TubeNet

Hello everyone! I drove up to Sandusky, Ohio to see J.c. Sherman perform with the Firelands Symphony Orchestra, and also to pick up the two instruments I had asked him to build. First off, I need to say that J.c. and the bass trombonist (who's name escapes me) NAILED their big part in Fountains of Rome!

Getting back to the actual topic of this thread, I'll start with the cimbasso. I bought a Jinbao 6 valve F tuba a couple years back for the purpose of learning a new horn. I recently upgraded to a PT-10 (also thanks to J.c. for looking around for me!). No longer having a use for the Jinbao with horrible intonation, I decided to try converting it into a cimbasso. The bore throughout the valve section was just right, and I volunteered a 3 valve Weril euphonium to be the bell section. Let me tell you... This thing sounds GORGEOUS!

For a more fun project, I asked J.c. to convert a 3 valve euphonium into a saxophone-shaped horn for me to use for novelty pieces in my jazz band and at Tubachristmasses. He made exactly that. This tenor orenophone plays just like it did when it was wrapped as a euphonium, which I like. I'm using it for one song on the next jazz concert instead of playing bass trombone like I normally do. Needless to say, I'm pretty excited!

Cool chimp! Can we get a video of it?

Fun stuff!

I'm curious, did he use only the euphonium parts to make the jazz-o-phone? I'm curious to know if he somehow straightened out a few of the bows to make the straight sections or if that tubing came from something else.

They both look great!

Bob- I'll start working on getting a video up

Tubajug- Most of the tenor orenophone/jazzophone was made from a King euphonium. The larger bow/bows (I can't remember if my repair technician only had to bend the last one) could not be bent. My technician made the larger bow/bows.

Certainly looks inventive and interesting!

Is the square bar between the lyre boxes on ether side of the joint between body and bell of the cimbasso a matter of securing the bell from slipping off and/or a matter keeping the bell from rotating?

That cimbasso looks like having comparatively much conical tubing in the bell section. Possibly also has a wider bell than most F cimbassos. Does that give this instrument a fatter sound?

How is the intonation of this cimbasso?

Klaus

Inspired me to make versions for high cimbassos in F or Eb of two of my recent solo projects that already have dedicated versions for several different instruments.

Romance opus 62 by Elgar:

https://groups.yahoo.com/neo/groups/Yor ... opus%2062/

Mèditation from Thais by Massenet:

http://groups.yahoo.com/neo/groups/York ... editation/

Same for the recent duo project of Rossini’s Duetto Buffo de due Gatti:

https://groups.yahoo.com/neo/groups/Yor ... e%20Gatti/

Newcomers to my download project may send me an email address via the mail button to the right of here, and I then will send them an invitation.

Klaus

Klaus- The instrument gets a very fat bass trombone sound in the low range. The high and mid range can sound more mellow or bright, depending on how much air you put it into it. The intonation is wonderful! J.c. spent a lot of time experimenting with different tapers and different leadpipes so that intonation would be spot on.

The square bar between lyre boxes secures the bell to the body. That same section is also my main tuning slide.

The longer main body taper on the tenor "Orenophone" (saxophonium?) is a custom piece from sheet stock. 99% of the rest is pure king euph, modified extensively

The chimp's tuning slide and bell holder are one in the same

What key is the cimbasso in? Bb? or F?

The cimbasso is in F. The tenor orenophone is in Bb.