NAMM Show Report 2025
I’ve already done it once before, so doing a post-NAMM write-up is basically a sacred tradition now. So, here’s a comprehensive summary of all the horns I tried at NAMM 2025. I didn’t get to everything, but I got to quite a lot. Also, there were plenty of horns that were there last time that I didn’t try again, so for those instruments check out the 2023 write-up linked three sentences ago. This mainly concerns the Shires alto and tenor trombones, but there are other things too. Anyway, let’s dive in!
Adams
Adams always has a nice booth at NAMM, and this year was no exception. Overall, my impressions were: flugels spectacular, trumpets good, tubas excellent, euphs very good, trombones meh. They had examples of 6 different flugelhorn models: F1, F2, F3, F4, F5, and Sonic. They were all fabulous, including the Sonic which felt and sounded pretty much the same as the fancy F-series models. My favorite was the F2, followed by the F3 and the Sonic. The F2 had that super dark, fluffy sound that I seek in a flugelhorn, and was so satisfying to play. The euphoniums were very good as usual, just not as good as the Yamahas or Bessons for my tastes. There were at least a dozen different trumpet and cornet models there, and I only tried a few of them. They were all good instruments, nothing that blew me away but very solid. My favorite was the Trent Austin Coppernicus, which was a great player and extra fun with my mega-deep ACB FX mouthpiece. The trombones (an alto and a couple large bore tenors) were decent players but nothing special, though I felt the TB1 with sterling bell stood out. The Adams Solo F tuba was exceptionally easy to play - possibly the most effortless tuba I’ve ever played. It just reads your mind and does exactly what you want. The 4/4 C tuba was also good, but nowhere near the level of ease as the Solo F. And of course, the Adams instruments (especially the euphoniums) were some of the coolest-looking at the show.
Buffet Crampon
The big draw for me here was the Besson euphoniums, which are always some of the best in the show. This year there were four compensating euphs: a 967 Sovereign, 969 Sovereign, 2052 Prestige, and 767 International. They were all excellent instruments, including the 767 which I actually liked more than the Prestige, which my least favorite of the four (but not by much). The 967 was the second best, and the winner was the 969. The 969 is (I think) a new model that has an interesting feature: the mouthpiece receiver is threaded and you can screw/unscrew it by hand, allowing you to choose between the small and large shank receivers that come with the instrument. I’m not really sure why that was necessary, but it’s done very elegantly and doesn’t affect how the horn plays. And boy does it play…I only had to play 3 notes on the 969 to know that it was the best euphonium in the show. It had that Besson magic that only the best Bessons get, which is enchanting to play and to hear.
Courtois had a quartet of trombones there, similar to previous years. Two years ago they brought along an all-yellow 551 New Yorker bass trombone which I didn’t like, while this year the 551 had a rose brass screw bell and I liked it very much. Great player, big colorful sound, easy - everything you want. I believe the two large tenors I tried were the Creation Florida and Creation Paris. They were both very good, especially the Creation Paris. I didn’t try the fourth trombone at this stand, which I think was a Mezzo 260 or 280. There were also a handful of Courtois trumpets in one corner, including the new Courtois T.O.M.A. Bb trumpet with a 4th quarter-tone valve. That was one of the more interesting horns I got to try, and a solid trumpet too! It would take me awhile to get used to using the quarter-tone valve, but it was very cool to get to try one.
There were also a handful of Hans Hoyer horns. I only briefly stopped to try the nickel Kruspe, as I had tried all of these models last time. The Kruspe was a nice player with no issues, but it didn’t stand up to the Yamahas or Paxmans. Finally, I played a couple of B&S trumpets and a B&S 3145 Challenger I flugelhorn, none of which really stood out but were all good instruments nonetheless.
Conn-Selmer
The Conn-Selmer booth was mostly the same as it was 2 years ago. I only stopped by to play a few of the instruments there, as most were repeats from two years ago. The Bach A47BO large tenor trombone was fine, but nothing exceptional. The King 3B played like a 3B should, but unlike in previous years I noticed that it was definitely not as good in the upper register as my vintage 3Bs. What initially looked like the Kruspe-wrap Conn 6D double horn turned out to be a new intermediate model (CHR401) which appeared to be based on the 6D, but made cheaper and designed for school use. It was pretty good, but definitely a step below the 6D (which I liked a lot when I tried it 2 years ago).
The biggest disappointment of the Conn-Selmer booth were the new KMP611 and KMH611 marching mellophones. The KMP611 is the newest model in the King 1120 line, and it does have nicer ergonomics than my 1120 or 1121. But it just didn’t play as well, especially in the high range where it was uncentered and hard to play above high C. As for the KMH611, I hate to say it but my prediction that this would be awful turned out to be correct. The KMH611 is just a KMP611 with a French horn leadpipe/receiver, and it was terrible. In fact, it sounded a lot like the Getzen frumpet, which is the worst indictment an instrument can get. It makes sense too, as the frumpet’s whole reason for terribleness was using a French horn mouthpiece/leadpipe on an instrument whose tapers aren’t meant for that, and the KMH611 is the exact same formula. I can heartily recommend that you avoid the KMH611 at all costs.
There was also a British-style alto horn, baritone horn, and a couple of compensating euphoniums next to the mellophones. These I gather are for the European market and are not sold in the US. I only tried the alto horn, but it was a solid instrument. A nice player with a nice sound, no complaints.
The highlights of the Conn-Selmer booth were the Bach C trumpets that I tried, all of which were fantastic. I don’t usually get along with Bach Bb trumpets, but the Cs make me understand why they became the gold orchestral standard. They have “the sound” and play great. I tried three models: the C190SL292F (New York model), C190SL238VF (Tine Thing Helseth model), and C190SL229C (Chicago model). I would rank them New York > Chicago > Tine Thing Helseth, but by very slim margins. The NY model had the best sound and feel out of the three for my preferences.
Eastman/Shires/Willson
As always, Eastman came with a huge booth and tons of instruments. Many were the same ones as before, so I didn’t try most of them. But I still tried a lot!
I started with the euphoniums, of which there were five. There was a Shires Q41, Willson 2900TA, Willson 2950TA, Willson Q90, and Willson A27. The first three were there last time, while the last two are new models. Last time I thought the Q41 was better than either of the Willsons…this time I felt that the Q41, 2900TA, 2950TA, and Q90 were all on the same level. I think they brought better Willsons this time around, as the examples last time were uncharacteristically disappointing to me. The 2900TA and 2950TA this time were back to what I expect those two models to play like, and it was hard to compare them to the Q41, which goes a different way than the Willson huge/dark thing but feels similar. The Q90 meanwhile played just like the 2900TA, and in fact it was hard to tell exactly what the point of that model is. Overall, those four euphoniums are so close that it’s hard to determine which one is the “best”, but if it were my money I think I would end up with the Q41.
I didn’t bring up the Willson A27 at all just then because it is very different then all of those. It is a more affordable instrument intended more for students (as is everything in the Eastman/Shires/Willson A-series), it has a small shank, and most interestingly is 3-valve compensating. 3-valve compensating is a common configuration on certain British brass band instruments, especially baritone horns, and there have been plenty of professional-level 3-valve compensating euphoniums in the past. It’s arguably the best valve system for situations where you don’t need the extra low notes the 4th valve provides, and I think it’s a great idea to use it on a more affordable instrument. And the result of Willson’s efforts? I have to say, I actually liked the A27 better than any of the other Willson or Shires euphoniums. It was so easy to play and had a lovely sweet sound with more character than the big 4-valve compensators. Truth be told, I’d love to own one!
Moving on to Shires, I tried a couple of the bass trombones there. The George Curran model was fabulous as always - in fact, I think the one there this time was the best example of the model I’ve played. It was incredibly easy to play, especially down low (thank you axials!), and with a great dense sound with more character than I expect from the average Shires bass. Close by was the Vintage Elkhart bass trombone (model STBBVE), something I didn’t know they offered. It might be a new model? Either way, it had rotors and a red brass bell. It was definitely a nice player as all Shires are, but it ended up more like what I expect from modern Shires - easy to play but with a boring sound. Even with that red Conn-style bell, I really didn’t experience anything like what I experience playing a vintage 62H. A good horn regardless, but I was actually surprised when I read the model description after I played it.
I also briefly tried the Shires Rejano large tenor again, just to see if it’s as good as I remember. Yep…it’s still amazing. Easily the best tenor trombone they make, IMO.
There were also two models of Shires flugelhorn (Solo and Vintage Paris) there, which I learned they just started making. They were nice players, but I wasn’t convinced by the sound (though I am VERY picky with flugels). Above the flugels was a Shires Q15S Eb trumpet, which was really spectacular. Wonderful sound and so easy to play, in a way that that even the Schilke Eb wasn’t. Next to that was a Shires 4S8-S C trumpet, which was also excellent. I also randomly picked up a Shires AZ-S Bb trumpet, and was extremely impressed by that horn as well. Once again, it was extremely easy to play and sounded great.
Opus/Valkyrie
Opus Musical Instruments (which also brands itself as Valkyrie at their NAMM booth for some reason) is on the face of it just another Jinbao retailer, but like ZO it has far more good and interesting models than most. This year was no exception, with the highlight being their 900SBSM satin-silver marching euphonium. This instrument seems to be a clone of the Yamaha YEP202M, and I have no experience with that model (but have read universally bad reviews of it), but this one played GREAT. Big euphonium sound, great response, and lots of fun to play. A few friends tried it and they were all very surprised with how good it was, along with the Opus marching baritone (also a Yamaha clone) which I didn’t try. Plus, with the satin silver finish on all but the inside of the bell (akin to many early-20th century instruments, including the 1930 Conn 8E ballad horn I used to own), it’s more interesting to look at than most marching euphoniums.
Opus also brought something I’ve never seen (or played) in person: a normaphone. I didn’t catch what they called it, but a normaphone is a trumpet (or valve trombone, if a tenor normaphone) shaped like a saxophone. The Opus normaphone was a good player and definitely fun, but actually pretty hard to play due to the totally alien balance and grip. Still, it’s a great novelty and I enjoyed both playing it myself and watching my friends play it.
Opus had two models of British-style alto horn there, and both played well but the higher-end model was really excellent. They also had a valve trombone in C, this time in silver plate, which was also an excellent player. I learned both of these things last time, but it was nice to see that these were different examples of the models and still excellent players. Something about how Opus gets their horns from China makes them stand out from other brands selling the same models. John Packer, ZO, and Wessex seem to be the only other brands to get the most out of their Jinbao instruments. Opus is also based in Santa Ana, California, so I could easily drive down there and pick a horn up directly from the warehouse. It’s a great option to have!
ZO
Speaking of ZO, they were back with a big booth like last time. Many of the same instruments were there, so I’ll go through the highlights. The plastic instruments look like they’ve had an evolution since last time; they look much better, with a nice matte finish instead of just normal plastic or fake-metallic. It looks great, and the good models play great. Last time the highlights for me were the small bore King-style trombone and the double horn, and this year was the same. The trombone in particular was really excellent, enough that I would consider it one of the best small bores at the show. And it’s only $100! One of my friends took one home with him, and it made me kind of wish that I did.
The Alexander 103 clone (which I tried last time and loved) they had was not as good as the one they had last time, but it was still pretty good. And of course, the rotary travel tubas/euph/baritone were exceptional as they always are. I particularly enjoyed the little baritone this year.
One final standout was a model that I didn’t try last time, if it had even been there. It was the ZTB-2000 student model tenor trombone, which on the face of it just looks like any other student horn. But I was very surprised - it played extremely well! Between this and the plastic trombone, ZO legitimately beat out a lot of the expensive small bores at the show.
Packer/Rath/Taylor
John Packer was back, but this time they also brought some Rath trombones and Taylor trumpets along for the ride. I’ll start with the bass trombones - they had a JP Rath 333, Rath R900, all-yellow Rath R9 with Hagmanns, and an all-yellow Rath R9DST (DST = dependent, tuning in slide) with Hagmanns. The JP 333 was the surprise of the bunch - I preferred it to the R900 and R9! Because it’s a lighter instrument with a rose bell, it had a great punchy commercial sound that the others didn’t, while still being an excellent player in all respects. I was very impressed! This isn’t to say the R900 and R9 were bad either - both were great bass trombones, but to me they just didn’t sound as interesting as the JP 333. But the best of the bunch was the R9DST - it had a wonderful character and vibrance to the sound and feel that the others lacked. I don’t play dependent valves and it was hard to get used to, but I learned what I needed to. I think tuning in slide might be the secret to unlocking the most potential out of the Rath bass trombones, as that R9DST was really a cut above.
They also had an R6, Rath’s newest model large bore tenor. In the past, the R4Fs I’ve played never really grabbed me, but this R6 was a fantastic instrument. Easy to play, lovely sound, nice ergonomics…I would happily use this as my main large tenor. Next to the R6 was a beautiful nickel-belled R3F (.525”) with Hagmann that I adored. It was definitely my favorite medium bore in the show, not that there were many. I’m also convinced that there is something special about Rath’s nickel bells, as every Rath I’ve played with one has really stood out.
I also tried the JP Rath 236 alto trombone, which is a popular instrument for those looking for a good but affordable alto. It has lots of rave reviews, and…I didn’t really agree. I thought it was ok at best. But I’m also biased, as I have a wonderful Conn 36H.
Finally, I spent some time on th Taylor Phat Boy and Phat Puppy flugelhorns. The Phat Puppy was a lovely little horn, with a pocket trumpet-style grip (which I’m a fan of) and dimensions but still a big flugelhorn sound. But it wasn’t quite dark enough for my liking, which is where the Phat Boy comes in. This was one of the best flugels I’ve ever played, with a buttery sound and perfect valves. I would put it at a tie with the Adams F2 for my favorite flugel at the show - they are similar enough in feel, sound, and quality that it feels impossible to call one “better” than the other.
Paxman
Paxman brought along the same models of double horn as last year, and my conclusion was the same: the model 20 is my favorite. It’s a lovely player with an effortless high range. They also had a triple horn, which was a great player. I am not the biggest fan of triples, as the two thumb valves are awkward to play and the few triples I’ve played didn’t have the most convincing high F side. This Paxman was no different, but it was a more comfortable grip than most.
The big highlight of the Paxman booth was the double Wagner tuba, which wasn’t there last time. It had been a long time since I played a Wagner tuba, and the only ones I’d played previously were a pair of old Alexanders. This Paxman was in a different league - very easy to play, with an enormous sound that really made the difference between horn and Wagner tuba abundantly clear. What a treat!
Schilke/Greenhoe
I didn’t play too many instruments at this booth. I tried an independent Greenhoe bass trombone that was very good, a large tenor that was pretty good, and a small tenor that was good. I spent more time on the Schilke trumpet side. The XA1 cornet (with copper bell) was a really excellent player with a sweet sound. It definitely had a brighter, more American sound than the dark British sound I like, but it was a lovely sound nonetheless and it was so satisfying to play. The Bb, C, Eb, and G trumpets I played all played like a Schilke should - easy, great characterful sound, addicting to play. My favorite was the G trumpet, which was a fabulous little horn. Finally, while the two Schilke flugelhorns were very nice, they played brighter than I like from a flugelhorn.
Yamaha
Going to the Yamaha booth close to last is always fun because you think you’ve experienced the best in the show and then Yamaha proves you wrong. This year was DEFINITELY no exception in that regard.
I started with the trumpets, spending most of the time on the new professional BR models that replace all the nickel trim with brass. There were two YTR-9335NYS-BR-III (Bb New York model) next to each other, one lacquered and one silver plated. Interestingly, they played differently, with the lacquered horn being the preferred choice between myself and my trumpeter friends that were there with me. But, both of them were just fabulous players in every way - better than any other Bb I had tried at the show. I also spent some time on the 8335IIS, 8345RS, and 8310ZII Bbs, all of which were similarly fantastic. As for the C trumpets, there were 2 YTR-9445CHS-BR-III, again one lacquered and one silver. This time, the unanimous opinion was that the lacquered one felt a little better, while the silver one sounded a little better. But once again, both were the best Cs in the show, though I would put the Bach New York model pretty close.
Next I tried the two flugelhorns they had on hand: a YFH-8310ZII (Bobby Shew model) and a YFH-8315IIG (Wayne Bergeron model). Between the two I preferred the 8315, but they both caused me to have a bit of a crisis. You see, I really love a big, dark, velvety flugelhorn sound. Anything trumpet-like is not my bag. My Couesnon flugelhorn, while not having a big sound, has a very special dark sound that has gobs of character and is 0% trumpet. Most of the flugelhorns at NAMM didn’t get where I wanted from a sound perspective, except for the Adams F2, Adams F3, and Taylor Phat Boy. And these Yamahas didn’t either. They had a compact sound brighter than many. And yet…I could not stop playing them. Part of that was just because of how absurdly easy they were to play, in a way that you just do not expect from a flugelhorn. They are the easiest flugelhorns I’ve ever played, and they provide absolutely no obstacle to doing exactly what you want to do on the horn. And the sound, while not big or the darkest, just grabbed me and didn’t let go. It’s a very commercial flugelhorn sound, like you hear in a big band section or from the Jerry Hey horns. But unlike all of the other brighter flugelhorns in the show that just left me wanting more, the Yamahas convinced me that this sound was correct and complete, not missing anything and not “less than”. It was a sound that I could use and even desire. No small feat!
I didn’t try most of the trombones, because generally trombones are the area where, for my tastes, Yamaha misses. But I tried two. First of all, the YBL-835D bass trombone. I tried the 835 (no D) last time when it had just come out, and I was very unimpressed. That horn felt pretty much the same as the outgoing 830, which is an instrument I have a ton of experience with and really dislike. But I had heard from friends that the 835D (D = screw bell) was a totally different animal, so I was excited when I saw that that’s the model Yamaha brought this year. And…yeah, the difference is night and day. The 835D was one of the best (if not THE best) bass trombones in the show, and pretty far up there among all the bass trombones I’ve ever played. It was completely spectacular, and I would gladly play one as my main bass trombone. The other trombone I played was the YSL-882 (closed wrap), which is my favorite Yamaha trombone by far (well, no longer “by far” now that I’ve tried the 835D!). I’ve tried it on many occasions, and each time it’s been complete magic. There is something to that model that any other Yamaha tenor trombone model just…doesn’t have. I actively dislike every other model, but the 882 specifically has something really special going on. I actually talked about that with the Yamaha rep there, and he agreed. Well, I played the 882 again, and I can confirm it is still magic. It was the best large tenor at the show, and it’s not close. This is compared to truly exceptional large tenors like the Shires Rejano, Y-Fort YSL-763, and Rath R6. None compare to the 882.
Next I went to the horns, and the hits didn’t stop coming. In addition to the YHR-871D and 671D Geyer-wrap horns that were there last year (that are excellent), they also had two new Kruspe-wrap models: the 672N and 872ND. The 672N replaces the long-serving 668NII, which is a lovely horn that plays amazingly well but has always had a bit more boring of a sound than other good Kruspes. The 672 rectifies that, adding great 8D-like character to the sound while playing even better than the 668. This horn is already a revelation, but the 872ND is a really special instrument. It is extremely easy to play, like any other top-of-the-line Yamaha horn, but it sounds like a great Elkhart 8D. I was shocked. It has ALL of the character and ALL of the charm, with NONE of the quirks or difficulties. It is a revelation, and is one of the best horns I’ve ever played.
I also briefly tried the YEP-642TSII just because I knew I would love it like every previous time, and I was right. One of the best euphoniums in the show, which is a surprise to nobody. Finally, I tried the YCB-623S 4/4 York-style C tuba. It was a good instrument, but just too big for me. It really felt more like a 5/4 to me, and big tubas are not something I enjoy playing at all. Still, it was nice to get to play it.
Y-Fort
Now that I’ve owned my Y-Fort YSL-763L tenor trombone (which I bought straight from their NAMM booth two years ago), I have more interest in the company than most. It was lovely to go back to the booth and be instantly recognized by all the Y-Fort people - they even remembered which horns I tried and didn’t try two years ago! Since I bought my Y-Fort, a few more people in southern California have bought one, especially thanks to Raymond Music in Santa Barbara, which now stocks them. I was curious to try the whole Y-Fort trombone line again after having lived with mine for almost 2 years, and the instruments they had there did not disappoint. Even the YSL-363GL, the cheapest large bore at around $1k new, played great. It wasn’t quite as easy to play or with quite as nice of a sound as the flagship YSL-763, but it wasn’t far off. Plus, with the nickel slide, the 363 in particular had a different character of sound than the others. The student-model YSL-260GL, which has a .525” bore and resembles an older Jupiter, played better than I remember. It was a great instrument! Tons of fun to play, very easy, and zippy without being brash. I definitely wouldn’t say no to one of these, especially at only about $800 new!
I also tried several of their trumpets, which I loved last time and loved again this time. All were very easy to play, and while by no means the best trumpets in the show or close to it, were all excellent instruments.
Other Brands
As usual, there were lots of other Chinese brands, most of which (maybe even all of which) were the same ones as last time. As such, I didn’t really feel the need to play their instruments, as I already know what those models play like, including from those specific brands. The one standout that I did play was a very unique compensating euphonium by Hunter that put the 4th valve in between the 3rd valve slide and the main bow, not behind the bow like every other euphonium does. It also had a main tuning slide trigger that was placed on the inside of the 3rd valve slide instead of in between the two tubes. I was very curious how this setup would feel ergonomically, so I tried it. While this unique left-hand setup did work, it wasn’t really any more comfortable than the usual setup, just different. The euphonium itself wasn’t anything notable either, but I’m still glad that it’s an original design and not a clone, and dares to think outside the box.
There was also a brand called Tianjin Master Import & Export Co. Ltd., whose booth was to the left of Y-Fort’s. They had a small tenor trombone with a very unique dark purplish lacquer that played great. My best guess from the brand’s website is that this is the TB-600LS with a special finish. It was very easy to play (especially up high) and made a nice sound. Their large bore tenor with F, which I would guess is the TB-686F based on the models shown on their website, was also very good and very easy to play. The F wrap looks suspiciously similar to the JP Rath 332O, so I’m wondering if it’s the same instrument. Either way, I was very impressed with both of these trombones.
Rankings
If you’d rather a TL;DR or just a nice summary of my findings, here’s a ranking of each instrument type from what I tried. Obviously, this is all just my opinion and how I play, and your mileage may vary.
French horns:
Yamaha YHR-872ND
Yamaha YHR-672N
Paxman double Wagner tuba
Paxman 20
Yamaha YHR-871D
Bb trumpets:
Yamaha YTR-9335NYS-BR-III (lacquer)
Yamaha YTR-9335NYS-BR-III (silver)
Yamaha YTR-8310ZII
Yamaha YTR-8345RS
Yamaha YTR-8335IIS
Shires AZ-S
Schilke M bore (don’t remember the model)
Adams Trent Austin Coppernicus
Adams A1 v2
Courtois T.O.M.A.
C trumpets:
Yamaha YTR-9445CHS-BR-III (silver and lacquer equal)
Bach New York (C190SL229F)
Bach Chicago (C190SL229C)
Bach Tine Thing Helseth (C190SL238VF)
Shires 4S8-S
Eb trumpets:
Shires Q15S
Schilke E3L
Y-Fort YTR-742
Cornets:
Schilke XA1
Adams CN2
Adams CN1
Flugelhorns:
Adams F2 Selected (gold brass bell)
Taylor Phat Boy
Adams F3 Selected (yellow brass bell)
Yamaha YFH-8315IIG
Adams Sonic
Taylor Phat Puppy
Yamaha YFH-8310ZII
Alto Horns:
Opus top model (Besson style)
Conn
Opus lower model (Yamaha 203 style)
Mellophones:
Opus King clone
there were no other good mellophones :(
Alto Trombones:
there were no good alto trombones (though I’m sure if I had tried it again, the Shires Q alto would have won)
Small Tenor Trombones:
Two out of the three Rath small tenors there, one with a nickel bell and one with a yellow bell. There were no labels showing which models they were
Opus C valve trombone
ZO ZTB-2000
ZO Next Generation plastic trombone
Tianjin Master TB-600LS
King 3B
Medium Tenor Trombones:
Rath R3F (nickel bell, Hagmann)
Y-Fort YSL-263GL
Large Tenor Trombones:
Yamaha YSL-882
Shires Rejano
Rath R6
Y-Fort YSL-763L
Courtois Creation Paris
Courtois Creation Florida
Y-Fort YSL-363GL
Tianjin Master TB-686F
Y-Fort YSL-563L
Bach A47BO
Bass Trombones:
Yamaha YSL-835D
Shires Curran
Courtois 551
Rath R9DST
JP Rath 333
Shires Vintage Elkhart
Rath R9
Rath R900
Baritones:
ZO ZBH-800L (it’s the only baritone I tried, but it was fantastic as expected)
Euphoniums:
Besson 969 Sovereign
Yamaha YEP-642TSII
Willson A47
Besson 967 Sovereign
Besson 767 International
Shires Q41
Besson 2052 Prestige
Willson 2950TA = Willson 2900TA = Willson Q90
ZO ZEU-800L
Opus 900SBSM
Tubas:
Adams Solo F
ZO ZTU-F800L
Adams 4/4 C
Yamaha YCB-623S
Best in Show:
Yamaha YHR-872ND double horn
Yamaha YSL-882 tenor trombone
Besson 969 Sovereign euphonium
Yamaha YBL-835D bass trombone
Worst in Show: King KMH611 marching mellophone/horn
