Favorite sounding euphoniums
- BrianJohnston
- Posts: 1165
- Joined: Jul 11, 2020
I’m looking to educate myself on the different brands and models of euphoniums as at some point I plan on buying one. Which models do you like and why, and the more descriptive the better thanks!
- Richard3rd
- Posts: 77
- Joined: Dec 12, 2020
What is your intended music style?
- RossM
- Posts: 64
- Joined: Jan 27, 2022
sound: Besson Sovereign
ease of play: Yamaha NEO 642 or Willson 2900
The wide, light sound of a sovereign is worth the extra 10% of effort to me, but if you have a more compact sound in mind you may prefer something else.
FWIW, every horn I've tried (M5050, Adams E1, both Yamahas, 2900, Prestige and Sovereign, Hirsbrunner) could've benefited from having a trigger if they didn't have one, I don't think any compensating euphonium has figured out the 6th partial tuning issue properly.
ease of play: Yamaha NEO 642 or Willson 2900
The wide, light sound of a sovereign is worth the extra 10% of effort to me, but if you have a more compact sound in mind you may prefer something else.
FWIW, every horn I've tried (M5050, Adams E1, both Yamahas, 2900, Prestige and Sovereign, Hirsbrunner) could've benefited from having a trigger if they didn't have one, I don't think any compensating euphonium has figured out the 6th partial tuning issue properly.
- JasonDonnelly
- Posts: 129
- Joined: Apr 23, 2018
I've played Bessons for most of my life, so I am biased towards them. But for me, the general sound and variety of available colors is unmatched. They also need a tuning trigger more than any other make...but thankfully Besson has by far the best trigger system out of any of the manufacturers. Sterling euphoniums are sort of in the same genre as Bessons, and really great in their own respect, but there's a lot less of them out in the wild these days. I like the Miraphone 5050 as well, though I've not spent a ton of time with one.
Yamahas (642 and 842, if you're looking for a professional compensating horn) are a very good balance of having a good sound and being easy to play. It's a narrower tone color palette, but hard to go wrong with.
Adams euphoniums are probably the easiest to play out of any brand, but the sound is not that interesting IMO and it doesn't seem to carry well. The heavier models are better in that respect - I tested an E2 with all of the heaviest possible options and quite liked it. Very good intonation, but you'll never escape the intonation issues in the middle-high register on any euphonium. Not a fan of their trigger.
Willsons seem to work best for very particular players using very particular equipment. I've never been a fan personally of the sound or playability, but they are popular with the military crowd for a reason.
I've tried two Hirsbrunners and been thoroughly unimpressed. Maybe they weren't the best examples?
Yamahas (642 and 842, if you're looking for a professional compensating horn) are a very good balance of having a good sound and being easy to play. It's a narrower tone color palette, but hard to go wrong with.
Adams euphoniums are probably the easiest to play out of any brand, but the sound is not that interesting IMO and it doesn't seem to carry well. The heavier models are better in that respect - I tested an E2 with all of the heaviest possible options and quite liked it. Very good intonation, but you'll never escape the intonation issues in the middle-high register on any euphonium. Not a fan of their trigger.
Willsons seem to work best for very particular players using very particular equipment. I've never been a fan personally of the sound or playability, but they are popular with the military crowd for a reason.
I've tried two Hirsbrunners and been thoroughly unimpressed. Maybe they weren't the best examples?
- RossM
- Posts: 64
- Joined: Jan 27, 2022
[quote="JasonDonnelly"]I've tried two Hirsbrunners and been thoroughly unimpressed. Maybe they weren't the best examples?[/quote]
I wonder if their reputation (at least in part) comes from them being so hard to find now. I've also tried two (not sure on model details) and did not enjoy them.
I wonder if their reputation (at least in part) comes from them being so hard to find now. I've also tried two (not sure on model details) and did not enjoy them.
- hyperbolica
- Posts: 3990
- Joined: Mar 23, 2018
I'm not much of a euph doubler, but I do it. I've owned a few. Willson, Wessex Dolce and Festivo (Festivo current euph), King 2280 and a Conn 24i. Of those, the Willson was a great horn to play, with great sound, but it was pretty heavy, so it wasn't something I could live with. I think I liked the 2280 best sound-wise because they offer a little more clarity than most euphs, and the tuning options are pretty good for a non-comp model. The 24i had that trigger on it, which made playing in tune less of a chore. I really own a euph mainly to keep up my valve skills.
But when it comes to practically playing one, I had to go with the Festivo, and not JUST because it is so cheap. I have some shoulder issues, so the traditional 3+1 valve position really doesn't work for me. The 4 inline down low valves gives a much more comfortable position. Festivo is one of only a couple horns offered in this config, and the other one was probably 3x the price. It took a while to be able to use my pinky for 4th valve. The compensating system allows me to play pretty well in tune without fiddling with slides or triggers. I tune it so I can use single valves for as much as possible - 3rd instead of 1&2, 4th instead of 1&3. 2&3 and 4th valve combos are still the funky ones.
Wessex problems are Wessex problems. There was an incomplete solder joint in the compensating system when I got it brand new. Also, the valves took maybe 6-8 months to break in, and there was a maintenance learning curve. So far no one has complained that it isn't a more expensive model, and do enjoy playing it. I'm not playing crazy valve-burning solos on it, but it sounds good for those few public euph gigs I do.
But when it comes to practically playing one, I had to go with the Festivo, and not JUST because it is so cheap. I have some shoulder issues, so the traditional 3+1 valve position really doesn't work for me. The 4 inline down low valves gives a much more comfortable position. Festivo is one of only a couple horns offered in this config, and the other one was probably 3x the price. It took a while to be able to use my pinky for 4th valve. The compensating system allows me to play pretty well in tune without fiddling with slides or triggers. I tune it so I can use single valves for as much as possible - 3rd instead of 1&2, 4th instead of 1&3. 2&3 and 4th valve combos are still the funky ones.
Wessex problems are Wessex problems. There was an incomplete solder joint in the compensating system when I got it brand new. Also, the valves took maybe 6-8 months to break in, and there was a maintenance learning curve. So far no one has complained that it isn't a more expensive model, and do enjoy playing it. I'm not playing crazy valve-burning solos on it, but it sounds good for those few public euph gigs I do.
- brassmedic
- Posts: 1447
- Joined: Dec 14, 2018
I'm surprised by the Hirsbrunner hate. I have never played mine without someone remarking how nice it sounds. And it's the only Euph I ever played that actually has a good low register. Easy to play, too.
- Kbiggs
- Posts: 1768
- Joined: Mar 24, 2018
I haven’t played many euphoniums—I’m currently using a borrowed Mack Brass which does the job. The euphs I’ve heard and sat next to that I’ve liked best are Hirsbrunners. Big, balanced sound that carries.
- Finetales
- Posts: 1482
- Joined: Mar 23, 2018
Good Besson Sovereigns (esp. the new 969), good Willsons (2950 especially), Sterling Virtuoso, York Eminence, and the rimless bell Hirsbrunner I tried years ago.
[quote="brassmedic"]I'm surprised by the Hirsbrunner hate. I have never played mine without someone remarking how nice it sounds. And it's the only Euph I ever played that actually has a good low register. Easy to play, too.[/quote]
My prototype Kanstul 975 had an awesome low register.
[quote="brassmedic"]I'm surprised by the Hirsbrunner hate. I have never played mine without someone remarking how nice it sounds. And it's the only Euph I ever played that actually has a good low register. Easy to play, too.[/quote]
My prototype Kanstul 975 had an awesome low register.
- dukesboneman
- Posts: 935
- Joined: Apr 02, 2018
I currently play a Yamaha 321. It was affordable,plays in tune etc….
I had the opportunity to play a couple years ago a top of the line Cervany at the Tuba Exchange..
Wow!! What a fantastic instrument. They also had a 600 series Yamaha that was equally as good.
An old friend was selling his daughter’s Besson last year. And asked for my opinion. I’d have bought it on the spot if I had the $$$$$$.
I had the opportunity to play a couple years ago a top of the line Cervany at the Tuba Exchange..
Wow!! What a fantastic instrument. They also had a 600 series Yamaha that was equally as good.
An old friend was selling his daughter’s Besson last year. And asked for my opinion. I’d have bought it on the spot if I had the $$$$$$.
- bbocaner
- Posts: 315
- Joined: Mar 26, 2018
The Adams E3 (my choice) is made with all the old Hirsbrunner tooling for the bell and main bows, so it's essentially the same design. I think it plays better than the Hirsbrunner ever did.The E1/E2 are Adams original design, with the E2 having a soldered bead and a slightly larger bell, and the E2 having heavier bracing and valve casings. The E1 and E2 are on the focused side with the E3 being a really large instrument with a wider and bigger sound.
Willson is interesting, they kind of have a sound all their own which is very consistent and maybe a little bit inflexible. It sounds really cool but it's not my thing.
Besson is mixed because English-made ones sound different than German-made ones which have slightly lighter bells. The Prestige responds differently than the Sovereign does (I kind of like the Sovereign better having owned both in the past) and they make a large bell and small bell version of both models. Essentially I like the sound but the intonation is a pain and, most importantly, the company is so difficult to work with even on getting consumables like felts and valve guides that I would never buy one again.
Willson is interesting, they kind of have a sound all their own which is very consistent and maybe a little bit inflexible. It sounds really cool but it's not my thing.
Besson is mixed because English-made ones sound different than German-made ones which have slightly lighter bells. The Prestige responds differently than the Sovereign does (I kind of like the Sovereign better having owned both in the past) and they make a large bell and small bell version of both models. Essentially I like the sound but the intonation is a pain and, most importantly, the company is so difficult to work with even on getting consumables like felts and valve guides that I would never buy one again.
- blast
- Posts: 671
- Joined: Mar 22, 2018
Pre war Boosey. Great sound and no need for a trigger. In the last 50 years they have ruined the old design and destroyed it's intonation. Pathetic.
- Lhbone
- Posts: 372
- Joined: Sep 01, 2019
Yamaha 321 does the job for me. Got one from the 80s in excellent condition for $1000 off FB market place. The right mouthpiece can really make it play big if you need it.
- atopper333
- Posts: 377
- Joined: Mar 09, 2022
[quote="ssking2b"]I'm very happy with the XO euph I have.[/quote]
I’ve just pick up euph and am using a Jupiter 470…if and when I upgrade I’ve been eyeing XO. I’ve been impressed with their build quality on trombones. One of these days…
I’ve just pick up euph and am using a Jupiter 470…if and when I upgrade I’ve been eyeing XO. I’ve been impressed with their build quality on trombones. One of these days…