Steve Inman wrote: From multiple sources, I've heard the legend of the 4V Conn 56J ... and I wonder what I'm missing!
From sitting next to one in concert section, and listening out in the audience, I can tell you overall, the 56J is a fine instrument. Not spectacular, but nice. The big whoop-la was at the beginning when they only cost about half as much new as current list price, and was such a value for money. Now, at their current new price, they are not the deal they were, so they have retreated back to the rest of the pack. And since they came out, other companies have brought out some better horns for the money. And finally, as time wears on, the current consensus is that the 5th valve is rather too small and misplaced, and has a couple of bends that are too tight, destroying the advantages of Matt Walter's prototype.
I can’t wait until I get my York 4/4 CC (with 5th rotor added) back to try out. I had posted some pictures I was proud of while it was tacked together with the valve section still in BBb. I won’t know for sure if any of the notes are stuffy until the valve section is cut to CC. But all of the open partials have great response and they are in tune with each other exceptionally well.
I am excited to have figured out (pure luck) what valve section from what tuba to use, and where to make the cuts etc, in order to make the conversion from a York Eb to a great CC that is like the 56J, (with the great York sound).
I think I would go for it and put the 5th valve on if I were you, especially since it is a York CC.
tubeast wrote:When you find yourself somewhere near the first partial CC most of the time I´m convinced you´d WANT a fifth valve badly enough to get one.
No offense, but is there really much literature that hovers around pedal C (aka first partial C)?
Notes below 5 ledger D seem rather few and far between and mostly for effect, thereby giving enough time to pull a slide or setup for a false tone (aka our good friend Bob).
I've been playing on a 4 valve Alex CC for about 8 years now. When I bought it, I had thoughts of a fifth valve but was talked out of it. It's an awesome tuba, so why risk destroying all it's good qualities? Are you willing to spend $1000+ for two notes that you really never play? I did the right thing. I practice my false tones and they sound fine in a big hall.
I also have an Alex F. When I bought it, there were only 4 valves. It's a little different story though, the intonation was bad and you really need five valves when playing below the staff on F tuba. It cost me a little more than $1000 to get the valve and then get it installed (which means cutting the leadpipe). It's okay, but it's not a holy grail.
Your York has already been mutilated enough, if it sounds good, leave it alone. It's not going to kill you to be a monster at false tones. Although it may hurt your ego if you show up to an audition with only 4 valves.
Just my thoughts after playing on a 4 valve Alexander for a while.
Rick Denney wrote:
Rick "who thinks 4-valve C's are great deals because of the myth that the 5th valve is essential" Denney
What would some of those be?
TubaRay just acquired a very nice 4-valve Rudolf Meinl 5/4 for FAR less than the usual price for a large C. He made it sound great when he was auditioning it, and he got an instrument that can hold its own in ANY orchestra or large wind band situation. The price he paid was not far from high-end used Bb tubas.
And we've all seen deals come and go for four-valve tubas that were solid players in the several thousands instead of many thousands. Examples include the old Cerveny Piggies and 601's. They aren't in the class of that Rudi, but they do the job and provide a huge payback.
In general, it appears to me that four-valve C's are priced similarly to four-valve Bb's of the same mode, brand, and condition. Five-valved C's are much more expensive.
Rick "thinking it would be hard to find a new C tuba with four valves" Denney
