TubeNet

So Chris Olka would have to be the #1 guy to compare the Eastman and Wessex 6/4s. I hear there is a price advantage of the Eastman. I realize it may be stepping on toes to do so, but, inquiring minds want to know...

The Wessex models are slightly less expensive than the Eastman. I'm interested in Mr. Olka's thoughts concerning what is still wrong with these Chinese horns. What about them still falls short compared to his Yamayork. What does that extra $30,000 get you? With no expectation that the Wessex or Eastman are "as good as" the Yamayork, but really, what are the differences?

I agree a comparison to his YamaYork would be nice, and it would certainly step on less toes than Wessex Vs. Eastman

DouglasJB wrote:I agree a comparison to his YamaYork would be nice, and it would certainly step on less toes than Wessex Vs. Eastman

Except the toes that go with his being a Yamaha Performing Artist.

Mark wrote:

DouglasJB wrote:I agree a comparison to his YamaYork would be nice, and it would certainly step on less toes than Wessex Vs. Eastman

Except the toes that go with his being a Yamaha Performing Artist.

A list of negatives about the Wessex and Eastman horns wouldn't upset Yamaha I don't think. The fact that he doesn't really say anything negative makes his review only semi useful.

Anyone going to buy a 6/4 BAT tuba—-whether BBb or CC—whether a Nirschl, Baer, Gronitz, BMB, old Holton,YamaYork, cut York, Eastman, Wessex, etc. etc......you should go play test it yourself and see how it fits for you ( if it fits for you)...whether spending $10,000 or $40,000...

bisontuba wrote:Anyone going to buy a 6/4 BAT tuba—-whether BBb or CC—whether a Nirschl, Baer, Gronitz, BMB, old Holton,YamaYork, cut York, Eastman, Wessex, etc. etc......you should go play test it yourself and see how it fits for you ( if it fits for you)...whether spending $10,000 or $40,000...

As Chris said, "Your mileage may vary". Finding the right one for you depends on a lot of "personal" things, including who you are playing with. He also said that if he only had one of the two Wessex tubas it would probably be the 20 inch bell model.

Yes, it would be interesting to hear direct comparisons of the different brands BUT, that still would not determine which one would be the right fit for anybody else.

As I said to another member in a PM, I am rather envious of todays players who have such a wide range of good options - very unlike what it was like in the 60's.

For your information, there is a shoot-out in Texas being arranged between the Eastman, new and old Nirschl, both Wessex and Yamaha 6/4 CC’s for a bit later this year involving several professional players. I have already volunteered two Wessex for the comparison test.

But surely the advice for anyone seriously considering buying is try for yourself and see which suits you personally. These are all pricey purchases, so surely worth the cost of travelling a bit to play yourself and see what does it for you.

The OK Coral of tubadom comin our way.

bloke wrote:If (??) the Chinese instruments' bugles are (mostly) copies if existing models - and those existing models' bugles were copied accurately, those Chinese instruments are going to play in tune based on the model (and sure: the particular individual issue of a model) that was copied.

Of all of the piston 6/4 C tubas that existed prior to the Chinese explosion, there is little argument regarding which one plays the best in tune.

Okay, which one?

bloke wrote:If (??) the Chinese instruments' bugles are (mostly) copies if existing models - and those existing models' bugles were copied accurately, those Chinese instruments are going to play in tune based on the model (and sure: the particular individual issue of a model) that was copied.

I rather think you are casing aspersions about the Wessex Chicago being based on the Nirschl. The operative word here is based. As I think most people well realise Wessex don’t just copy existing designs, but always develop and improve, if they are not our new original design, or an historical reproduction. That is where Wessex is unique - we have probably developed more new exciting designs of tubas than any other brass company in the world during the last few years and therefore know exactly how to improve tubas and not just reproduce.

Bloke, I know you are just trolling for an argument, but I am not going to participate. Your preference of Yamayork and Eastman has been made very clear in other posts and that is fine - everyone is entitled to an opinion. All I am saying is the Wessex Chicago stands on its own and is not just a “Chinese” copy of a Nirschl, or anything else. Yes all tubas can be tweaked and improved - even the very best. You know that better than most, tweaking yours.

Ok to answer, as I don’t want anyone to get the wrong idea;

- No, I don’t think Nirschl tubas are out of tune - I think they are great tubas. I love them!

- When developing, Wessex starts with the best possible reference point and aims to make better still

I started Wessex for a love of tubas and want us to make the best possible tubas available to as many people as possible to enjoy and make music.

Wyvern wrote:I started Wessex for a love of tubas and want us to make the best possible tubas available to as many people as possible to enjoy and make music.

And thank you for that. Things won't always be easy or perfect, but what you are doing is awesome. Keep up the good work.

None of them will "win". There will be one Mr. Olka prefers for specific reasons. On this group, I have seen players discussing the merits and advantages and the disadvantages of all of the members of the class "6/4 CC tubas of the Arnold Jacobs/CSO York style and configuration" and buying or selling their current York-style to get one of the others. We have one particularly skillful and dedicated member who is creating his own idea of the 6/4 York-style tuba.

I think what might be expected of these Wessex York-styles is what Wessex was created for: a well-constructed, good sounding tuba which works 90% or better than others on the market which sell for much more. Jonathan has a commitment to try to make Wessex better as it goes along and he seems to have done well in improving the build quality of the instruments. I hope he is able to continue to make improvements while still preserving the affordability of his instruments.

Those demo/review videos are superb. Great to see such a well respected and knowledgable proper 'pro' give his opinion and all of us the chance to hear what a great sound he makes on those tubas!

It doesn't matter how much someone talks about it, hearing it is what it's all about!

Keep up the excellent work Jon. I don't believe that many work as hard as you to give people opportunities to play quality instruments they may not have been able to afford in the past.

I agree. It also seemed the hardest to control. I'd also like to hear some videos and impressions from shitty tuba players like me. That might be more practical.

Otherwise, it's like that scene in the Blues Brothers where Ray Charles shows them there's nothing wrong with the piano he's selling. Of course he can make it sound good!

bort wrote:I agree. It also seemed the hardest to control. I'd also like to hear some videos and impressions from shitty tuba players like me. That might be more practical.

Otherwise, it's like that scene in the Blues Brothers where Ray Charles shows them there's nothing wrong with the piano he's selling. Of course he can make it sound good!

This reminds me of the birthday party for Karl Geyer on his 80th.......

Will Scarlet and Bud Herseth both wanted to take possession of an old sidewinder trumpet which was really a POS. NOBODY could play it worth a D..... Except those two, who both made it sound brilliant!!!

Super interested in this Bb versus the future compensating Bb.

bort wrote:I agree. It also seemed the hardest to control. I'd also like to hear some videos and impressions from shitty tuba players like me. That might be more practical.

Otherwise, it's like that scene in the Blues Brothers where Ray Charles shows them there's nothing wrong with the piano he's selling. Of course he can make it sound good!

Mr Olka definitely threw in some sugar coated criticisms of the BBb. The negatives summed up are that it's an overweight dump truck that lacks projective prowess. A lightweight handmade version would do wonders for the execution of this model. To have success with this instrument you better be a really solid player playing in a solid low brass section. Otherwise your plume of sound isn't going to make it off the stage.