Re: York Hybrid re-plate?
Posted: Wed Sep 30, 2020 8:53 am
bloke wrote:bloke "hoping for an exit strategy from this thread..."
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York Hybrid re-plate?
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Re: York Hybrid re-plate?
Posted: Wed Sep 30, 2020 9:11 am
Re: York Hybrid re-plate?
Posted: Wed Sep 30, 2020 10:57 am
It's not complicated, but extensive:
The instrument (with silver on it) is going to look JUST LIKE the instrument WITHOUT silver on it.
Any square inch - that cosmetically sucks - will still suck - except that its suckiness will be ensconced in silver.
Every solder joint (rather than just "air tight") must be filled up to the very top edge, because plating chemical can seep into any little (even if only .001" wide) "cave", leach back out, and etch the instrument later.
In particular (as with your tuba, Bill), silver plating a tuba with kranz is really risky, because the top edge is only in place via being folded down into place (no solder), and - as that leaves and epic chance for plating chemical to find it's way in-between the kranz and the bell, it also offers a very high chance of that chemical leaching back out and etching the (nearly always) BRIGHT-silver bell interior...
...An alternate tack (when plating a tuba with a kranz...though not necessary when a bell is in perfect/like-new/undamaged condition) is to solder down the folded-over tab (all the way around the kranz against the bell interior), but I did not choose to do this with your instrument. Rather I just (after straightening out that bell) worked it down to a very tight fit.
bloke "Now, am I done, here...??"
Re: York Hybrid re-plate?
Posted: Wed Sep 30, 2020 11:36 am
Re: York Hybrid re-plate?
Posted: Mon Oct 05, 2020 6:46 pm
Update on this project:
Lee Stofer has done an amazing job on the preliminary tweating of this instrument. Now I can decide if I want to invest in plating.
The horn plays great at this point and answer looks like yes. It will most likely be satin silver with brite trim ala early york tubas. The plating will be done at Anderson's.
Another plus with this finish is it is more forgiving and will require a lot less buffing to prep the horn for Anderson's.
Although I have some very nice instruments, I am not into hording tubas that won't get used. At my delicate age, I am really looking for 1 or 2 instruments that will take me through my final journey mastering the instrument I love. The Getzen G-50 with the York bell and customized York style tapered leadpipe offer me a flexibility and smoothness I have been searching for. Since the horn is coming very close to my desired criteria I will now invest in my favorite finish.
The best thing is the project is being funded by the sale of several sousaphones I no longer use. So, as I thin the herd, I will end up with the horn of my dreams.
Shorty after I acquired my first CB-50 a few years ago I read of the results folks had putting a York bell on these horns. Since I loved the CB-50 and also "all things York" I set out to find a York bell. I found this horn that already had the York bell and grabbed it.
It is a slightly different blow than my other horns (always liked a 750 or similar bore) it does get me closer to where I want to go playing wise. It continues to be a very fun and interesting venture. Thanks for the wonderful and insightful comments!
Still love playing!
Tim Jackson
CB -50
G-50 with York Bell & bows
1980s Nirschl 4/4 CC
1960 Mira 5U CC
6/4 York BBb
Yama 621 F
50s Holton Sousa
Conn 36 Fiber Sousa
Lee Stofer has done an amazing job on the preliminary tweating of this instrument. Now I can decide if I want to invest in plating.
The horn plays great at this point and answer looks like yes. It will most likely be satin silver with brite trim ala early york tubas. The plating will be done at Anderson's.
Another plus with this finish is it is more forgiving and will require a lot less buffing to prep the horn for Anderson's.
Although I have some very nice instruments, I am not into hording tubas that won't get used. At my delicate age, I am really looking for 1 or 2 instruments that will take me through my final journey mastering the instrument I love. The Getzen G-50 with the York bell and customized York style tapered leadpipe offer me a flexibility and smoothness I have been searching for. Since the horn is coming very close to my desired criteria I will now invest in my favorite finish.
The best thing is the project is being funded by the sale of several sousaphones I no longer use. So, as I thin the herd, I will end up with the horn of my dreams.
Shorty after I acquired my first CB-50 a few years ago I read of the results folks had putting a York bell on these horns. Since I loved the CB-50 and also "all things York" I set out to find a York bell. I found this horn that already had the York bell and grabbed it.
It is a slightly different blow than my other horns (always liked a 750 or similar bore) it does get me closer to where I want to go playing wise. It continues to be a very fun and interesting venture. Thanks for the wonderful and insightful comments!
Still love playing!
Tim Jackson
CB -50
G-50 with York Bell & bows
1980s Nirschl 4/4 CC
1960 Mira 5U CC
6/4 York BBb
Yama 621 F
50s Holton Sousa
Conn 36 Fiber Sousa
Re: York Hybrid re-plate?
Posted: Mon Oct 26, 2020 4:19 pm
@Tim Jackson
I sent you a PM about a semi-related matter. Thanks.
To our wonderful Moderators: What am I doing wrong regarding the "@"?
I sent you a PM about a semi-related matter. Thanks.
To our wonderful Moderators: What am I doing wrong regarding the "@"?
Re: York Hybrid re-plate?
Posted: Tue Oct 27, 2020 1:34 pm
A good playing tuba is a good playing tuba! I personally prefer lacquer, but that's only because it's easier to keep clean and maintain. Another thing I need is something playing in tune. If it isn't physically gross or repulsive to touch (greasy, residue everywhere, etc.), and it meets the other requirements, then I am happy with the tuba.Doc wrote: ↑Mon Sep 28, 2020 9:04 am
That's likely a concern to some buyers, albeit to varying degrees, and not a concern to some at all. It doesn't help that frankentubas are all unique (no reference models to try at all the conventions, neighboring tuba players don't have one just like it to try, etc.). Frankentubas seem to be a niche thing, but that's a shame - there are some really great frankentubas out there that do NOT cost as much as new or even used in some cases. Having confidence in a guy putting parts together in his garage vs. seasoned factory workers at a company with a great reputation could be a stretch for some buyers. This is definitely a case of "trying is believing." If you ever sell yours, plated or not, photos and good sound samples will certainly help. I think the market for frankentubas is those who want a good playing tuba that doesn't cost a fortune, someone who values playability first, and/or the person who likes something unique and different. If it has a wonderful appearance, that opens the door to other potential buyers and a higher sale price. That sale price may or may not offset the cost of the plating job, but your enjoyment of that beautiful plating job while you own it might more than make up the difference.
*channeling bloke* "Hey, it's nice to have a shiny instrument that is clean and in excellent condition, yes?" We've seen young players buy "shiny new stuff," but the tuba wasn't really an excellent player. That trend seems to be more pronounced today than ever with everything, not just tubas. I've had tubas in all manner of appearance, but the criteria for purchase was how they played. The first tuba I actually owned was Rudy 3/4 CC (that I should have NEVER sold), and the lacquer on it was typical Rudy - falling off, splotchy... it was the Holstein cow of tuba, and I didn't care. Neither did anyone else. Because it sounded fantastic. Young people today have grown up in a different world. They are accustomed to instant gratification in all areas and having the nicest/prettiest/bestest of everything. Pop culture demands it. Living that instagram life! In all fairness, not all young people are that way, but it's a different world now, and you ask a valid question.