SOLD My beloved York Master Bb tuba, Price Reduced: $4250

[Rick Denney]

Please note that I have reduced the price to $4250.

I promised some additional comments, and I'll try to describe the role this instrument has played in my own development.

As a hobbyist who never took lessons until adulthood, I still struggle with some fundamentals. By the late 90's, I had gone through a period in Dallas when I never found a band that I could really devote to, and also found myself playing a lot of ensemble gigs using my small Yamaha F tuba. My Bb instrument at the time was a late-70's Miraphone 186. Of all the 186's I've ever played, this was...one of them. But a 186 didn't match my weaknesses very well. My air was not what it should be, my chops were weaker even than now, and I usually used too much pressure (still do). I'm better in all those issues than the late 90's, but the 186 rather exacerbated the ill effects of those issues, resulting in a laser-sound. But it was easy to play and had good intonation, as 186's are famous for.

When I moved to Virginia and achieved a time-consuming goal I'd been working towards for several years (an Ironman triathlon), I worked my way back into playing music more and ruining my knees and shoulders less. I also started becoming involved in Tubenet. Finally, I still had the memory of the contrast between an Alexander and a Yorkbrunner, as played by Michael Sanders during the time that I was studying with him. I thought I might want to move in that direction, but I wasn't ready for a BAT. I just knew I needed something a little different than the Miraphone, and my awareness was being broadened by connecting with the larger tuba community.

The York Master came along at the needed time. This instrument is not as tightly slotted as a 186, and has a rounder tone when I played it. It gave a deeper sound, and played to my strengths more closely. Slurs, particularly octave slurs, are very smooth on this instrument, despite that it has been said otherwise. To check my own impressions, I had Bloke play it at the Army Workshop, and he confirmed that the slurs were as I perceived them, and that is a feature he especially likes about these instruments. With him playing it, the tone was dead even up and down the register, and he claimed not to be doing anything special to achieve that. Roger Lewis also gave it a play, and confirmed my own beliefs in the real quality of this instrument. (Both of them encouraged me to recount their impressions.) Both thought the sound more remote from the player than for some other American-style instruments, but that the sound on the other side of the bell was abundant by comparison.

When I started playing the York Master, my playing changed considerably. It provided a different reward mix, and I learned a lot about my own sound and how to improve it. That instrument taught me a whole different approach to playing, and provided a key step in my own development. That path led me to a 6/4 Holton which I play in the Loudoun Symphonic Winds, but when I play in smaller groups I usually use an F tuba, so the 4/4 Bb instruments I owned were not getting played much. That included both the Miraphone and the York Master. But I doubt I'd have ever been able to appreciate or even know how to blow the Holton without the York Master experience. And if that particularly special Holton had not appeared (and really good ones in Bb are even more rare than good C models), I'd still be happily playing the YM in the Winds. Probably, if I was still playing the Miraphone, I would not have been able to hear what the Hirsbrunner had to say, and I'd have let that opportunity pass by, too.

Miraphones are great instruments, but they are greatest in the hands of players with really good fundamentals. I miss mine and may someday regret selling it. I know I will regret selling the York Master, but I trying not to be a hoarder. We hobbyists are often still working on fundamentals, and the YM was, for me, a better teacher than the Miraphone, and it made me sound like a better player.

Is this a good instrument for a high-schooler? Maybe not. Kids in school don't have a use for two bells, and also need something shiny and new. The ideal owner of this instrument is a grownup hobbyist, particularly someone who wants an instrument that can double between concert settings (with the upright bell) and outdoor or jazz settings (with the forward bell). It is also completely playable in professional settings with no compromise and nothing to compare to it at this price point, for the player who wants to use a Bb.

So, buy it, already.

Rick "thank you" Denney

[Tubajug]

So, buy it, already.

I would if I could! Sounds like it would do great for me! (community orchestra and the occasional polka gig) But alas, I have a horn...

[roweenie]

The York Master, as well as the original York 7×× series horn(s) that they are patterned after, are truly remarkable and special instruments.

In point of fact, it can be argued that the YMs are actually better constructed than their ancestors. The B&M valveset is particularly well made (I wish they were readily available today!).

This particular horn appears to be in far better condition than any other specimen I've seen.

As a side note (to those who might be interested, and might be so inclined), the length of tubing on the large side of the tuning slide makes it somewhat easy (relatively speaking) to add a 5th valve.

That said, when I shipped my detachable bell Marzan (which is like 90% the same as yours), it was the easiest tuba to ship by UPS. It took 3 boxes (body, bell, and recording bell), but there were no gigantic boxes of funny shapes to deal with. After all, the bell stack is really the problem area when shipping. To ship a detachable bell is no problem at all. Nor is it hard to ship the body of a tuba -- just a thought.

This is quite true. I've shipped, on more than one occasion, York 7×× detachable bell horns (less bell), and it will neatly fit in a box that is deliverable by either UPS or FedEx, for around +/- $50.

Just my (worthless) $.02

[Rick Denney]

The concern with UPS is getting it there in one piece--er--three--er...undamaged. I once shipped a relatively inexpensive 20J in two boxes to New England, and it worked, but I sweated bullets. The custom cardboard boxes were more expensive than building a wooden crate ($125 for the two boxes here in Northern Virginia where everything is too expensive including gubmint). I bet I can build a crate and strap it to a pallet for less (I already have the pallet). When instruments have been shipped to me, they came on a truck, strapped to a pallet, or on an airplane, in a custom wooden crate.

Also, I've heard too many horror stories about UPS and even Fedex not honoring insurance except when the package is lost completely or driven over by (one of their own) trucks. They seem to expect a package to be able to survive a drop from a loading dock.

That said, I don't want anybody walking away from this because of shipping. I'll do something I don't like if I have to, but I would prefer to place it in the hands of the buyer if at all possible. One prospective buyer was overseas, and we were trying to work it out until he discovered what shipping costs would be.

Rick "who shipped it here on Amtrak, but in a borrowed Walt Johnson case" Denney

[roweenie]

Understood. Considering their track record, we should all be wary of shipping anything via UPS or FedEx, and I completely understand your reticence to use them. Just because I've shipped the exact same horn body several times without incident, doesn't mean you won't have an incident one time.

However, the YM is quite a bit smaller than a 20J. The box I've used (more than once) I got at the UPS store for about $12, and it left a good cushion of around 3-4" around every point of contact on the horn.

IF it were a fixed bell horn (which would be an entirely different scenario, considering the size of the box needed, and the vulnerability of the bell) there would be no way I'd even consider using the above mentioned companies.

It's just that it would be a shame that someone would pass on such a special horn, simply based on the logistics of delivery.

[breathmint76]

Lordy lordy, why hasn't this beautiful tuba been sold yet?

[Rick Denney]

Lordy lordy, why hasn't this beautiful tuba been sold yet?

That's a very good question.

Rick "still available" Denney

[Henry Gertcher]

Hi Rick,

Sorry I wish I could afford your horn but alas, I have twin babies. And a lot of drool. Man that is a beautiful tuba.

[bttmbow]

This is a very special horn. If I could buy it back right now, I would.

[kburke]

Is this horn still for sale?

[Rick Denney]

Is this horn still for sale?

Yes. (Though I expect I’m a little late for you.)

I don’t check Tubenet as often as I used to. If you are interested, PM me, or send an email to rick at rickdenney dot com.

Rick “comes with a Cronkhite gig bag” Denney

[Rick Denney]

The York Master is no longer available from me, but is available from Dillon Music, who took it in trade for a new instrument.

Rick “one goes out; one comes in” Denney

[bort]

What's the new one?

[Rick Denney]

What's the new one?

An Eastman EBB534. Easy-playing, big but clear sound, very good intonation, light. I was looking for a small contrabass I could use in quintet and reduced band ensembles. Recently, my quintet has enjoyed a change in personnel that has moved us to bigger literature and bigger sound. Much of that literature sits around the bottom of the staff and below, with only occasional excursions above that. I found myself playing my Hirsbrunner for some tunes, but having to hold back (as expected). It just made it easier to get the desired effect.

Also, my problems with tremor favor an instrument not quite so touchy in the low register as my F tuba. Or quite as finger-tangling. But a lot of our book is high, sometimes even intended for bass trombone. For those, the F is perfect.

Carrying two tubas to a quintet gig is no big deal unless one of them is the size of a house.

The Eastman is modeled on the excellent King 2341 (new style), but this particular one is better than any King I have played. It was love after the first few notes, reinforced by advice from several players also at the Army workshop whose advice I respect and who also played it.

And the construction of the instrument was excellent—the knuckles were round, the slides straight and fast, the use of nickel silver liberal, the water keys abundant, the valves fast and vented, the springs light.

Matt Walters made the deal workable. I brought in the York Master, and compared it side by side. The YM will go bigger, but the Eastman was a better fit for my narrow requirements and is easier to play. Given that I’m already abundantly equipped to go big, and I have no regrets.

Rick “hard case, too” Denney

[groth]

The Eastman EBB534 I played was "ok" but still felt "Chinese" in fit and finish. The slotting didn't feel as easy as the horn it was a clone of but the bottom end and pedal notes were pretty easy to play though. I'm surprised hearing you bought one, as compared to the older detachable bell Kings/ York Master you had, there's no comparison. If it works that's great, congrats!

[Rick Denney]

The Eastman EBB534 I played was "ok" but still felt "Chinese" in fit and finish. The slotting didn't feel as easy as the horn it was a clone of but the bottom end and pedal notes were pretty easy to play though. I'm surprised hearing you bought one, as compared to the older detachable bell Kings/ York Master you had, there's no comparison. If it works that's great, congrats!

I don’t know how a tuba “feels” Chinese. In fit and finish, it’s competent but not artistic, like my Yamaha. I have owned everything from a Cerveny to a Hirsbrunner, and the Eastman sits in the middle of that pack. It’s not as carefully made as old 1241’s, but I’ve seen some rather sloppy new-style 2341’s. And in terms of fit and finish, my Holton was a mess—worse than the Cerveny. the YM was assembled as well as any tuba I’ve owned except the Hirsbrunner. it just wasn’t the right tuba for me any more.

All the praise in the world for the York Master didn’t get it sold at a very reasonable price.

I played three of the Eastmans and this one was clearly the best of the three. That’s also true of many revered tubas—certainly the big Holtons were all over the map, and I’ve played even older 2341’s that made a poor case for that model. Maybe you should try more examples.

In my old age I’m focusing on what works for me when I play it. At quintet rehearsal tonight, the purchase was fully validated—desired product with the least effort. I’ve played a lot of Kings, and have always thought highly of many of them, but not even the best of them more highly than this Eastman.

Rick “who knows what he wants” Denney

[aaronz28]

I studied with Oscar on this horn in his basement in Royal Oak in 1994-1996.
He told me, just leave my horn at home and play ok his

I woukd have bought it in a sec had I known it was for sale and will buy if if it ever becomes available again

Aaron

[aaronz28]

Just emailed Dillons. If its still available - i want it
I studied on this horn with Oscar LaGasse
It was great and I always wondered what happened to it

[roweenie]

Good to see you back in town, Rick -

[Rick Denney]

Just emailed Dillons. If its still available - i want it
I studied on this horn with Oscar LaGasse
It was great and I always wondered what happened to it

Good luck—I hope you get it. Of course, you could have had it several years ago

But then I wouldn’t have had the trade fodder to make my current purchase work.

Rick “everything’s happens for a reason” Denney