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I have, but you dont have to twist my arm to get me to do it again

I forgot about the Adams short action valves.

Looks like a fun horn!

arpthark wrote: ↑Tue Nov 28, 2023 6:41 am I forgot about the Adams short action valves.

Looks like a fun horn!

There are only 4 examples of these models in the world that I know of. (so far) Mine is the 4th and most polished "prototype"

There's a player/teacher - who I doubt that anyone here would label as misguided or a hack - with whom I've studied. Most all of us always strive to move our valves quickly - as we were taught to do in school band. This player/teacher showed me something that another of similar-stature player/teacher taught them, which is to move valves as slowly as one can manage to do (without messing things up) when playing legato passages, because it assists in imitating a human voice - which basically portamentos between pitches. Of course, this technique needs to be backed up by air and buzz, in order to keep the sound at an even keel.

Having recently ridded myself of a piston tuba - with approximately a 9/10 of an inch valve stroke - over to a rotary valve instrument - with mechanical advantage and shorter strokes - and more concentration required to affect this, it's more difficult to use this strategy than it was with those long stroke pistons. I've also found that it's more difficult to affect with short-action sousaphones and short-action Conn baritones. Another thing about short-action is that it's nearly impossible to build a short action piston without also greatly increasing its surface area, which is naturally going to increase drag - fighting against the additional speed, which is surely the goal of a shorter stroke . Saying it a second way, that means that - if the goal is to push a shorter distance in order to increase valve speed, the additional drag of the surface area is going to work against that goal. From a collector's perspective, I think it's pretty cool to have a prestigious brand of instrument with a unusual feature, but I would not choose short-action pistons over traditional longer stroke less-surface-area pistons, and - again - the mechanical advantage of rotary valve linkage brings forth some of the same problems as with the (short-acrion) the added surface area and lack of control issues.

My F tuba is rotary and - to help me execute the slow valves technique with that instrument - I have it lightly sprung which offers more control, because I don't have to work as hard to depress the levers. Several months ago, I played Mahler 1, and used the F tuba. I used the slow valves technique on the humorous introduction to the Frere Jacques movement - with all of the low instruments beginning the piece. I tend to suspect that at the beginning, Mahler really didn't intend on the opening of that movement sounding very good - and on purpose, but - over the years, as instrumentalists have stepped up their prowess - patrons and colleagues now expect all those solos to sound perfect and beautiful (a lot like the opening to Rite of Spring - with the bassoon). I'm not bragging about my playing here, but what I'm trying to say is that using the slow valves technique assisted me in being completely satisfied with my rendition, and I received compliments from people who I judge to be way better at playing their instruments than I am at playing mine.

So please don't think I'm criticizing the silver bell Adams with the short-action valves. I know it plays beautifully, and - with those features - it's going to have more resale value than most of the others, but it's just that I wouldn't personally seek out short-action valves and - when I cloose to buy rotary instruments (due to impressive lists of other playing characteristics) I understand that I'm going to have to counter some of the same issues as discussed in this long post's previous paragraphs.

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Matt Walters is oft quoted as saying that every tuba has someone's name on it...and would include every single 2XJ...well...maybe every one that's not on some high dusty shelf in a band room, and missing its valves.

My teacher in college played a small 4 valve conn in c. I dont know what model. The sound was absolutely gorgeous. Never blatty. He was an original member of meridian arts ensemble.

Sent from my SM-S367VL using Tapatalk

Conn Tubas, for me, are champions of overhead to return positive$.
I like the ability to lay down bass and flip to leads (so fun & responsive) amplified or acoustic. Conn instruments are tough sturdy and are visually appealing.
I like the way they play and respond.
Of course they are challenging to play in tune, [part of the charm haha]
the more you play them the easier it gets - to figure tuning strategies HAHAHA
4 valves are easier than 3 ! heck 2 more for 6 -- I might reach nirvana

bloke wrote: ↑Sun Nov 26, 2023 7:38 pm After messing with the circuit lengths on a 28K E-flat sousaphone, I'm pretty sure that that was about the best E-flat sousaphone I've ever played, but not until I did what I did to the circuits.

This 28k is my main horn. Thankyou Bloke.

My Conn tubas in order of acquisition or issue
36k HS 3 seasons
25J HS shared duties with King 3valve bellup
36k C 1 season
2J CC? borrowed 1 semester Thankyou Carl M coming from a Getzen Weston 30 CC
followed by a 184CC 5
20K U 3 seasons
25J BBb GIG WORLD [GW]
26K GW shared duties with King HN BBb '52 Thankyou Bloke
PanAm little Eb 1941 3v GW Thankyou Dan Schutz
New Wonder Giant 1918 3V top >>Lotsa guys worked on this one/ 90w gear-oil
28K 1943 GW current with 26K
25J 1926 Eb giant GW Thank you Bloke. Conn recycled some model numbers. I saw it on a 1926 price list, Hi-low, front action, Eb four valves. This one is very similar to the 28K.

Send me a pm @arpthark for circuit alterations on the 28K
joe h