Posted by Rick Denney on January 09, 2003 at 15:38:33:
In Reply to: buying a tuba posted by Titto on January 09, 2003 at 14:28:43:
Well, let's see. I bought a Sanders/Cerveny tuba that I didn't play first, but I trusted the salesman, who had good qualifications, that it was a decent tuba (the salesman was Jeff Funderburk). Then, I traded it for a Miraphone 186 that I played first. I bought a Yamaha 621 F after Lee Hipp tested it and declared it "a great horn."
I tried a Vespro (VMI stencil) which was nice and a little more responsive than the 186, so I bought it, but I ended up selling it after a few years. Ray Grim tested that one for me, saying that it was a good horn but that I would not thank myself every day for buying it as I had done with the Yamaha. He was right.
Then, in the latest round of acquisitions (we are talking of a 20-year history here), I bought the York Master from Chuck, after playing it first at his house and comparing it with a selection of some of his other fine instruments. Let's see, then came the 20J, which I bought on a lark, and just sold. Then, there's the Holton, which I played before buying, too. And my test of the Holton was against the background of play-testing every BAT I could get access to for a two-year period, and it also had Dave Fedderly's recommendation.
So, as a second-rate amateur with more money than sense, I've still followed the conventional wisdom, or (and this is a key "or") I've asked a professional familiar with my objectives to test it for me. That professional can be a trusted salesperson (with emphasis on the trust).
Even so, I would agree with you, because the majority of instruments are bought by schools without individual testing. For people buying instrument for themselves, however, I'd bet most get preplayed by someone.
And I agree with a principle lurking in your message. Many amateurs are unable to assess the qualities of an instrument early in their playing career (or when they are learning again after a long break). If they were to buy an instrument known to be both competent and consistent, from a reputable source, they should be able to buy it sight unseen with minimal risk. A Miraphone 186 comes to mind as an instrument in this category, but there are others. If you put a 186 in the hands of a young player, they will have a tool that can make music for them to the limit of their abilities for many years if not a lifetime. Eventually, they may prefer something with a different style, and by the time their playing has progressed to the point where they know what they don't like about the 186, they'll know what they do like about other instruments.
Sometimes, folks paralyze themselves with analysis because of the edict to test all and "let the horn choose you". They don't want to make any mistake. But mistakes aren't that expensive. I bought the Vespro, ultimately deciding it wasn't for me, and only lost $500 when I sold it. The Conn went for a little more than what I paid for it. I paid a total of $2500 for the Sanders and the other horn that I traded for the Miraphone--a fair deal by any reckoning, even in 1989.
Rick "who suggests Do Not Break the Rules Before Learning Them" Denney