TromboneChat

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!

Hirsbrunner

What is your intended music style?

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.

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?

JasonDonnelly wrote: Wed Aug 13, 2025 6:29 pm I've tried two Hirsbrunners and been thoroughly unimpressed. Maybe they weren't the best examples?

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'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.

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.

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.

Good Besson Sovereigns (esp. the new 969), good Willsons (2950 especially), Sterling Virtuoso, York Eminence, and the rimless bell Hirsbrunner I tried years ago.

brassmedic wrote: Wed Aug 13, 2025 8:23 pm 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.

My prototype Kanstul 975 had an awesome low register.

Adams E3 with Sterling Silver bell

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 $$$$$$.

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.

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.

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.

I'm very happy with the XO euph I have.

ssking2b wrote: Thu Aug 28, 2025 9:54 am I'm very happy with the XO euph I have.

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…

Sorry if this is an old thread. I imagine you already made your buying decision or decided NOT to. In case you are still looking for opinions:

Besson vintage, older the better. I like the smaller 50+ year old Besson New Standard. It was a small one maybe it was 11 inch bell, it could have been a 12 inch bell. It was one with the old style "flower pot" valve caps. This was the model before the Besson Sovereign 968. This was my school owned high school horn. It was 3+1 compensating euphonium in old thick lacquer. It had a very sweet tone. I think these are known for intonation issues but I felt it was easy enough to navigate around via chops or alternate fingering and a tuner.

Yamaha YEP-321S. This was is 4-up valves and non compensating. I don't like it was much as the besson. The valves were fast, great for ripping thru Arbans as a practice horn or blending with other Yamaha players in a section. Even non compensating and its unique intonation issues from Besson, this is proof for me that i could adjust to any euphonium horn given enough practice time.

Adams E1 in sterling silver. I don't have any experience with it. but you asked for ones that are our favorite sounding. From what little I have heard on youtube, this is my favorite sounding new production horn.

If my family were to buy any of these as a SURPRISE gift at current market prices, and it showed up one day unannounced on the front porch, I would thank them, then happily pay off that month's credit card statement in full, and be done with my euphonium search for a while. But on my own volition, I wouldn't buy one just yet as I am not in the market right now. Vintage Besson is my first choice.

FWIW, Doug made me... I was going to say recently, but it isn't that recently --- made me a new taper, two in fact, to try out for my YEP321. Both of them were pretty big improvements over the G4 shank I was using but I haven't had the time to spend on euph to drill into the pros and cons of each taper (one was a + and one was a - and they were definitely distinct in how they played.

I was toying with the idea of having a large shank put on it, from the 6xx or 8xx series Yamahas, as is popular, but I have no desire to do so now. With the small shanks designed for the 321, I get the efficiency of the smaller shank size but... idk I'll conservatively say 90% of the breadth / warmth I'd get from a large shank receiver/leadpipe.

1981 Boosey and Hawkes Sovereign (Not Besson) With a few alternate fingerings played like a dream.

1981 Boosey and Hawkes Sovereign (Not Besson) With a few alternate fingerings played like a dream.

I`ve only owned 2 Euphoniums, so I`m not as well versed as some.
I had a Pre-WWI King 3 valve . Played so easy . I used a King M31 mouthpiece
and a Yamaha 321.
I did play a Cervany VFC-EP8566RS at The Tuba Exchange and LOVED IT !!!!

I have a B&H Sovereign 'round stamp' eupho. Most likely a school instrument in a former life. Dents all over it, the lacquer is mostly gone and noisy valve guides. Plays quite well with the traditional B&H sound in spite of all that.

A few years ago I bought a Shires Q41 in as new condition which I've now sold. It was lighter than the B&H. The valves were poorly machined and a bit unpredictable. It felt very 'open' from low to high however I felt that the tone was rather colourless. The intonation was quite good.

Last April, I played a borrowed B&H Imperial eupho for the ANZAC day parade. I don't know how old it was but it looked like new. Correct me if I'm wrong but I think the Imperial line was superseded by the Sovereign line in the late 70's or thereabouts. It was an incredible instrument to play. The upper register was effortless and it just sang.

I now have a Besson Sovereign which is about 5 yrs old. Very resonant - at times you can feel it vibrating in your hands. The tone is as mentioned by others - light, warm and colourful. A pleasure to play.

I have a YEP 621 (3+1, non compensating) that I like quite a bit. It's large shank, but not a huge bore. All the playability and great intonation of the 321 but stock large bore receiver (and I think a different leadpipe). Does it play in tune below the staff? Nope. But, as a trombonist, the blow is better (less stuffy than compensated horns. I've owned several), the sound blooms quicker, and I get nothing but compliments about how great it sounds. It's not a dark sound but that makes it so much easier to play. I'm not going to play rockin' brass band stuff or crazy solo rep anyway so this meets my needs better than a huge heavy compensating horn that has a perfectly even "moo" across the entire range and dynamic spectrum (while still having tuning problems). Just my 2 cents.

I haven't purchased one yet. So far I like the York for their quality of sound, but i'm still researching and hearing out opinions

BrianJohnston wrote: Fri Feb 06, 2026 12:18 pm I haven't purchased one yet. So far I like the York for their quality of sound, but i'm still researching and hearing out opinions

The Yorks are mostly very good, but they went out of business for a reason; poor longevity on the mechanics. So even if you find one where they got that part right, like one of the later builds, there is no one that make parts that fits if or when it eventually fails

NordicTrombone wrote: Fri Feb 06, 2026 12:30 pm

BrianJohnston wrote: Fri Feb 06, 2026 12:18 pm I haven't purchased one yet. So far I like the York for their quality of sound, but i'm still researching and hearing out opinions

The Yorks are mostly very good, but they went out of business for a reason; poor longevity on the mechanics. So even if you find one where they got that part right, like one of the later builds, there is no one that make parts that fits if or when it eventually fails

That's not really fair, they were sued into bankruptcy by buffet-crampon, as york had bought the besson designs and tooling when buffet-crampon bought the name. Nothing wrong with them mechanically, but yes it is hard to get parts since they've not been produced for almost 20 years.

I’m getting into this late, and you’ve probably already made your decision. As a doubler on Euphonium I’m not even close to an expert. But I know the sound I like. For me, I always liked a Willson 2900. It’s not as “woofy” as the 2950. Bessons to me were a bit bright. Yamahas are pretty consistent, but not as good as the Willson. But I will say this. I had a 2900 and absolutely loved it, until I tried a Wessex Festivo… yes, a Wessex. For a fraction of the price the Festivo has close to (not quite as good) the sound of the Willson. But… the front action valves are a big win for me. I purchased a Festivo and sold my Willson. But again, I’m a doubler… euphonium is not my primary instrument.