TubeNet

Does this mean 10% of this model tuba is of acceptable quality? If for some reason the buyer insists that a model of such spotty quality (or spotty something) is the only one that will do, maybe it was wise to decline just for resale value alone. Surely this buyer can't be the only one who will find that a good one is hard to locate, and most buyers will be suspicious?

Or maybe the buyer is just fooling around window shopping? Or?

Both wise AND foolish.

This tuba is described as the best instrument available (new or used), so in principle its real value is higher than that of a new instrument, so in an ideal market its price would also be higher. In the real market, however, there is a fairly general expectation that a used instrument will be less expensive than a new one.

If the buyer demands "only the best" he is foolish to baulk at paying for the best.

If he will spend the rest of his life resenting the higher price, he may be wise to walk away.

I guess it comes down to a balance: will he get more grief from missing a great tuba, or from being forced to pay more than he thinks is fair ?

Captain Kirk.

iiipopes wrote:Captain Kirk.

Not Captain Janks?

Knowing what new tubas cost, I would decline as well. Mostly because for a used tuba, I would never be able to recover that cost should I ever want to sell it. Not worth it to me, I see this as overpaying.

bort wrote:Knowing what new tubas cost, I would decline as well. Mostly because for a used tuba, I would never be able to recover that cost should I ever want to sell it. Not worth it to me, I see this as overpaying.

ditto.

Pass this one by and continue hunting for the Holy Grail. If this horn is still available six months later, make a call to see if the seller is more amenable to a more realistic price. In that six moths, you may also find another Holy Grail at the right price.

Seems okay to me. I just paid over market price for a tuba that I've wanted for a long time, and I was having trouble working out the financing for one of the multiple cheaper ones out there. This guy was willing to work with a trade for a tuba that I wanted gone and couldn't sell. So in the end, I paid too much for a tuba. But I got to buy a tuba that I wanted now, and in the process I got rid of a nice tuba that I didn't want anymore. So it was a good deal to me. I sleep at night.

Foolish if the instrument has won auditions in world renowned orchestras.

Wise if the instrument has never won auditions in world renowned orchestras.

IF it's exactly what a pro working player is looking for, will enable them to do their job with better results, and be more satisfying to play, and is the best of the past 10 tried, I'd say go for it. It's a tool. We depreciate them on our taxes and because it's a particularly good one it'll be worth more than the rest if you use it for ten years or so. If. on the other hand, one is still in the process of seeking the majic wand and would buyit to play in a community band until someone says they don't like this or that note, or the sound, or you have a bad concert on it and want to sell it and get all of your money back,pass. This from an old guy who has made ALL of the mistakes. One thing I've learned is that if you get a great horn Keep It. They appreciate. Then when you retire like I just did you can sell them and fund your new hobby.Ed

Who is being wise or foolish, the buyer or the seller?

HOW much better does it clearly play? %?
Can you tell out in the hall, or just within a confined radius?
Does it FEEL better or just sound better?
Can you make your current ax play this well with a different mouthpiece?
Are you only treating this as an investment?

As Ed says these are tools.
A workman is only as good as his tools, but an artist can use tools to be greater than the sum of their parts.

Are you buying the horn as an investment or to play? If to play, if it is what you're looking for, is an outstanding example of that instrument, available locally so you don't have to pay shipping, and you want it, it's worth what you are willing to pay for it. You can gamble and wait for him to lower the price but if you really want the horn and you can get it now, it's basically your decision no one else can make that decision for you.

Funny how for many if you took the availability of new out of the equation they wouldn't hesitate to snap up the better playing instrument. Look at all the old Holtons and Yorks people pay far more than when they were new and even in some cases more than some of the new copies. I think it's hard for people to shake the long held belief that new has too be as good if not better and used (even if better) should always sell at a large discount.

Would you pay more for the CSO York or the Yamaha copy? Which would you rather have?

I've wondered if I paid too much for my Martin. But no, I didn't. There has only been one similar for sale in a number of years, and it was in less good cosmetic shape than mine without hard cases for twice the money. I didn't try to haggle. ..it was/is a dream come true. Foolish? Not if it's the best.

tofu wrote:Funny how for many if you took the availability of new out of the equation they wouldn't hesitate to snap up the better playing instrument. Look at all the old Holtons and Yorks people pay far more than when they were new and even in some cases more than some of the new copies. I think it's hard for people to shake the long held belief that new has too be as good if not better and used (even if better) should always sell at a large discount.

Would you pay more for the CSO York or the Yamaha copy? Which would you rather have?

Judging by commentary in another thread by one who has played both, the Yamayork would be best. The CSO York is worn out and over buffed.

The Big Ben wrote:

tofu wrote:
Would you pay more for the CSO York or the Yamaha copy? Which would you rather have?

Judging by commentary in another thread by one who has played both, the Yamayork would be best. The CSO York is worn out and over buffed.

But the guy who would know best, Gene P., still regularly plays it. I've seen it stated that the over buffing actually has improved the sound and how worn out is it with regular maintenance/rebuilding of pistons etc. I know Lee S. had it a year ago to do some work on it. With all the quality tubas available to him would Gene keep playing an "inferior" horn in the CSO simply because his employer owns it?