Wait how long for a YamaYork? WRONG!

[Wes Krygsman]

As someone who owns a good Nirschl 6/4 York copy, I believe the Yamaha's are a bit better. Here's a summary of my thoughts, take it or leave it.

I have always had a certain sound in my head. It wasn't until trying an HB-50 that I had that sound come to fruition. That horn began my journey into the world of 6/4, and specifically after trying out a bunch of them, York copies. I find them to give the most room blanketing sound. In my best vocabulary, I can't really describe the difference between these and other horns, but I'll try. To me, if you are in a large room, when playing a York copy, the listener is surrounded by vibration and it is hard to tell exactly the source of that sound if their eyes are closed. The other 6/4's I feel create a similar sound, but a listener can point out exactly where the source is. There is my description...clear as mud of course.

I bought my Nirschl for $18,000 and for me it was worth every penny. I have practiced much more since getting this horn because I didn't want an expensive paper weight on my hands. I wanted the player (me) to play up to this horns potential. I would love to have tuba playing/teaching be most of my income one day, and having tools that allow me to create the sound I have in my head, and help me create it with a bit less effort is essential to me hitting that goal. As it has been said before, it is a tool for our trade which is creating beautiful sound.

As for the Yamayork, I have tried it/heard it at 2 separate occasions, and each time blew me away. The first was back when Chris Olka first bought his 1st one, when Yamaha NYC did their tuba day/unveiling thing with Dillon's. Hearing that tuba played by the great players there had a great effect on me. At the time I didn't play CC tuba yet and I was having trouble adjusting to the fingerings at first, but could tell it was great.

Then I had the opportunity to play it at length at ITEC 2010 in AZ. By at length, I do mean at least half an hour most days. I'm sure the Yamaha guys hated me by the end. I only had my F tuba with me, so I warmed up on it almost everyday, first thing when they opened and was usually the only one in the room while trying it(it was quiet enough to hear what I was doing). I have been playing the Nirschl for a few years now and "get" the 6/4 CC thing better so I was much better at evaluating the horn for what it is this time. It was honestly a bit easier than the Nirschl at a few things...more even response throughout range of the tuba (especially noted in the low range), the intonation was a little better, and the sound had a bit more of the blanketing quality that I attempted to describe before. Over all, yes it is better than my Nirschl.

Is it worth $35,000? I think so, and wouldn't hesitate to buy it if I had that money/if I had a full time playing position. It was in years of research and development to improve on the existing copies. When people say that Yamaha loses money on it, of course they don't just mean raw materials-wise. The man hours that were spent putting each together, and tweaking each one to meet every trial player's expectations are countless and Yamaha paid their builder/repairmen handsomely. That's where the money went, and how they don't make a profit on these.

So if I ever end up with a job performing, I wouldn't hesitate to buy the Yamayork for use as my main horn and have my Nirschl be back up (left at home for practice purposes, and traveled with so the Yamaha wouldn't get damaged in transit).

(I also really liked the Roger Bobo F tuba, YFB-821, and really can say that it's the best F I've ever tried except it's probably a little small for a large ensemble horn)

[Lew]

OK, the one question I didn't see asked was why two of them Chris? I guess it's good to have a spare if one needs service, but that still seems excessive to me. I guess if you can afford it why not, just curious.

[Mark]

OK, the one question I didn't see asked was why two of them Chris? I guess it's good to have a spare if one needs service, but that still seems excessive to me. I guess if you can afford it why not, just curious.

I'm just guessing; but I would imagine one stays at the hall and one at home. That is a lot of tuba to haul back and forth everyday.

[Alex C]

I plan to build my own CSO York copy from sheet tin and corrugated cardboard. I got the plans online for FREE and it will only cost me about $7 and some time. The plans guarantee it will look and play just like the original. However, they are based on the lesser of the two horns. But I am thinking that some zip ties and underwear elastic ought to help make up the difference. Oh, and lots of duct tape. Can't forget the duct tape. That will give it that 1930s satin finish that we all love so much. The only thing I need to make the horn complete and accurate (according to these plans) is a Flux Capacitor that is hidden behind the piston set.

Won't do you a damn bit of good without an original Helleberg mouthpiece. You might as well wait until you have one of those before you start.

[Alex C]

I plan to build my own CSO York copy from sheet tin and corrugated cardboard. I got the plans online for FREE and it will only cost me about $7 and some time. The plans guarantee it will look and play just like the original. However, they are based on the lesser of the two horns. But I am thinking that some zip ties and underwear elastic ought to help make up the difference. Oh, and lots of duct tape. Can't forget the duct tape. That will give it that 1930s satin finish that we all love so much. The only thing I need to make the horn complete and accurate (according to these plans) is a Flux Capacitor that is hidden behind the piston set.

Won't do you a damn bit of good without an original Helleberg mouthpiece. You might as well wait until you have one of those before you start.

[Chris Olka]

Yeah, but that's for the left-handed model. They give deep discounts for those!
Chris Olka
Right-Handed Yamaha Performing Artist