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I got a message from Lee yesterday describing the first prototype of his custom CC tuba. What began as a Getzen G50 has now been modified and refined to become a potent, robust, yet agile tuba. This model is a four valve and one with a fifth rotor is on the horizon. Lee had it out for a dress rehearsal and concert recently and he was blown away by the horn's intonation and evenness of response. Another player commented on the improved characteristics as compared to the original. The pictures he furnished show a raw brass instrument that has only been polished and bright dipped. There may be some more slight adjustments but the initial product is fantastic. I can't wait to get one to try. There is no timeline for the five-valve version to be completed nor for this horn to be ready for sale. If you're in eastern Iowa, drop by and test it. And let us know what you think. And if you have any questions about the horn, give Lee a call or drop him a message.

Without divulging any of Lee's secrets as to how it was done, what parts of the tuba have been altered? It looks very much like a Getzen 50. As I remember the one Getzen that I played, years ago as the Canadian Brass Model, it was already quite as you have described this one.

hbcrandy wrote:Without divulging any of Lee's secrets as to how it was done, what parts of the tuba have been altered? It looks very much like a Getzen 50. As I remember the one Getzen that I played, years ago as the Canadian Brass Model, it was already quite as you have described this one.

Even if the parts are not significantly altered... just properly fitting each joint and paying double attention to craftsmanship can make a tremendous difference in how a horn plays. I'm just guessing that Lee's attention to detail is enough to be qualified as 'the secret'.

Dan, you nailed it. There's no magic or secret sauce that Lee used, just attention to detail and taking the time to make sure all the tubes are round prior to assembly. He said most tuba players wouldn't believe how out of round their leadpipes are and how much that contributes to quirks in response and intonation. He also moved some braces around to achieve a more even response, and to ensure horn to horn consistency.

The G50 was a great horn to start with and the goal of this project was to take extra time in material prep and assembly, moving the fifth valve out of the leadpipe to a location after the valve block, to offer player-specific positioning option prior to finish prep, and finish options (raw, lacquer, bright silver, satin silver with bright trim).

chhite wrote:... and how much that contributes to quirks in response and intonation.

Really? That would suggest that even the smallest dent would be catastrophic.

If it doesn't have a flat fifth, sharp fourth, and a hyper second partial C it'll be several BIG steps forward from a 56J

I couldn't help but notice how similar this looks to a King 2341 (new style). Could this be the CC version of the well liked & well respected 2341?

Looks good, and made in the USA!

Any chance of a rotary version?

tuben wrote:

chhite wrote:....the initial product is fantastic. I can't wait to get one to try.

Gonna be that guy.

How can you say the product is fantastic if you have not tried one yourself?

(This is no commentary about Lee's work.)

I can say that because I was repeating Lee's words and I trust him implicitly for more than just tubas. So you can be done being "that guy" and keep the attempts of wittiness to a minimum. I was simply passing on news from Lee about his horn that others may find interesting. He's been very busy lately and wanted to get the word out that a prototype is finally ready. I believe most inferred from my thread that these were Lee's impressions and that I, like everyone else, will have to wait a bit to try one, unless they take a trip to Iowa.

Defense complete.

Hi-
Last I heard, these horns were going to sell in the range of $18,000--is that still the case?
Thanks-
Mark

I don't know Lee's thoughts on price point and I suspect he'll have a better idea of time and material requirements once the first one is completed, including finish. This is also where custom options could (should) cause a price increase. I'll let Lee handle that portion.

There is a reason why this tuba, the King 2341 and Conn 56J all resemble each other. The 56J was a factory-cut of the King, and the King 2341, like the Getzen, were patterned after the York tubas. The Getzen G-50 was basically a York model 33 cut to CC, and outfitted with a copy of an old Reynolds valveset. F. A. Reynolds apprenticed at J.W. York & Sons, then worked for H.N. White (King) before making his own line of instruments. York never made a model 33-sized instrument with front pistons, but F. A. Reynolds did make a valveset that size. Most of the Reynolds instruments were made in Cleveland, so it makes sense that some King parts might fit. I was curious about that several months ago, and tried King old-style top caps on a Getzen valve casing, and they do work. I have thought that if someone wanted a really vintage H.N. White-looking CC that plays very well, I can have a reproduction engraving put on the bell, outfit it with King external valve parts (the actual Getzen pistons are quite a bit better, so I would always use them), and one could have the H.N White CC that never was made.

I'm pretty sure that these will be the first tubas made in Iowa, but hey, this was William Bell's home State, and I think he would approve.

Lee Stofer wrote:. . . one could have the H.N White CC that never was made.

HN White did make some CC's, but they seem to be quite rare.

Regardless, great to see quality tubas being made in the U.S. again!

Haven't you here on TN told that the bell and large branches came from Meinl-Weston because Getzen didn't have equipment to make them?

If I were younger and stronger I would like a tuba like this one made by Lee. My only reservation about basing a high end tuba model on the Getzen and CB tubas is that there weren't made that many of them in the first place, less than 180 if memory serves me (and if my source was right).

Klaus

Getzen CB 50 Origins

viewtopic.php?f=2&t=53285" target="_blank

Casca Grossa wrote:I don't know if he posts on here, but I went to school with a gentleman named Ed Mallett. He owned one of the original if not THE original frankentuba that the CB horn was based on. I believe he runs a chamber music series in Michigan now. He might be a good resource to get info from.

http://www.tubabach.org/abouttubabach.html" target="_blank" target="_blank" target="_blank

I'm thinking Ed is into tubas just a bit

They just don't look like any York tuba I've ever seen...anymore than any other tuba that isn't a York

I have to agree with you 100% on that one Joe......

I hope to clear up a few points. According to what I was told and have observed, the G-50 was based on the York model 33 BBb, cut to CC. This morning, I inspected (again) a York 33 original top branch and one of my top branches, and they are virtually identical in taper, mine being about 1/4" shorter on the small side which probably helps in the transition to CC.

The original prototype was put together by Getzen in collaboration with Mr. Bob Rusk, a cut York model 33BBb, not the Eb, with a Reynolds valveset, and a Meinl-Weston rotor. Since Getzen is a trumpet and trombone manufacturer, it would have cost them a ton of money to expand their factory and tool-up to make one model of tuba, so it made more sense to have Meinl-Weston supply the bells, bottom bows, 1st through 4th branches, and large ferrules. The Getzen Company made copies of the Reynolds valveset and other small parts, and are currently making more valves for me. The only UMI or Conn-Selmer-type parts that I know of are the water keys, which are just like King water keys.

As for the appearance of the instrument, I have plans to build at least one 4/4 CC with an eye towards making it look just as York-like as possible, with the florid engraving, smaller-diameter braces that look like the York bracing, and a satin-silver/bright trim finish. As it is, when set beside a York 33, the similarities are unmistakable.

The Getzen G-50 CC had a double-sided stop arm, so that the instrument could be played as a BBb also. There were lines marked on the valve slides for the BBb pull, and two different-length inserts for the 5th slide circuit, so that it could either be used as a flat 1st or put the instrument in BBb. Although this played rather well, there was one G-52 full BBb tuba made, which is owned by a player in the Minneapolis area, I'm told. I already have one client with which I'm discussing building a custom BBb version. I just feel blessed to be in a position to do this.

Wish I had the cash to throw down on one of these little guys. I could really use a quintet/lighter orchestral rep horn. Too bad I spent $70k on York tubas already! Very cool looking tuba!

Chris Olka
Seattle Symphony
Seattle Opera

Yeah, but I've never liked rotors. That's why I sold mine.