Yamaha YBB-201 / YBB-321

[Dan Schultz]

Two quick points on the basic Yamaha tubas: 1) the 201 is often converted to over-the-shoulder with the alternate leadpipe, thus the valves must face upward in concert configuration, and 2) ...

Remember the pre-1978 Conn 15J? It was a front-action convertible tuba. The leadpipes interchanged and the 1st and 3rd valve slides were swapped to make a shoulder-fired weapon.

[bort]

Are schools really looking to buy front-action tubas? Seems like a whole lot more bent/broken valve stems. At least the upright valves are somewhat protected.

[bort]

Of all styles of school-owned tubas, front-action piston tubas receive the least amount of valve damage and are the quickest to repair.

We can only hope that some band directors and decision makers can realize this. Makes sense about the repair though, I suppose front action pistons are a lot easier to fix.

I guess you can add this to the list of Yamaha "what if's"...like a 621-series Eb or a large front action piston Eb (though both are clearly NOT for schools...)

[Michael Bush]

Two quick points on the basic Yamaha tubas: 1) the 201 is often converted to over-the-shoulder with the alternate leadpipe, thus the valves must face upward in concert configuration, and 2) ...

Remember the pre-1978 Conn 15J? It was a front-action convertible tuba. The leadpipes interchanged and the 1st and 3rd valve slides were swapped to make a shoulder-fired weapon.

I thought those were good horns. My HS band had eight of them in silver plate. So, so much better than the GG contra I was playing elsewhere. But the 15J sat on the right shoulder, and I think a lot of people (stupidly) wanted a horn that sat on the left shoulder because everybody thought contras looked so cool. But the 15J sounded so much better, IMO.

[Dan Schultz]

Are schools really looking to buy front-action tubas? Seems like a whole lot more bent/broken valve stems. At least the upright valves are somewhat protected.

In my experience, the opposite is actually true. .....

I know there are a few tuba players on this board who also teach. They are probably in a good position to make good informed decisions as to what tubas to buy for a school band. However... it's been my experience from working with band teachers and doing their repairs.... that most school band teachers are clueless when it comes to tubas.

[iiipopes]

All this discussion over relative price, durability and layout again point to the King 1241 as the best all-round high school tuba out there. I forget who, on another thread, even made the point that the recording bell would be preferable to the upright bell in order to lay down the tuba with minimal impact damage, and avoid tubas falling over from being improperly stood on their bell rims, to say nothing of being better heard out front in concert. But try telling that to the average band director!

[oedipoes]

These tubas aren't "bad", but most tuba players (buying their own tubas) just aren't going to shell out several thousand bucks for a non-compensating top-action tuba.

I can second this, they are not bad, but not good either...the 4th piston ergonomically stinks, the horn is too tall for it's actual sound-size .

Wim

[Tom Mason]

There are many of us who would make a different choice in tubas if we could buy all new tubas and scrap what we currently have on inventory.

I might be a little old fashioned, but if I had the choice, I would consider all new King 2341's for my high school, A smaller 3/4 size 4 valve horn for my beginners and smaller people. I have 2 of the Weril 3/4 size 4 valve front action horns, as I am in the process of replacing 1 or 2 Yamaha 3/4 size convertibles every 2 or 3 years. No convertables.

Right now, I have to love with the Yamaha 321's on my inventory. Priorities take precidence over desire.

[termite]

they would begin to sell SOME of these tubas to individuals...

Do we really want them to sell more of these tubas?

[manatee]

Well, I bought a 321 a little less than a decade ago when I thought I was gonna lose my job, and I wanted to own one new tuba before I died. It cost $3000.00 w/case at that time. I don't like the horn, but I certainly don't hate it as many people do their, St. Pete, Cervaney, or similar horn. My french horn and $500.00=YBB321. People who I play with like the sound more than I do. I wish I had held out and bought a miraphone, but on the other hand, this horn is built like a tank, and my friends with miraphones seem to have many dents and spend a lot of time worrying. Now, the YBB321 goes for $6000.00!!! I have my little Besson, and a nice Conn20J, both of which I enjoy playing more, but they are somewhat fragile divas that seem to attract dents. I have owned Yamaha bass trombones, and spend a lot of time listening to a Yamaha french horn in a quintet, and IMHO Yamaha horns are vanilla. Not fabulous, but they don't suck. I wish I had bought something better, but it was the best 4 valve new tuba I could afford.

[termite]

Yamaha horns are vanilla. Not fabulous, but they don't suck.

This sums up my feelings about the 321BBb except for the intonation problems I've had with them. (Very early examples - around 1980).

Regards

Gerard

[Chuck Jackson]

Had a very fine tuba player in my top Youth Orchestra this year who trooped in a 1. Meinl-Wesson 25 2. Conn 5J 3. Mirafone 186, and 4. Yammie 321. All the horns were in VERY GOOD condition. He played the 321 at my behest as it had, surprisingly, the best sound and carrying power of all of them. I liked the horns when I was playing and still like them now. He sounds fabulous on all of this years recordings, particularly our final concert that included a fine performance of the 1919 Firebird. As they say, the proof is in the hearing.

Chuck"who goes for sound over asthetics everyday"Jackson

[rodgeman]

I played a Yamaha in hight school. It was good. I have returned to playing tuba. I enjoy my Conn 20J more. It seems to have more soul. I never felt that when playing the Yamaha tuba. I did love playing my Yamaha 4 vale euphonium - the 321. I would buy one again but not a Yamaha tuba.

Just my opinion.

[manatee]

Chuck Jackson brings up an interesting question, in that people around me like my sound on the Yammie more than I do; when I listen to a recording, it sounds better than what I perceive while playing it. Happens on the 20J too. sometimes I think, lord, it sounds like I am pharting in a barrel, but on the listener/recorder side, it sounds okay, if not great. It does have a fabulous low register, so if you have someone to take the regular line and you drop down below and have the ability to really take it where it could go, pedal Dbs and such can really speak.
I have also noticed that because it is such a different horn, the 321 has to be played a lot to get proficiency upon it. It's sort of like my old Ford Pickup. If I have been playing something else and go back to it, it takes a long while to get where you are comfortable. On the other hand, if you go from the 321 to another horn It's like dropping weights and you can fly.

[Chuck Jackson]

What listeners (not players) may hear in the sound of a 5450 tuba (rather than player-perceived "harshness) is CLARITY.

In my long playing career and now in my nascent conducting one, I value CLARITY above anything else NO MATTER what instrument is playing. The one thing I always tried to do when playing, and the one thing I insist on on the podium is CLARITY. CLARITY TRUMPS VOLUME EVERY TIME. If an ensemble plays with CLARITY, that ensemble IMMEDIATELY sounds more MATURE than it possibly has a right to. So many younger players believe that because the Chicago Symphony plays loud, they have to strive to play loud, when in fact, the CSO plays with a remearkable level of PRECISION (read: Clarity) that makes them sound louder than maybe they are. The Yamaha gave me as the conductor the impression of clarity, which is what I want.

Chuck"straying VERY far from the original topic"Jackson