is very helpful.

Horns such as all Yamaha (AFAIK), Besson Sovereign, and almost any horn targeted at younger or intermediate players tend to have the more traditional wrap-around leadpipe. This puts the elbow lower and closer to the body as well which makes fingering less efficient but helps provide more support of the weight of the horn through the right arm.

I greatly prefer the straighter leadpipe.

Doug