windshieldbug wrote:What if Chicago decided to sell one of the Yorks as a fundraiser? (hey- they have two!) How much WOULD it go for, and who'd be likely to end up with it
Mike Lynch would get it. I don't know how, but I have faith.
Fortunately, nearly all the bidders are, ah, resource-constrained. And it's a lot of money for a working pro to pay just for the bragging rights.
Rick "thinking the modern York-alikes might be better than the Yorks in some ways--durability being an obvious one" Denney
Ok - I get the idea of a high end product (little profit in it for the manufacturer) like a Viper bringing folks into the showroom who then see & buy what they really need & can afford like say a Chrysler 300 where there is volume and profit. But I don't see this effect with the Yamaha. How many non-pros know about or will ever see much less play this horn. You typically can't walk into a showroom to see it and then buy a lesser Yamaha. You won't see any being played with any regularity like you would a Viper on the street. So how does the trickle down effect work with this tuba? I'm hard pressed when seeing an unfamiliar musical group being able to definitively tell what tuba is being used from where I sit anyways.
I can't see with all the money Yamaha has obviously spent on this horn and the huge size of the company how this horn can have any real return or effect on the company other than making the officers feel good if it lands in major orchestras. From a bottom line perspective it seems like a waste of company time and resources from a P & L viewpoint. It would interesting to hear the discussion the company had when they greenlighted this project.
Mitch wrote:Others, such as the works of Keith Hill (in Michigan), are tonal copies. World-renowned concert violinists have played his violins, brand new, and remarked how they played and sounded exactly like a 300-year-old violin. His violins can fetch $40,000 or more.
..and there are some who dedicate a lifetime to unlocking the secrets (which Antonio probably wasn't even aware of) of the old instruments.
I was very fortunate over the past few years to have been able to listen too and play test the various generations of the mentioned YCB-826 tuba on occassion.
Just some thoughts.......
I think it should be said that this tuba has evolved past being labeled a "York Copy." While it is modeled after "the" York tubas and is a closer copy cosmetically even than the others(Nirschl, Yorkbrunner), I think it is safe to say that sonically it has emerged into a class of its own. It has undergone several adjustments/enhancements perhaps, per feedback from many fine players in reputable positions around the country whom have had a whack at it, for the most part of course, Gene Pokorny. Not to mention, Bob Malone(Yamaha Corp) and Wayne Tanabe(now Yamaha Corp, repair tech guru) have great ears and have been out front listening and given a non tuba players perception!
The York has somewhat blossomy, bass-like overtones and a color of sound true to its own and lets face it, will never be duplicated. The Yamaha offers extreme ease of play, a sound with lots of core, center, overtones and color of its own with plenty of weight for the largest of ensembles. Being a resident of Chicago I'm fortunate to hear the CSO regularly and out front the Yamaha is a very pleasing addition to the orchestra. For a 6/4 tuba it has plenty of front to the note while providing a firm foundation to one of the strongest brass sections on the planet!
I own a fine Nirschl and over the past few years have become extremely fond of it because it just fits me and my needs as an aspiring player. I do not see a YCB-826 purchase in my future for those reasons but won't hesitate to admit that the Yahama Corp have created a very convincing and competitive instrument. Bottom line..... fantastic horn!
With the growing list of fine horns offered today I guess we really have no excuses. Happy practicing : )
I look forward to seeing whether or not this tuba can count measures rest for me, or at least give me a nudge to let me know that my next entrance is coming up. Most horns I have played lack this very characteristic. Furthermore, they don't give me backrubs when my shoulders are getting a little tight.
But seriously, folks, I have played approximately four or five of these, and they are among the best tubas I have had the opportunity to play. Yamaha is doing a great thing with this horn.
windshieldbug wrote:What if Chicago decided to sell one of the Yorks as a fundraiser? (hey- they have two!) How much WOULD it go for, and who'd be likely to end up with it
Mike Lynch would get it. I don't know how, but I have faith.
Fortunately, nearly all the bidders are, ah, resource-constrained. And it's a lot of money for a working pro to pay just for the bragging rights.
Actually I think Dave Fedderly would go to the mat for one of them. The story he told me is that Arnold Jacobs was going to sell one of them to Dave but in the end decided to leave both of them with the CSO as part of his legacy, so if one ever came available I feel pretty confident it would end up in Baltimore.
Adam C. wrote:If someone drops or knocks over one, can someone take a picture of that and post it please?
Also, keep a tally of how many times "Ride" and "Fountains" gets plastered all over the ceiling.
Oh yes, the person inflicting the first ding on the surface of the ubertuba needs their picture raised on the Wall Of Shame. And please, somebody, please play the guitar riff from "Layla" on that thing and tell me how she handles.
