Getzen G50(CB50)

[Tubaman485]

I am curious everyone's opinion on the Getzen G50 or the Canadian Brass CB50? How do they play? Sound? Intonation? Too Big? Too Small? Whatever I am just curious about them.

Josh

[Alex Reeder]

I have a Getzen G50 I got from Baltimore Brass that has a York monster Eb bell on it. I really love this horn! The G50's have an incredibly rich and resonant sound. They are on the smaller side of C's, but they look smaller than they really are because they are wrapped so compactly. With a .689 bore, it plays very nimbly but can get resistant when trying to move the earth in the low register. It is this intense conical flare from a small bore to almost a 20 inch bell that in my opinion is a major factor in its rich tone color.

I could say so much! It is a great all-around college horn for me. A telling fact is that it is almost identical to a King 2341, one of the most popular BBb's on the market. Feel free to PM me if you want more info- I've done a little research on this horn and talked to Chuck Daellenbach, who helped design it.

[Tom]

The G-50/CB-50 CC tubas are fantastic 4/4 tubas.

Although I recently parted with my CB-50 in favor of a once-in-a-lifetime opportunity on the 5/4 CC I've always wanted, I think very highly of them.

I had mine for about 4 years and used it in every situation from solo to quintet and wind ensemble to symphony orchestra with great results.

Mine always played easily and sounded big. I would describe the sound as "flowering" compared to the "wall of sound" that say a 2165 would make or the "laser" sound that a Miraphone 186 would make (in my opinion).

I never had serious intonation issues other than with the D's. I found the D in the staff to be a little low and the D above middle C to be very hard to center and/or play in tune. Some years ago, while corresponding with Michael Eastep, tubist with the Calgary Philharmonic, I discovered that he was encountering the same issues with his G-50. Low register was fantastic...it feels open after you get used to the instant response of the leadpipe mounted 5th valve, yet there is enough resistance to allow sustained low register playing and volume.

As for size, I rarely felt that it was too small for what I was doing. Mind you that I was not performing Wagner operas or Mahler symphonies 4 nights a week...

I believe that the G-50 blends well with the other brasses and that it makes the ultimate quintet horn because of its size, agility, and sound output.

By the way, do not equate bore size with a tuba being too large or too small. .689 bore doesn't equate to small horn and small sound.

Finding one may be a challenge. They are no longer made, and the used ones tend to either never enter the open market or get snapped up shortly after they do. The Conns are not comparable horns, in my opinion...they have much more of a fog horn type sound to my ears (that isn't to say they are bad tubas or that people like Kyle Turner haven't sounded fantastic on them...just not for me). They are similar in the way they appear only...I noticed a world of difference playing them side by side. Sam Gnagey builds some really nice tubas that are quite similar to the G-50 and likely cost quite a bit less.

If it matters, lots of professionals have found that G-50s compliment their 6/4 York-a-like CCs very well. In fact, David Fedderly retained my G-50 trade to use as his personal 4/4.

If you desire to know more about the history of the G-50, I suggest checking the archives...I've written, sometimes at length, on the history of the G-50 and what I think of it.

[Tubaman485]

thanks for the replies, I have onbe on hold at Baltimore at the moment and I am just making sure this is the right purchase, so far I have heard nothing but good things about these horns.

Josh

[Dean E]

thanks for the replies, I have onbe on hold at Baltimore at the moment and I am just making sure this is the right purchase, so far I have heard nothing but good things about these horns.
Josh

Hard cases are rare. Gig bags may have to be custom ordered. I say this because I was looking recently for a hard case and gig bag for my York Eb monster, which is dimensionally close to the G-50. I got lucky with a used leather gig bag.

[Getzeng50s]

Ive had my G-50 for 5 years now. I bought it new when i entered my undergrad at UMass AMherst, and now am on year 5 as a masters at New ENgland Conservatory.I LOVE it!! no problems other than i feel the lower register can be a little stuffy from the Dd 2 octaves below the staff up to the Eb just above it. and in the upper register, the high D does pretty much suck, but ive been opting to play that note "open" and it seems to work out for me It can keep up in just about anything you toss it into, Large Orchestra, small orchestra, wind ensemble, quintet, quartet, brass ensemble, community band or anything!
I love it so much, i am not going to ever part with it its MINE! MUHAHA

From the comments ive gotten from listeners when playing in orchestra, Ive been told I have a unique tuba sound: rich, dark, round, very large sound. i dont know if thats me, or the horn, because this is the onyl CC i have ever owned, but i'm not gonna fix what aint broke.

[Alex Reeder]

I have an idea for finding cases for the G50/CB50 that I have not tested yet, but would be worth a shot: you should try the cases designed for the King 2341, which is almost identical in size and shape to the G50, but in BBb. I'd be willing to bet it would be a perfect fit.

[Doug@GT]

A note about the Ds--

I've found the problem to be mouthpiece related. When I switched from a Conn Helleberg to a Kellyberg, literally ALL the tuning issues on the horn disappeared. Amazing moment. No more first valve pulling or anything. The only difference I see is that the Kellyberg has a slightly different shank, causing it to fit further into the receiver. Is this the equivalent of the whole "adjustable gap" idea?

Doug "happy D player"

[Alex Reeder]

I replaced the spit valve on the main tuning slide of my G50 with an Amado water piston, and it has really helped the characteristics of the horn. These make less turbulence in the air stream in theory, and I have found that it did help make the horn a little less resistant. It also helped that high D to slot a lot better. I replaced all the spit valves, but the one on the main tuning slide I found to have the most effect. It is not a huge improvement, but enough to be noticeable (and not just wishful thinking )