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Hi, I'm looking for unbiased input on the new Wessex "Elgar" open wrap, compensating Eb tuba. I can't tell much from the Wessex videos because their players always sound a tad blatty in the low register, regardless of which tuba they're trying out. I'm guessing that has as much or more to do with the acoustics of the room they're playing in, as well as how they're making those brief excerpt recordings. Thanks in advance.

I've heard no Wessex demos, but (based on other demos) several manufacturers might benefit from finding better players to "demo" their various models...

...not only better, but more tasteful...

I like their demos. They are representative of how I will sound if I played on their horn.

All manufacturers should be pair demos, a seasoned pro and a community band weekend warrior back to back. Let's set realistic expectations.

I like their demos. They are representative of how I will sound if I played on their horn.

All manufacturers should be pair demos, a seasoned pro and a community band weekend warrior back to back. Let's set realistic expectations.

This tuba may still be too new to have any owners on here… But I hope I’m wrong! I’d love to hear thoughts on it too.

Yes, they need better recording equipment if they’re going to want quality demo videos of their horns.

Any musical equipment can be made to sound as if it has far less than its actual potential...

...and I'm not only referring to "tubas"...I've seen a whole bunch of unremarkable demos of instruments that I know to be remarkable.

Sax players tend to overplay and go into the super-octave squeeko wildly-sharp range, etc...

I believe they should shell out some money - rather than using salesmen or buddies who owe a favor - to do decent demos.

Fine players - who don't endorse whatever make/model being demo-ed - are not going to play non-endorsed instruments badly.
They have their OWN reputations to protect.

.

I played the 15” bell version of the Elgar at the Army Conference in February. I was surprised at how quickly I adjusted to the different 3+1 valve layout. The very low G, F, E were easily produced - very open, free blowing - and a solid sound. (I played a Besson 982 Eb comp for a number of years and always struggled with the resistance on those low notes.)

The high notes above the staff were solid, not thin sounding. Of course, the elephant room precludes using a tuner but the notes - high and low - sounded good to the ear.

I didn’t think I would like the valve layout, but it proved not to be an issue. I was surprised at how open, free blowing it was for a compensated Eb.

From the Wessex web site, it appears some have been sold, so I too look forward to info from owners.

(FYI, I currently play the Wessex Tubby non- comp Eb.)

I don't mind demos -- and a good demo could very easily cause me to try out a tuba I might not otherwise. Witness, the Hagen 494 I bought and am happy I did even though it is highly unlikely it will leave the house. A demo will show you, IF the player is a pro, what an instrument CAN do. For example, I was once good enough that I could demonstrate what a violin can sound like, and probably still good enough that i can demonstrate what a horn can sound like. On neither can I demonstrate how the instrument might limit one technically. High level violins can be quite difficult to play but most probably don't know that; people play them because of what can be gotten out of them by someone with that level of competence. High level horns, on the other hand, are easier to play than student or moderate-level instruments.

That Rochut #50 video -- I could see that the player had good technique. but I don't think he demonstrated what that tuba can sound like because, welp, he's not Chris Olka, whose demo really blew me away.

I have always bought instruments that are "way above" what I can do because I then know that I won't be limited by the instrument but only by myself.

I like to get an idea of what a tuba is going to sound like in front of an audience, and not just in some low ceiling back room. I appreciate it when they use a concert hall or recital hall, or something closer to that. I saw one video - pretty good player - that was recorded in a small practice room. WHAT'S THE POINT! We all know these tubas can go high, and then can go low. That's why we're interested in them. What I what to know further is roughly how they're going to sound where audience members are to be seated and listening.

No manufacturer and no playing demonstrator hired to do a demo is going to talk about an instrument's shortcomings, but it would be more instructive than many demos to play a make and model of instrument in a room with only very little reverb and to play some pretty songs at mezzo p to mezzo f -
OK... Harley-Davidson-oriented tuba players are going to want to hear someone bark in the low range, and the school children are going to want to hear several pitches above the staff, but whatever.

Otherwise, road trips, return policies, or prices reasonable enough to afford to pay round trip shipping if needed offer between 100% And 1,000,000% more information about a make and model.