Ah, go figure. It feels unnecessary though-like an excuse to make an already potentially stuffy instrument even stuffier with a compensating system. Anyway, thank you for the information and the kind words!
Fantastic review Samuel! Really shines on the Holst you played. I’m a little concerned about the intonation that you also mentioned, any further comments in that regard?
Thank you! The intonation of this horn is not actually bad overall, but what was surprising was a few idiosyncratic notes. I can’t remember which ones exactly (I think middle F was one) but it was a few sharp notes that I didn’t expect, at least to their respective extents. I do know that B on 2+4 is quite sharp, but that’s common for non-compensating instruments.
These are good horns. They are a little narrower in sound than say a Sovereign but I don't think it's a bad thing. The 4th valve comes in handy on 2nd baritone parts. My band has a pair of these and they still have their stock 45C2 mouthpieces. Definitely interesting that such a small mouthpiece was shipped with them. I think you'd want a 48 or 51 for a good baritone sound. The DW 6BS is also a really popular choice.
I think it makes sense for baritones to be narrower in terms of character of sound. If you want the fullest sound across the baritone-euph section, you really want each instrument to capitalize as much as possible on its unique frequencies-essentially as dark/heavy on the lows as possible in the euphs, and as bright as possible in at least the 1st baritone. That’s my school of thought, anyhow. I know in some instances one might want the baritones to blend into the euphs more. I didn’t realize the 621 was supplied with the 45C2. I figured it would be supplied with that absolutely abominable 48 that Yamaha claims is a 6-1/2AL equivalent. Size-wise, maybe, but regardless of which shank it was made with or what horn you plug it into, the 48 plays on par only with a $10 unbranded Chinese piece in my opinion. It’s odd because I think the 51 is excellent, but to me the 48 has been a complete miss ten times out of ten… But like you said, a 12C equivalent like the 45C2 is really pushing it for a professional quality baritone. The Wick 6BS and SM6 I think are indeed really nice for baritone. Those, conversely, I find to be better alternatives to the ubiquitous Bach 6-1/2AL design.
Lighter and more horn-like but still keeping the sweetness is the way to go for me. Generally backing off the gas a little and thinking about balance and blend is important for baritone players. I'm not sure if they changed it, but the mid-90s ones my band has definitely came with 45C2 mouthpieces. I don't like the 48 much either. I played a 51 recently and thought it was decent and probably a sleeper pick for baritone and trombone players. I played an SM4B on baritone when I was younger. I remember liking it a lot and felt like it gave me the ability to blend with both the horns and euphs. It's easy to navigate complex passages of music with which is absolutely essential on 1st baritone, but it also warms up nicely for 2nd baritone too.
Glad you enjoyed! I do have to vouch for the euphonium here over the baritone. In the US, at least, the baritone has become something of a novelty or specialty instrument. It’s too bad, though-I also have a soft spot for the baritone’s sound in particular situations, hence this video.
My guess would be that it’s more similar in quality to the Yamaha YBH-301. A good instrument, but not nearly as free-blowing or able to project as this one. I think Wessex has made good strides as a company in recent years, but their instruments, while competent, are still on the whole probably not on the same level as a Yamaha 6-series.
Unfortunately I’m not seeing any used ones online at the moment. I suspect this instrument is a little more niche or less-known than Yamaha’s euphoniums, but that those who do have one refuse to part with it because they’re just incredible to play.
Thanks for tuning in, everybody! Make sure to keep an eye out for another couple of reviews on MUCH older baritones… 😉
Interesting setup and great sound!
Thanks for watching, Luke!
Really happy with the microphone catching these sounds. Great work .
There are 4 valve compensating baritone horns. High end Besson, lower end Wessex. Love your channel.
Ah, go figure. It feels unnecessary though-like an excuse to make an already potentially stuffy instrument even stuffier with a compensating system. Anyway, thank you for the information and the kind words!
Great video Samuel!😊👍👏👏👏
Thanks Peter!
You're welcome!😊
Fantastic review Samuel! Really shines on the Holst you played. I’m a little concerned about the intonation that you also mentioned, any further comments in that regard?
Thank you! The intonation of this horn is not actually bad overall, but what was surprising was a few idiosyncratic notes. I can’t remember which ones exactly (I think middle F was one) but it was a few sharp notes that I didn’t expect, at least to their respective extents. I do know that B on 2+4 is quite sharp, but that’s common for non-compensating instruments.
Nice Mahler 7 opening, love the tune, too!
Thanks! Joe Alessi’s interpretation on this instrument is incredible!
These are good horns. They are a little narrower in sound than say a Sovereign but I don't think it's a bad thing. The 4th valve comes in handy on 2nd baritone parts.
My band has a pair of these and they still have their stock 45C2 mouthpieces. Definitely interesting that such a small mouthpiece was shipped with them. I think you'd want a 48 or 51 for a good baritone sound. The DW 6BS is also a really popular choice.
I think it makes sense for baritones to be narrower in terms of character of sound. If you want the fullest sound across the baritone-euph section, you really want each instrument to capitalize as much as possible on its unique frequencies-essentially as dark/heavy on the lows as possible in the euphs, and as bright as possible in at least the 1st baritone. That’s my school of thought, anyhow. I know in some instances one might want the baritones to blend into the euphs more.
I didn’t realize the 621 was supplied with the 45C2. I figured it would be supplied with that absolutely abominable 48 that Yamaha claims is a 6-1/2AL equivalent. Size-wise, maybe, but regardless of which shank it was made with or what horn you plug it into, the 48 plays on par only with a $10 unbranded Chinese piece in my opinion. It’s odd because I think the 51 is excellent, but to me the 48 has been a complete miss ten times out of ten… But like you said, a 12C equivalent like the 45C2 is really pushing it for a professional quality baritone.
The Wick 6BS and SM6 I think are indeed really nice for baritone. Those, conversely, I find to be better alternatives to the ubiquitous Bach 6-1/2AL design.
Lighter and more horn-like but still keeping the sweetness is the way to go for me. Generally backing off the gas a little and thinking about balance and blend is important for baritone players.
I'm not sure if they changed it, but the mid-90s ones my band has definitely came with 45C2 mouthpieces. I don't like the 48 much either. I played a 51 recently and thought it was decent and probably a sleeper pick for baritone and trombone players.
I played an SM4B on baritone when I was younger. I remember liking it a lot and felt like it gave me the ability to blend with both the horns and euphs. It's easy to navigate complex passages of music with which is absolutely essential on 1st baritone, but it also warms up nicely for 2nd baritone too.
God i love Mahler. Thanks for the video. I really want to get a baritone (i only play trumpet, and badly), just love its tone.
Glad you enjoyed! I do have to vouch for the euphonium here over the baritone. In the US, at least, the baritone has become something of a novelty or specialty instrument. It’s too bad, though-I also have a soft spot for the baritone’s sound in particular situations, hence this video.
@@SamuelPlaysBrass over here you pretty much only see one in military bands.
Nice video!
Thanks man!
i used to play an alto horn before i got tuba
it was a three valve one too
Alto to tuba? That’s odd. Did you then progress to an Eb tuba or did you have to switch to BBb and learn a new pitch?
Question: where can I purchase the mouthpiece shelf thingy you have your mouthpieces on?
It’s just an ordinary spool rack, so probably most hardware or home goods stores!
Nice video
Thanks!
Do you know if the wessex-tubas baritone, BR144P would be as good as this one?
My guess would be that it’s more similar in quality to the Yamaha YBH-301. A good instrument, but not nearly as free-blowing or able to project as this one. I think Wessex has made good strides as a company in recent years, but their instruments, while competent, are still on the whole probably not on the same level as a Yamaha 6-series.
Where can I find one to buy one of these used?
Unfortunately I’m not seeing any used ones online at the moment. I suspect this instrument is a little more niche or less-known than Yamaha’s euphoniums, but that those who do have one refuse to part with it because they’re just incredible to play.