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kmorgancraw wrote:Crappy JInbao rotors and linkages? What? That was so six months ago. All those issues have been sorted out now. Order with confidence. "

Order from whom? Laabs? Wessex? Anybody at all?
royjohn

I generally don't see the point of posting things twice (if you weren't interested the first time, why would you be the second?)

But many of the questions you guys are asking each other are dealt with in GREAT DETAIL in this 20 MINUTE VIDEO by a PROFESSIONAL who has played MANY DIFFERENT CIMBASSOS in ACTUAL REAL WORLD GIGS.

( ¿ interested now ? )

https://www.youtube.com/watch?v=mEa4VqsXBug" target="_blank

Hup

I was not going to join this thread but after a couple of days of reading all the opinions, I figured what the heck.

First off I'm not sure who presumptuously made the original comment of cimbassos being "such pieces of junk" My take is that such comments cast an unfair assessment on the cimbasso in general and to those who do not have first hand experience with it, it tends to begin grooming a predjudice against it. The same can be said of many of the tubas out there in the field.Yet I would find it unfair to criticise or devalue a players choice of tuba equipment.

For my take, learning to play a cimbasso in F after 40 some years on F tuba was not much different than say from going from a car with a floor mounted shift to one on the steering column or from a 2 to 4 barrel carb. (control and response were the main issues- and that was not that hard) Maybe I over simplify, but it was not that big of a deal. I've had mine now going on 4 years, use it every thing from Italian opera, last year La Boheme and the year before concert music from Aida. Then a ton of pops orchestra stuff, and I take it around to various churchs as a solo offering. Its useage is as wide as your imagination. It does have a unique sound, and when in the right places is something you want to hear over and over. Yes once you hear it in Italian opera you'll not want to hear the tuba on that part again. (Well maybe some might) As a novelty we have a cimbasso trio as part of the Great Western Rocky Mountain Brass Band each summer. Chuck Schulz, Steve Call and myself)

Regarding mouthpiece sensitivity, well that depends on the players chops. I have the Wessex JB and it is "cherry" It works with a Helleberg 2 down to various F solo MPS. Depends on the situation - volume and gravitas or more of a chamber sound. I do have a Contrabass Trombone MP which is pretty normal in rim diameter, a v cup and a relatively small throat. I found that I can get almost any tuba mouthpiece to work well in it, althought the large pieces like the PT88 are a bit on the clumbsy side. But the smaller throat IMHO is perhaps the most critical factor in helping the sound stay focused. I've mentioned this before in an earlier post, but I do not think there will be any confusion between the sound of the cimbasso or the tuba, even with a large tuba mp in the cimmy. Just like the tuba, there is not really a truly definitive sound.

Does every tuba player need or want a cimbasso? Certainly not. If you are in a serious concert/pit situaton they can be a plus factor. Every conductor for whom I've brought one to the gig, has always asked me to bring it again. I think others have encountered the same experience.

I know there are probably those who would like to defend their expertise on the cimbasso, and speak of all the ins and outs about it, but to be honest, I found that it was not rocket science. A good ear and good musical taste, and 80% of the chore is accomplished. The remainder is just getting used to the control and response.

And for Bort's amuesment, I invite him over some time and I'll serenade him with the Stars and Stripes piccolo part on the cimbasso.
Cheers everyone!!!

bort wrote:In modern use, outside of operas and movie soundtracks, they are kind of a gimmick, IMO. Give me a cimbasso playing the piccolo solo in Stars and Stripes, and I think my head will explode.

I beg to differ!

//Mattis

There's a Kalison for sale on German Ebay at the moment...Buy it now €5000!

http://www.ebay.de/itm/Cimbasso/2921597 ... 1438.l2649

I emailed Tom at Mack Brass and he says he doesn't plan on carrying them as a regular item, but will special order for about $2,700 with half down as a deposit. Says it would take about three months to get here. I'm thinking about it when I have the extra cash...
royjohn

Barry, you might be better off just buying a euph and using a large shallow mouthpiece.

Thanks, but that's a "been there, done that" for me. I want something more trombone-ish in tone.

What do you wise owls think of buying that Kalison from Germany over E-Bay. That's certainly a great price. Is that a safe thing to do, or is it too risky?

It's my understanding that if you use Paypal, you would have a return privilege and the right to reverse the charge if unhappy with the purchase. Probably you could also charge back if you paid with a credit card. You would have to consider the cost of return shipping should you be dissatisfied. It seems some of the shipping rates FROM Europe that the ebay sellers quote are pretty cheap (one recent one from Russia was $50) but there is no assurance that you could ship back that cheaply. You'd have too check with the various shippers (USPS, DHL, etc.) If you don't anticipate a need to return, you might not worry too much about this...
HTH,
royjohn

The way I see it, whether it was you who bought it yesterday or not, either way it doesn't really matter much - what will be will be. Sure looks good!

I wasn't sure. Does "beendet" mean that it sold, or just that the timed session is over with. I know that "gebraucht" means used.

Well, I don't know really, maybe it wouldn't have said "beendet" if it had sold - through ebay that is. But between that and "Versand nach: Deutschland", maybe this one is going to be more about pictures to enjoy.

The seller listed that he was not willing to ship to the US, regardless. If I had the money, I'd be sending that to my relatives and having them ship it over to me (yes, I thought it out as I'd really like one of those and was daydreaming that I had the extra dough lying around).

gee Bloke, thanks for leaving me in a lurch.

bloke wrote:I will reemphasize that the Rudy copy that Tom is willing to order is very easy to play in tune (minor #1 slide trigger movements).

What fingering are you using for the A three lines below the staff?

bloke wrote:

Mark wrote:What fingering are you using for the A three lines below the staff?

That's the only problem for which I have no real solution: I lip like crazy.

Me too.

. . . which is why I like 5-2-4 with the 2nd valve kicker thrown just a smidge. Second valve tuning is a huge help down low.

bloke wrote:2-3-4 is nearly always a flat combination.

I dunno, I guess everyone is different. But the 2-3-4 combo is nearly spot-on for me (low G on Eb tuba, low E on CC tuba, etc). If anything, only a hair flat.
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Cimbassos. Yeah.....I've only played on one (M-W), and it was fun and loud
Kind-of a specialized instrument. But I would prolly just use my 2-trigger bass bone if I needed that type of sound, though.

When I conduct, which - granted - is not very often, 'tuning' is down my list of priorities. Talking about tuning is meaningless UNTIL everyone is playing TOGETHER with the right notes, right rhythms, right dynamics and right balances. When people LISTEN and get these main priorities correct, they'll generally adjust their tuning in the process. Blowing correctly in a semi-relaxed manner fixes much of it too. As concerts go on and the air gets warmer, the pitch starts climbing. Many players need to be reminded of that fact as well.