*NEW* Cimbasso in F


Raw brass $3,500
Lacquer $3,550

Rose brass bell $3,650
Silver-plated $3,900
(shipping $200 to anywhere in Continental USA – discounts for quantity order)

cimbasso players view

cimbasso players view

The cimbasso was originally an Italian instrument specified by Verdi and other Italian opera composers to be used as the bass voice for the brass in the orchestra instead of a tuba.  It is also used in Italian bands and is becoming increasingly popular to play film music in the recording studio, for jazz and wherever a different voice would be effective.

The cimbasso has a big trombone like sound which makes it blend well with the trombone section, rather than standing out as an individual voice like the tuba.  It is played with tuba size mouthpiece and is distinct from contrabass trombone in having valves, rather than slide.

The Wessex cimbasso listed here is in F, the same pitch as F tuba, with 5 rotary valves and 5th valve trigger (note instrument in pictures is prototype and slightly different from eventual production model). It is based on German design, but has improvements including extra bracing to make stronger in use.

This cimbasso plays superb, being easy blowing, having characteristic tone and good tuning. It is also incredible fun to play, by tuba, or trombone player.

Despite the incredible low price for this sort of instrument, the Wessex cimbasso is of high quality and feedback from professionals is that it plays just as well as the most expensive cimbasso available.

It is supplied with foambody case strong enough for flying, fitted with wheels – and with suitable shallow cup tuba mouthpiece.

Available in raw brass, lacquered yellow brass, with rose brass bell, or silver-plated finish.

After playing this cimbasso for Italian music, no use of tuba will sound right – it just makes the music complete as the composer intended

It works great to provide tonal variation in a recital and played softly without attack is good substitute for muted tuba (with much better tone).

This is an instrument, any serious orchestral tuba player will want to add to their collection.

Bore: 18.5mm
Bell: 270m
5 rotary valves with tuning trigger
Nickel leadpipe
Nickel inner and outer tuning slides
Engraved valve caps

Detachable bell section
Supplied with lightweight wheeled case and special Wessex shallow cup mouthpiece
Model: CBFR

Call Andy on 616-843-6888 or email Sales@Wessex-Tubas.com today with enquiries, or to order.

cimbasso beside Eb tuba

cimbasso beside Eb tuba

cimbasso being tried by Jonathan Hodgetts

cimbasso being tried by Jonathan Hodgetts

cimbasso trombones view

cimbasso trombones view

cimbasso cimbasso cimbasso valves

This entry was posted in -BRASS INSTRUMENTS, cimbasso, NEW MODELS!!!, Tubas and tagged , , , , . Bookmark the permalink.

2 Responses to *NEW* Cimbasso in F

  1. Sam Gnagey says:

    This cimbasso is by far the best commercially produced one that I’ve played. Andy brought it to our shop last weekend. Both another pro and myself were blown away with its sound, response and intonation. He said of the F, “This plays better than my F tuba!” It plays just as well as my F tuba.
    Sam Gnagey

  2. Paul Maybery says:

    Dear Andy and Jonathan.

    I wanted to take time to send you a few lines and glowing remarks about the new Wessex Cimbasso. It arrived last week and just visually is a most beautiful instrument. In our home we refer to it as a “a work of art.” The attention to detail and the quality of workmanship is absolutely top of the line. The rotary valves and linkage are extremely well machined and crafted, smoothly operating and so quiet. This also includes the trigger linkage on the 5th valve. All of the slides are nickel silver and are beautifully and precisely lapped for a smooth draw. The finish on mine is bright silver and is flawless – that is without a blemish. The bracing is custom sized and fitted and not the generic adjustable braces and rods found on less expensive instruments. Even each tuning slide has a reinforcement bead on the end. Something most manufactures have eliminated of late.

    Now regarding the sound of the horn: Top to bottom is a gorgeous contrabass trombone sound. Very smooth and responsive with a complex and beautiful harmonic profile. The complete register of the instrument is so easy to control without any stuffy or unstable notes. Intonation is as good as it gets and the trigger on the 1st valve makes things even better. The horn plays so well and pitch adjustment by means of the embouchure that the trigger is almost a non-issue – but it does make a few notes center more efficiently and allows for more fingering options and of course makes the low pedal G flat come right on pitch without awkward embouchure adjustment.

    I have tried several premium mouthpieces on it from deep CC/BBb s such as the Monette 94, Sidey Classic Helleberg, Wedge H2, and SG. These get a somewhat deep sound as you might imagine and with considerable “umpf” On the other hand, the more shallow “solo – style” mouthpiece such as the Monette 94F, Giddings and Webster Beltane F, Sidey MBII L, Wedge SJ Solo, and the old standby Miraphone C4 approach the bass trombone sound a little more and with a golden shimmer. All these particular mouthpieces functioned extremely well and on this instrument were very efficient. While each produces slightly different results, it is a matter of choice for the particular task at hand.

    I am very pleased with this instrument and plan to use it quite a bit in recital, and whenever there is an opportunity in chamber brass, trombone choir, symphonic band or orchestra.

    I would recommend purchasing a good stand for it to keep it up off of the floor or straddled across a chair. There are several contra bassoon stands that work perfectly. Because of the inherent shape of the cimbasso, it is very vulnerable, especially with so much stress placed at the tubing between the bell and the valve section. Stands are not cheap, but neither is this cimbasso. It would be wise to protect your investment.

    Bravo to Wessex and to Jonathan in the UK and Andy in Michigan for developing such a marvelous instrument and one that should be finding much more use in brass sections.
    I hesitate to even remark on the issue of “affordability” as this instrument stands on its own in comparison to the other choices on the market. I confess, that like many others, I felt a certain stigma regarding “imported” instruments. Not anymore.

    Thanks so much to Wessex.

    Paul Maybery
    Greater Minneapolis – Free Lance Tuba

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