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About a year ago I bought a Cerveny ACB-601 Kaiser model 4-valve CC. The instrument looked like it should be a great playing and sounding 5/4 to 6/4 instrument much like the 5/4 Rudy Meinl CC that I used to own. When it arrived I found that while it was in nearly new physical condition it had some major playing problems: It played well above A=440, the overtone series was out of tune with itself and the low register response was flabby and unfocused. Lengthing the main slide brought it down to A=440, but didn't address the other problems. This week I found the key to solving the other problems. If you have a Cerveny Kaiser CC with a verticle-pull tuning slide and want it improved, please contact me by email or PM. It's a remarkably nice playing instrument with some modifications.

I once owned a Pig which was super high, and the 4th valve wasn't even in the neighborhood until it was pulled almost all the way out. I have no guess as to why it was built so sharp. I made extentions for the 4th valve, and a new tapered main slide crook and it made it into a really nice instrument. And playing a Helleburg brought the rest of it into tune. Go figure.

J.c.S.

Why so coy, Sam?

Don't keep us all in suspense. What is it that you figured out/do to them?

circusboy wrote:Why so coy, Sam?

Don't keep us all in suspense. What is it that you figured out/do to them?

Since as part of my work building tubas and cimbassi I offer custom work at reasonable rates to players in need of that work. And, since It takes time away from building instruments, the right materials, circumstances and muse to analyze, design and execute this type of experiment, to make the investment of time and materials that I've put into this successful experiment pay off in tangilbe ways it's best to keep this info private.

I'll be happy to schedule shop time to do this work for those interested in having their Cerveny Kaiser tubas significantly improved. Cost will run $500 to $700 which seems like a small investment to improve pitch, sound and response and have a horn that plays a lot like the Rudy Meinl 5/4. I welcome anyone interested to bring their horn by my shop and compare thiers with the horn I've improved.

So, thanks for the inquiry, but I'll keep the details to myself for the time being.

I guess I was lucky with the Cerveny CC 601-5MR I had in the mid 1990's. The intonation and tuning were darn near perfect, right out of the box. If I remember correctly, the fifth rotor valve was tuned 3/4 whole tone rather than the more conventional flat whole step, but it was an easy adjustment to the new fingerings. I really liked the fifth lever on the left side of the horn. Wish I still had that tuba--------it served well in Prokofiev, R. Strauss, Shostakovich, Bruckner, Mahler, et al.

circusboy wrote:Why so coy, Sam?

Don't keep us all in suspense. What is it that you figured out/do to them?

I once asked Matt Walters what he did to my horn. His response was something like

"you know how women have their secrets? So do I."

I have no problem with master craftsmen having trade secrets. What WOULD bother me is if a craftsman decided to take certain secrets to the grave with them. I would hope they would (at some point in their career) pass these skills to a successor or make some form of documentation for future generations.

I wonder if the intonation problems are only with the CC version, as the BBb Cerveny 701 I owned was very good for intonation and not at all 'flabby' in the low register. My only complaint playing wise was that it really sucked the air, unlike my Neptune which is surprisingly air efficient.

I can understand Sam not wanting to give details of the improvement, as he is in business, but I would think someone considering having done would want to know if it involved changing leadpipe, cutting bows, adjusting valve alignment, or whatever?