New Besson Prestige tenor horn wins in www.4barsrest.com comparison between Besson, Yamaha and York, read the article: http://www.4barsrest.com/reviews/products/inst039.asp

Besson - final test of 4v Prestige baritone  - June 18th 2008 

Leading figures from JA Musik , Besson and Buffet Crampon assembled in the factory at Geretsreid, near Munich, Germany for the final test for the new four valve baritone.
It was an excellent day and at the end of the day all new design features were agreed to be successful and the tests carried out by Steve met with his and their approval.
The first instruments should start appearing about three to four months from now and will be eagerly awaited by baritone enthusiasts everywhere.
Here is a sneak preview of what it looks like in terms of the new tubing configurations for the four valve slide and the new hand position for the left hand and four valve.

 

 

Besson Press release – 29th April 2008

Superb reaction to the new Besson 955 Sovereign Baritone

Besson is delighted at the initial responses to the new 955 Sovereign baritones, which are now in full production and quickly reaching their way to some of the finest players in the world.

After many months of planning, which involved rebuilding the instrument completely with all new parts, it seems the attention to detail which is the hallmark of the new Besson instruments has really paid off.

The 955 is the compensating three valve model, the preferred choice of the huge majority of brass band players everywhere and it’s sure that the new instrument is going to be in great demand. The very first instrument off the production line found its way this week into the hands of the master baritone player Bob Blackburn, of the reigning National Brass Band Champions, Grimethorpe Colliery. He so delighted with the instrument he will be performing with it at the European Brass Band Championships in Stavanger, Norway.

Whilst it appears very similar to the older Besson Sovereign 955, this instrument has proved to be much more responsive and resonant particularly in the higher and lower registers, and has much improved tuning. In the past several notes on the baritone were notoriously difficult, particularly middle A flat, middle D and high A. All those who have tested the new instrument including Grimethorpe, star baritonists Helen Tyler and Katrina Marzella and students at the RNCM are said to be thrilled with the improvements. The response has been overwhelmingly positive.

The new valve technology, so much a feature of all the new Besson range will be perhaps the most appreciated feature of this instrument. With its ultra fast and smooth action band players everywhere are sure to welcome the improvements they find here.

The high quality of the build and finish of the new Besson instruments has been talk the music industry since the new models began appearing, and baritone takes its rightful place alongside the euphoniums and tubas as the instrument of choice by the best in the business. The four valve baritone 956 is being completely remodelled and will be available in a few months.

Try to get your hands on one of these new baritones as soon as possible, as the demand is expected to great. Available now from all Besson dealers.

Bob Blackburn (Grimethorpe Colliery) with the new Besson 955 Sovereign Baritone (Left) & Bob Blackburn with Philippe Schwartz (L) and Michael Dodd (R) (Right)

Great new Besson Baritones are on the way

Steve reports on the latest development to the new Besson range.

Development has been underway for the new Besson baritones that will be released to the world in 2008. The 3 valve Sovereign baritone (955) has been painstakingly rebuilt with all new parts (with the high-tech new valve group) as were the highly acclaimed new Sovereign and Prestige euphoniums. This model and the Sovereign 4 valve compensating model (956) have undergone extensive testing by Steve and the British baritone virtuoso Katrina Marzella. The four valve model is now undergoing re-modelling with several brand new features to be revealed, with new slide configurations, 4th valve position and improved tuning. It is hoped this new model with be released as a Prestige baritone in 2008.

The 3 valve 955 has been declared a real winner by all those who have seen and tested it. Final testing took place in Geretsreid,Germany with the management of Buffet Crampon including new President Antoine Beaussant , Werner Duwe and from JAMusik, Gerhard Meinl and their top design team. Steve and Katrina did the playing and were able to convey their appreciation and delight at the new 955 baritone which has several notable new features. Firstly the sound is richer and fuller than its predecessor yet preserves the essential characteristics of a baritone. This fuller tone is especially noticeable in the lower and higher range. The tuning is much improved with the previously problematic notes, particularly high A and middle D, sorted once and for all ! The benefits of new Besson valve technology that have been such a winner with the new euphoniums are manifest with the new baritones too. Fast, smooth and totally reliable valve action is guaranteed.

The Besson Sovereign 955 Baritone is now in full production and it is expected the re-modelled 4 valve 966 will follow in a couple of month's time. Look out for them and if you are a baritone player, get your name on the list for one NOW !!

Photos from the recent tests

Left to right: Ferdinand Kleinschmidt, Werner Duwe, Carsten Göpf and Katrina Marzella

Even the new Buffet Crampon boss, Antoine Beaussant, tests the baritones !!

Planning for changes being made to the 4v 966 baritone

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Latest Besson update - 3 March 2007

With cornets now in full production and tenor horns and the 980,981 and 982 tubas going into full production now it is an exciting time for the new Besson range.

Reports from top players and dealers has been outstanding and confirms what those close to the production has been convinced of for a while , that the new Bessons are in a league of their own and far and away the best instruments that have ever born the name Besson. The media has been busy in setting up a battle royal between Besson and the brand being marketed as York. The simple truth is this: the quality of the instruments will be self evident to customers and dealers in the months and years to come and the best instruments will find a permanent place in the brass world. I believe in the superior technology and know-how of new Besson and having tested about 200 new euphoniums (all of the Sovereigns, 967,968 and Prestige 2052, 2051) produced so far, I am totally confident in the product.

The delay is getting the new Besson instruments into the hands of musicians has been frustrating but Buffet Crampon have been adamant that they will not compromise on quality, (their dedication to quality with their clarinets have established these instruments as world leaders) and they have no interest in producing anything but the highest standard. This means the new Bessons are worth the wait. With full production now taking place (I tested and passed 103 euphoniums on February 27,28, with not one sticking valve or bad trigger) the waiting time is sure to come down rapidly.

I get many emails from euphers asking if I can magically send them one, presumably from the secret supply I have in my garage ! Unfortunately I cannot do this but please hassle you dealer and make sure they have them on order. If they don't or don't seem to be moving quickly enough, shop around. I suggest you phone or email dealers to check availability and price.

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Rave reports on new Besson Euphoniums

Steve reports on the testing of the first two months production and reactions to the new instruments.

Having now had my own new Prestige 2052 for two months and having visited the manufacturing plant in Germany, testing the first two months production of the new euphoniums I am now able to report in detail on the quality of the new instruments that are slowly coming out on to the market. I get many hundreds of emails from musicians around the world who have questions pertaining to the new Besson, in particular availability and price. Both of these matters are not really my brief although let me answer these two points first.

Availability

There is obviously a waiting list for the new instruments, as there was a gap in production with Besson from the beginning of December 2005 to the recommencement of production proper in November 2006. During that time massive restructuring of production has happened with the new instruments benefiting from completely new state-of-the-art tooling. It was important not to rush this crucial stage as these instruments have to be excellent from the start. The back orders have built up and now we are all trying to make this good as soon as possible. November gave us 16 euphoniums, December 25 (now a complete selection of Prestige 2052/2051 and Sovereign 967/968 in both silver and lacquer) and January forecast is 70 and this will increase to over 100 per month from February. What this means is that the initial supplies will go to the dealers who have orders already in. I'm guessing that these dealers already have customers for all these orders, but not necessarily so. It would be worth immediately checking with your normal dealer to see what they have on order. You could of course check with other retailers you know to see what their position is also. Having seen at first hand the reaction to the new instruments at the places where the instruments have been on show, in particular the National Brass Band Championships in the UK (October), Belgium, Holland (November) and the MidWest Band and Orchestral Clinic in Chicago (December), my advice is that if you are intending the purchase a new Besson euphonium, place the order now !!! Talk to your dealers, some of them may not still be up to date with information, and if that is the case ask them to speak with their Buffet Crampon sales rep in whichever country you are in, to get the precise delivery dates that are showing now.

Pricing

It is proposed that the recommended retail price will be similar to the 'old' pricing for these instruments at the end of 2005, but with the probability of a small price rise over the next year. The price you actually pay is determined by your dealer and over the years the market became more and more competitive with quite substantial discounts, up to 35%, being offered by some dealers, particularly when supply was easy. The new situation will inevitably see dealers not needing, at least initially, to offer large discounts. The new instruments are truly excellent, are in demand and there is a waiting list for them. So again, talk to your dealer and see what they can offer you.

Production report

When I test a new euphonium this is what I test for:

A. Mechanics

1. Perfect build quality - with all the correct dimensions for all the parts and with the correct positioning of hand piece, angle of the mouth-pipe to the player.
2. All moving parts: e.g. valve top and bottom caps, valve slides, water keys, 4th valve clip - all fitting perfectly, neither over-loose or over-tight.
3. Valves - the valve action should be totally smooth with a fast and silent action. There should be no parts of the valve action where the pistons stick. There should be no valve bounce and the location of the spring in the centre of the rubber dampers guarantees a totally silent action
4. Trigger (Prestige only) - the action of the trigger (moving the main tuning slide) should be totally smooth, with the alignment of the trigger mechanism being totally vertical. The adjustable part should be just the right tension, neither too loose or too tight. Anything loose could possibly cause vibration at certain frequencies. Too tight and you will not be able to adjust the basic pitch quickly and easily.

B. Cosmetics

These instruments have to be as beautiful to look at as they are to listen to.

1. Finish - the instrument needs to be free of any blemishes, scratches, small dents or soldering marks.
2. The silver plating should be of a bright and even finish, and I check for places where the plating is dull. The final polish is critical too and here you can see the attention to detail that the quality brands need.
3. Lacquered instruments need quality preparation prior to lacquering and the cleanliness of the procedures is critical if a dust/hair-free finish is to be the result. Instruments have to thoroughly checked for a perfect finish.
4. Valves- these have to be removed and checked for the finish of the valve port holes. The new valves are quite simply a thing of beauty. Under the new system we have in place now, gone are the days of poor finishing to the valves that sadly we had to endure during the old days of substandard parts arriving at Croxley Green.
5. Slides - examine the finish of the slide legs.
6. Bell rim - check carefully for any blemishes in the rim solder
7. Check that all engraving (logo, brand name and serial number) is clear and deep enough
8. Inner Bell - check the visual quality inside the bell so that the silver plate /lacquerpolish goes way inside, giving a real quality finish.
9. Gold plate (Prestige only) - check the finish of the gold to ascertain it is the same colour and consistency of finish.

C. Playing

It must have the famous Besson sound - often imitated but never matched!

1. Pitch - the basic pitch range we calculate is from concert A=438 to 443. This means the length of the overall tubing needs to be precisely calculated and checked with each instrument. Although I trust my ears, I still use a tuning machine for each instrument to make sure the above parameters are met.
2. Even tone - an even rich sound from the lowest note through about 4.5 octaves. You can normally tell after one note, but its important to check , especially for the difficult notes, i.e. low concert B natural , just above the pedal Bb (pedal C for all treble clef readers!!) using all 4 valves. Also check carefully the high tones, especially around high Bb (concert pitch). Check all the open tones and then check each valve separately to check for even response, tone quality and pitch.
3. check for Flexibility, very large range of dynamics, sustained long tones.
4. I often then try out the solos I'm currently working on to get an immediate comparison with my own instrument.
5. we often try 'blind' tests in the factory where I ask several of the leading figures and technical staff to listen to me play 3 or 4 different models (with silver and lacquer finishes). Not once have any of them got the test results completely correct, which in a way pleases me as it means they all sound excellent!!!

Test Results

I would have to say that I am absolutely delighted by the new instruments. History will judge them of course, but I can confidently predict that the new Besson euphoniums will be enthusiastically received by all players the world over. They will confirm their place as the world's most famous brand of euphonium with a quality of sound, response and finish that will leave our imitators frustrated once again!

Sound quality

Now that I have had my new Prestige 2052 since the end of October, the one that was on show at London's Royal Albert Hall, and having given about 10 concerts with this instrument I can now comment accurately on the sound. The sound quality has a new dimension of richness yet the tone is still centred.

Some of the concerts, for example with Sound Inn Brass and the Brass Band of Battle Creek are with musicians who I know and whose opinions I trust. I have been delighted by the response of my fellow musicians who have commented that they like and prefer the sound of new Besson. It still 'sings' but now is had a purity of tone and a density which is new. In particular the high range, from high C upwards has an incredible feel, with centred pitches, perfect intonation and a large range of possible dynamics.

Response

Tone production is totally reliable and notes seem to speak easier at all dynamics than on the old Prestige, particularly in the mid range and upper range. We now have an even response throughout the instrument, and a variety of articulations work better and clearer, especially double and triple tonguing. On the computerized analysis an average of 20% improvement in response was noted. Here is a computerized analysis of the response tests:

The darker line shows the new instrument's improved response in relation to the instrument produced with the old tooling (what Schreiber will now call the York range!)

The instrument seems to be under less 'tension' than before and so the instrument has opened us to new response and tonal possibilities.

Tuning

I continue to be pleasantly surprised how well in tune these instruments are. It must be due to the new way that the parts have been made. The new valve group with its extra solidity of construction and perfect air tightness must be partly responsible. The need for the use of the trigger has become considerably less now. The famous F, F# and G's (concert Eb, E and F's) are virtually perfect without the use of the trigger and so its use will become less and for more specific music occasions, i.e. tuning a specific chord in an ensemble, compensating for sudden large leaps, compensating for crescendos on certain notes etc. High notes, above top C (in Bb pitch) are much more stable than ever before, noticeably so on previous 'problem' notes, C#, E. Low notes and pedal tones are firm and stable with excellent response in the 4v compensating range. All the new instruments, without exception, tested since November 2006 share these qualities

Technical/build quality

The small technical advances I mentioned in a previous article make a big difference to the satisfaction I feel about the new range.

New features include the tapered screw-on valve stem (1) which fixes the valve guide in place stops any of the previous problems of the guide loosening during use and causing the valve to stick. Also new is the snap-on ball joint (2) (Prestige only) which allows for a quick release of the main slide without any of the previous unscrewing problems and problematic location of the nylon washers. This new part is sure to impress players everywhere. The quality of the soldering, part quality, evenness of bore specifications, polishing and general attention to detail is unsurpassed in the history of Besson.

Some typical reactions to the new instruments:

"Hello Steven! An incredible instrument the NEW Prestige! I was soooo fascinated from this euphonium that it was very hard next day to play the "old" one. I'm looking forward to have the chance to play on such an excellent EUPHONIUM"

- Walter Zauner - Sound Inn Brass (Austria) , professional player and teacher

"Hi - My name is Hadley Haux from the St. Louis Brass Band, and we met Friday morning at the Midwest Clinic (at the Buffet-Crampon exhibit). Thank you very much for showing me the new Besson euphoniums. I liked the Sovereign, loved the Prestige, and I'm looking forward to owning my own in 2007. That's it. Again, it was a pleasure meeting you and finally having an opportunity to try the new Bessons."

- Hadley Haux - Band Director, USA

"Just got back from Midwest in Chicago, and the new Besson euphoniums blew me away. I had high expectations from what Steve has been saying about them on his website, and even with that, they still exceeded my every expectation. I've always loved the sound that the Besson euphs can make, I just couldn't get past some intonation flaws as well as the valve problems that frequently would occur. These new instruments (Sovereign as well as Prestige) have corrected these problems (don't even need a trigger anymore!) and the valves are BY FAR the best on the market right out of the box! It's truly amazing! The horn will sell itself, but I'm telling you, before they get so popular that they will be on "backorder", get one of these euphoniums!"

- Brandon Jones - Teacher/euphonium soloist , Kentucky USA