Posted by Rick Denney on January 28, 2001 at 18:40:21:
In Reply to: Re: Re: Re: Is it the tuba or the player? posted by Joe S. on January 28, 2001 at 16:19:15:
Dave Fedderly brought a York 6/4 cut-job to the Army Tuba Conference, and I spent a bit of time with it.
If there was ever a horn made that would make me learn CC fingerings, this horn was it. In a heartbeat.
It was made from an original York bell and outer branches with a Nirschl valveset.
My experience with this horn absolutely confirms Joe's statements. It was the easiest horn on which to make a beautiful sound I have ever played. I don't know about intonation, but it had all the characteristics I associate with such instruments--a warm, friendly sound that grows in character as you push it. It is never aggressive, but always massive even when playing softly. It can float under almost anything without intruding on it, and it can move earth. But it could never be unheard. I could tell these things playing the horn myself, and my wife's response was "Wow!" No subtleties here.
I can't possibly afford it ($11K) and have no use for such an instrument. And I have standards--these horns are rare and need to be in playing situations where they will be heard. But I fell in love with it all the same and publicly thank Bin Love for twisting my arm into playing it.
After playing about 15 horns at the conference, going back to my own York Master was like wrapping up in front of a warm fire. There were things I liked about the other horns (particularly the Willson 3100 BBb), but my B&M York has a big part of the package. But that big "real" York will haunt my dreams.
If it bears any resemblance whatsoever to the Chicago York, then--no question--it EARNED its reputation. As Joe says, it didn't need an artist of Jacobs's talent to reveal its special nature. What a stroke of good fortune that THE York ended up in THE player's hands so that we could all benefit from the association.
Rick "it's both the horn AND the player" Denney