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Thread: Besson International BE7065 - Impressions

  1. #1

    Besson International BE7065 - Impressions

    I have not found much information on the Besson International BE7065 (though it seems to be relatively similar to other Besson models).
    So I thought it might be good to share some thoughts and impressions.

    Please note that I am a former professional trombonist with comparably limited expertise in euphonium.
    I have played a number of euphonium over the last approx 20 years, all only for a very limited amount of time, e g a few rehearsals. Most or even all of them have been compensating Yamahas which seem to be very much the standard in many cases in Germany (most borrowed from music universities).

    I bought the Besson a few weeks ago online which was more or less unplanned but just a good offer. Before I owned a Weril 4 valve non-compensating for a while.
    This is just to give you an impression of how (ir-) relevant my impressions may be.

    The Besson is a 4 valve (3 plus 1) non-compensating instrument with a standard large mouthpiece receiver, to my knowledge a bit smaller in bore and Bell than the Pro models. I know most or all pros and/or primary euphonium players play compensating horns, but I did this on purpose.
    1 It's simply cheaper - besides owning an undefined number of trombones I hesitate spending even more money on a euphonium
    2 I don't like the extra weight of compensating horns (euphonium ergonomics are anyway strange for me). Though also the BE7065 seems relatively heavy already
    3 All the compensating horns that I played before felt strange to me - I guess that is due to me being a trombonist
    4 Key advantage of the compensating mechanism is from my understanding in the low range between low F and B - which doesn't play much of a role for me. E g if I sub in a brass quintet for the tuba part, I would certainly take the bass trombone and not much standard wind orchestra Repertoire really needs this

    Now on the Besson itself:
    Key point is the sound. It does to me have a really nice round and warm euphonium sound, also compared to the Weril and what I remember from playing the Yamahas. So it does potentially carry some of the Besson sound DNA in it.

    I initially struggled a bit with response in the higher register (high B flat and upwards). But after playing it a bit more, it's definitely me. I just have to let go more than on trombone. I didn't really identify any specifically bad range.

    Intonation is relatively good - certainly better than the Weril and to my memory at least not worse than the Yamahas (when staying outside the compensating register obviously). I don't want to bash the Yamahas, but for me they definitely didn't work.

    Build quality seems to be really robust. No worries at that point.

    I hope this will remain to be a good fit for myself, as said being primarily a trombonist.
    From my current impressions I would happily recommend this or comparable models to others.

    FYI: Playing on the MST Studio 4 AL N mouthpiece. I developed a small mouthpiece project beginning of 2020 and this is our euphonium offering, close to a DW 4 AL

  2. #2
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    Interesting to read your findings. It seems you got an older instrument then, since the newest line of Internationals are in fact compensating

  3. #3
    Join Date
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    Quote Originally Posted by MStarke View Post
    Most or even all of them have been compensating Yamahas which seem to be very much the standard in many cases in Germany (most borrowed from music universities).
    That seems so odd to me...especially considering how many great, European-based euph manufacturers there are. (of course, US consumers overwhelmingly chose foreign-made horns over US-made ones for decades...so I guess the customer wants what it wants.) One possibility is that Yamahas can be had for WAY cheaper in Europe, because price-fixing is illegal (the minimum price they can be sold for in the US is set by Yamaha).

    Anyways, that was an unnecessary tangent...

    Quote Originally Posted by MStarke View Post
    The Besson is a 4 valve (3 plus 1) non-compensating instrument with a standard large mouthpiece receiver, to my knowledge a bit smaller in bore and Bell than the Pro models. I know most or all pros and/or primary euphonium players play compensating horns, but I did this on purpose.
    1 It's simply cheaper - besides owning an undefined number of trombones I hesitate spending even more money on a euphonium
    2 I don't like the extra weight of compensating horns (euphonium ergonomics are anyway strange for me). Though also the BE7065 seems relatively heavy already
    3 All the compensating horns that I played before felt strange to me - I guess that is due to me being a trombonist
    4 Key advantage of the compensating mechanism is from my understanding in the low range between low F and B - which doesn't play much of a role for me. E g if I sub in a brass quintet for the tuba part, I would certainly take the bass trombone and not much standard wind orchestra Repertoire really needs this
    Can definitely understand the extra weight concerns. Seems there are more than a few folks in this community that are having to make tough decisions regarding their daily horns based, at least in large part, on the weight (given medical problems, age, etc).

    Also get that a compensating horn could feel very "stuffy" for a primary trombone player.

    Have you posted pics here yet?

    Congrats on the horn!

    Quote Originally Posted by TheJH View Post
    Interesting to read your findings. It seems you got an older instrument then, since the newest line of Internationals are in fact compensating
    Besson DOES make a current line of non-compensating student model horns...in several configurations...including 3+1, 4 inline, and I think also some 3-valve ones. Steven Mead has done a whole video series on the various ones for promotional purposes.
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  4. #4
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    Quote Originally Posted by iMav View Post
    Besson DOES make a current line of non-compensating student model horns...in several configurations...including 3+1, 4 inline, and I think also some 3-valve ones. Steven Mead has done a whole video series on the various ones for promotional purposes.
    Ah yes they do, I was merely referring to the International (7065) which iirc isn't being sold anymore, the newest International (767 I believe?) is a compensated instrument.

    That out of the way, I have actually played the 'older' 7065 International, and I can largely agree with MStarke's findings. The bell of my International was definitely 12"/305mm (measured it once), but the euph player in my band that took it over (it's a band-owned instrument) let me play it again 2 years ago and it's definitely a lot lighter in response and sound than my Sovereign, but it's still a Besson sound, if that makes sense. It also just felt like a 'smaller' or 'younger' version of the Sovereign. It was also pretty well in-tune, not amazingly but a LOT better than the iteration from the 1990s which was just... absolutely abhorrent, not a single note would be correctly in tune, and that's not an exaggeration. So yeah, good intermediate instrument without a lot of issues.
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  5. #5
    Thanks for the replies, trying to post some pictures

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  6. #6
    Quote Originally Posted by iMav View Post
    That seems so odd to me...especially considering how many great, European-based euph manufacturers there are. (of course, US consumers overwhelmingly chose foreign-made horns over US-made ones for decades...so I guess the customer wants what it wants.) One possibility is that Yamahas can be had for WAY cheaper in Europe, because price-fixing is illegal (the minimum price they can be sold for in the US is set by Yamaha).
    I can only guess here.
    Generally speaking Yamaha is quite present in Germany.
    Actually I live only 15 km away from Yamaha Music Europe (though I have never been there).

    The Yamaha euphoniums I have played in that time all belonged to either a music conservatory/university or a professional orchestra.
    So they are not totally a personal pick, but purchasing probably influenced by other preferences as well.
    Meaning that Yamaha maybe simply offers good conditions to institutions plus "You can't really go wrong with Yamaha".
    Also one of my professor's was/is a Yamaha artist.
    One last point: In Germany brass bands are not so popular (although it's developing!), so these instruments would typically be used in brass ensemble, symphony orchestra or wind orchestra. If I get the euphonium world correctly, that is at least not clear Besson territory.

    Nothing wrong with Yamaha, just not my personal favorite as said.

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