Yes, I've got one.bloke wrote:Are there more questions?
Where does one go "to buy a Jinbao bell section"?
(Not sarcastic, actually curious....
)OK, if cimbassos are suppose to be such pieces of junk, then
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roweenie
- pro musician
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Re: OK, if cimbassos are suppose to be such pieces of junk,
Where does one go "to buy a Jinbao bell section"?
(Not sarcastic, actually curious....
)"Even a broken clock is right twice a day".
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Donn
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Re: OK, if cimbassos are suppose to be such pieces of junk,
I thought "tuba on a stick" referred to bass trombones that trended towards larger dimensions, particularly fatter and longer bells, to some sacrifice of distinctive bass trombone sound.
I wouldn't expect to see it here, where it's about the cimbasso as a substitute for contrabass trombone for tuba players who aren't up to slide trombone. Even if there is such a thing as a distinctive, authentic contrabass trombone sound, which I wouldn't know but I suspect not.
I wouldn't expect to see it here, where it's about the cimbasso as a substitute for contrabass trombone for tuba players who aren't up to slide trombone. Even if there is such a thing as a distinctive, authentic contrabass trombone sound, which I wouldn't know but I suspect not.
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Paul Maybery
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Re: OK, if cimbassos are suppose to be such pieces of junk,
In Defense of the cimbasso: Lots of opinions from those who have not played one or simple anecdotal tales. I'm sort of a retired pro now in my 70s. 4 years ago I picked up one for a number of reasons. I have places to play it and also make or find places by being creative in where I use it. It happens to be a JinBao from Wessex. SImply put is is a first class instrument very finely crafted and really without any quirks or foibles. IMHO it rivals or exceeds most european cimmy's and is a pleasure to schelpp to a gig. Perhaps because at one time I had a small shop, I have a few drawers of tools to keep it in tip top shape. The valves are fast and disturbingly smooth and quiet, but I do keep things very well adjusted and lubed. It really required no major tweaking after purchase.
To those who have never played one or experienced being in a section with one, I appreciate your curiousity, but tire from speculation based on hearsay. They are a magnificent instrument and lend themselves to countless venues where they can add to a concert. Unfortunately few know much about them and many seem to delight in taking pot shots at the instrument. Incidentally those made by Jin Bao and wearing a number of stencils, and whether Dillon, Mack or Wessex all happen to be quite good and come in under 4K. I don't think that would necessarily break the bank. If you leave it in the case and only take a dried out instrument to a gig without living with it regularly, its really not a fair assessment. The same argument was made for the Eb Clarinet a few generations back.Learning to play one simply is an exercise in letting the instrument tell you what it needs. It ain't that hard to figure things out but it is not a tuba (nor will it ever sound like one) but when you find the sweet spot in its pallette of tone color; you wind up with a very special and unique voice in the orchestra or for that matter whatever ensemble you use it. I had lunch with an old timer who tought it a hideous instrument until a new instrument was put in his hands. So there are prejudiced opinions out there that simply need to be regarded as such.
I'm thinking the title of this thread is rather pejorative and takes off on rather negative footing and smacks of trolling. But here your just got my reaction so I guess you snagged and old grouper.
To those who have never played one or experienced being in a section with one, I appreciate your curiousity, but tire from speculation based on hearsay. They are a magnificent instrument and lend themselves to countless venues where they can add to a concert. Unfortunately few know much about them and many seem to delight in taking pot shots at the instrument. Incidentally those made by Jin Bao and wearing a number of stencils, and whether Dillon, Mack or Wessex all happen to be quite good and come in under 4K. I don't think that would necessarily break the bank. If you leave it in the case and only take a dried out instrument to a gig without living with it regularly, its really not a fair assessment. The same argument was made for the Eb Clarinet a few generations back.Learning to play one simply is an exercise in letting the instrument tell you what it needs. It ain't that hard to figure things out but it is not a tuba (nor will it ever sound like one) but when you find the sweet spot in its pallette of tone color; you wind up with a very special and unique voice in the orchestra or for that matter whatever ensemble you use it. I had lunch with an old timer who tought it a hideous instrument until a new instrument was put in his hands. So there are prejudiced opinions out there that simply need to be regarded as such.
I'm thinking the title of this thread is rather pejorative and takes off on rather negative footing and smacks of trolling. But here your just got my reaction so I guess you snagged and old grouper.
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pjv
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Re: OK, if cimbassos are suppose to be such pieces of junk,
Paul, no argument here. I also have a Wessex and, like you, since I own it I find uses for it. I am also very impressed with the instrument. The only work I had done was venting the 5th slide.
I was being only half sarcastic with my statement above. I also distance myself from Bloke's "blattophone" name in so far as I haven't (until now) used it for that purpose (not to say that Bloke was necessarily serious about this connection).
I use it as another one of my tubas. Thinner leaner sound. Very clear to the listener when moving a lot of fast notes in the low register. Right tool for the right job.
And, yes, it happens to be on a stick.
ps. I find it difficult to believe that anyone outside of a "19th C orchestra" with "authentic instruments" is really busy with any kind of "authenticity". How often do tuba players play Midsummer N.D. on an F tuba? A LOT. If I wanted to even get close to a more authentic sound (but in a 21st C ensemble) I'd probably choose a euphonium over a cimbasso, but that's just how I would personally go about it. I seriously can't worry if someone else likes or hates the cimbasso. Seeing that I don't use the cimbasso a lot it's very convenient that I could purchase a quality cimbasso for a low price.
I was being only half sarcastic with my statement above. I also distance myself from Bloke's "blattophone" name in so far as I haven't (until now) used it for that purpose (not to say that Bloke was necessarily serious about this connection).
I use it as another one of my tubas. Thinner leaner sound. Very clear to the listener when moving a lot of fast notes in the low register. Right tool for the right job.
And, yes, it happens to be on a stick.
ps. I find it difficult to believe that anyone outside of a "19th C orchestra" with "authentic instruments" is really busy with any kind of "authenticity". How often do tuba players play Midsummer N.D. on an F tuba? A LOT. If I wanted to even get close to a more authentic sound (but in a 21st C ensemble) I'd probably choose a euphonium over a cimbasso, but that's just how I would personally go about it. I seriously can't worry if someone else likes or hates the cimbasso. Seeing that I don't use the cimbasso a lot it's very convenient that I could purchase a quality cimbasso for a low price.