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Finally took the time to review your methodology. Excellent. One thing I've wondered is...have you ever considered having someone else come along side you and do the same testing? While it is highly likely, as you mention, that they would be different, but probably follow the same tendancies...it would be fascinating to see (and, perhaps, would be a big validation of your methodology). Just food for thought!
Congrats, Randy!
So I got ahold of my local shop (Horn Guys in Pasadena) and he got me a list of the different Adams horns they had at the factory that were ready for sale. I had originally intended to just put in a custom order BUT Adams had the EXACT horn I was going to order! It’s an E2 with Gold Brass, antique finish with engraving, and polished accents (this is my favorite part). So it is already on its way and I am scheduled to pick it up on Tuesday! Thanks for giving your opinion of the horns. I will post my thoughts after I have played it.
bayoung36: I didn't mention this (directly), but it is generally assumed that a Willson player would like the E2. Its characteristics have the same advantages as a Willson (to me, anyway), but (to me anyway) has a more flexible sound and a little better response and intonation. I hope you can try one, and if you do please let me know if I'm on track!
One of the big reason I decided to switch from Yamaha to Adams was the tuning! Yamaha has a lot of partials that are super sharp, however on the Adams E1 I now have, they’re nearly perfect. Also the weight is much easier for me to maintain while playing long recitals. As my old 642S would leave me physically exhausted due to the hefty weight. They are extremely well made horns, and I cannot think of any true negatives about Adams craftsmanship. FYI:
Thank you for this timely post as I am trying my hardest to play each of the models myself! I believe I would be happy with any of the models but I do really love the valve block and design of the E2. I’m having more of a hard time figuring out if I want to go with a custom with special finishes or if I should just go for the select and call it a day. I’ve listened to you, and a couple others, play the different models and there isn’t much of a difference (via YouTube) in the sound. I used to play a Willson 2900 but I want to get an Adams now. I was sold after I bought one of their Flugelhorns, which is just an amazing horn. I attended NAMM last weekend in hopes that Adams would be there but they weren’t. I have a local-ish shop that has an E3 and I’m going to try and play it to see how it feels. Thank you again for posting your thoughts!
Thanks for your order Douglas!
Mine is on order!
Thanks for the article! Yeah, I've been subdividing beats to better understand how more complex rhythms work. It really helps to understand some of nuances and exactly what it should sound like. Problem is, this VERY slow, and by the time I "get it", we're well past those measures. This works better in concert and community band settings where we have many, many rehearsals (along with individual practice time), but doing groups like big band express where music is read on the fly, it's left me in the dust. Nothing else but to get more sight reading practice in! I've actually written a couple of pieces into MuseScore (it's free to download, and mostly intuitive to use, save for a few things you'll want to look up how to do) and played them there (if not going to YouTube for more popular parts), which gives you a definitive answer of how things are supposed to sound. However, I'll recommend that you first do your due diligence in sight reading on your own first. Else, you're just relying on tools rather than developing your own skills there. Also, your link yields a "You have arrived here because the page that you are looking for no longer exists." page, although we're still on the Woodbrass/Brasswind site. There seems to be a section for sight reading, but no mention of any article
I was hoping you would address the lubricant used for the trigger valve inserts into the horn. To be clear in the second photo, where the female black ring tube is being inserted into the male tube. I was about to use Hetman Tuning Slide Grease 8, that I use on my other tuning slides, but stopped to ask the question.
I've had an Altieri bag for about 6 years, and a leather Reunion Blues for 37. The RB zipper has been replaced once, and some of the leather piping has worn through, but the horn was never damaged. The Altieri nylon materials are thin, and I've put a big crease in my bell. The Altieri was probably half the price of the leather bag, but it had nowhere near the protection. Leather is a premium material and I tend to be careful with it, while the nylon of the Altieri is thin, cheap, but I was still careful with it so I didn't damage my horn, but it still got damaged. There are other bags out there I prefer, like Protec and Soundware.
Originally Posted by danielrehberg I have an Adams E2 and I was wondering how the fourth valve is protected in any case that isn't the Bonna that comes with the horn. Since there is nothing keeping the fourth valve down on the horn how can you put it in a gig bag without the valve getting damaged? Interesting point, I recently noticed a very slight bend in the valve stem of my 4th valve on my 5050. It did not effect playability at all. I had my repair tech fix the problem with no other issues. I suspect it was caused by the latch releasing inside the Cronkite bag on a couple of occasions. Most likely from it catching on material while removing in or out of the bag itself. So, yes, not having a valve latch could be an issue with any gig bag. I just make sure the latch has proper tension on the screw.
I've used mostly just a gig bag with my Adams horns since I got my first E1 in 2011. Until I bought the bag reviewed here I was using an Altieri, with has less padding. Never had a problem with the 4th valve, and Adams reports that there have been very few problems in general with the 4th valve (which is why they think it's OK to not have the lock on it). The Cronkhite bag has more padding. The only provision I make is to keep a cloth in the bottom of the bag, placed so the 4th valve rests on it. This is mostly to absorb any moisture that might leak from there or other places. However, I learned with my Sterling, which had a conventional 4th-valve flap/lock, that such a mechanism causes abrasion on the bag and gradually reduces the padding's cushion. The unlocked 4th valve actually does less abrading, oddly enough, probably because the edges are smoother than the flap's edges would be.
I have an Adams E2 and I was wondering how the fourth valve is protected in any case that isn't the Bonna that comes with the horn. Since there is nothing keeping the fourth valve down on the horn how can you put it in a gig bag without the valve getting damaged?
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I grew up with a Classic 4AL on an Imperial euphonium in the 70s and early 80, so it made sense to get one to go with the Sovereign I acquired when I returned to playing after 25 years of “parental leave”, but I was never truly happy with it and, after a lot of experimentation (thank the Lord for eBay!) I settled on the Heritage 4ABL - the almost sharp rim suits me much better than the heavier more rounded opening on the Classic. I inevitably got a Heritage 6BS for my baritone, which has evolved from an ancient Imperial through a JP Sterling 373 to my current Sovereign, but I find it quite tiring to play. I experimented with the Steven Mead Classic and Ultra without success, then discovered the Wick Classic 6BY, which is really intended for small shank euphoniums. Now I’m finding the rounded rim more comfortable, which is making me thing I should give the old 4AL another go on my euphonium. It’s a good job my mouthpiece cases each have 2 slots :-)
I grew up with a Classic 4AL on an Imperial euphonium in the 70s and early 80, so it made sense to get one to go with the Sovereign I acquired when I returned to playing after 25 years of “parental leave”, but I was never truly happy with it and, after a lot of experimentation (thank the Lord for eBay!) I settled on the Heritage 4ABL - the almost sharp rim suits me much better than the heavier more rounded opening on the Classic. I inevitably got a Heritage 6BS for my baritone, which has evolved from an ancient Imperial through a JP Sterling 373 to my current Sovereign, but I find it quite tiring to play. I experimented with the Steven Mead Classic and Ultra without success, then discovered the Wick Classic 6BY, which is really intended for small shank euphoniums. Now I’m finding the rounded rim more comfortable, which is making me thing I should give the old 4AL another go on my euphonium. It’s a good job my mouthpiece cases each have 2 slots :-)
Dave, Thank you for your positive review and your comments on the Sinfonico. We will certainly take your advise on the 4th valve slide being slightly shorter. We try to make Wessex instruments suit as many players as possible, so it is always better to make slides slightly shorter, if some people have problems with flat notes, as others can always pull out if they find otherwise.
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