Friday, November 9, 2012


I am back from a very productive trip to China. It was fast and grueling trip but worth it. I have a BAT! A Fledermaus? A Big Audacious Tuba. In fact I have two BATs in CC and two BATs in BBb, each available in silver or lacquer for a total of eight. Pictures posted in links. In keeping with the old system, J=tubas, digit one = scale degree, digit two is size and digit three is number of valves. So: J-865LQ is CC 5v, J-865SP is CC 5v, J-864LQ is CC 4v, J-864SP is CC4v, J-765LQ is BBb 5v, J-765SP is BBb 5v, J-764LQ is BBb 4v and J-764SP is BBb 4v. The instruments are not copies of any existing tubas but were certainly inspired by some great American tubas of yesteryear. (Return with us now to those thrilling sounds of yesteryear…) The point of departure was a BBb Holton from the twenties. I used the bell, bow and branches for the BAT dimensions. It is clear to me that Frank Holton and J.W. York had a symbiotic relationship and that is was Frank Holton that first developed the large bell that was later used by York. The valve cluster is that which I currently use in the 4/4 tubas so the bore is .750/.787 with an optional dependent fifth rotor. Because of the dependent rotor I could not tell a blowing difference or sound between the four and five valve models.
Having owned BATs with 20” and 22” bells and having compared the Conn 52J, 54J and 56J, I am keenly aware that too big a bell makes the sound diffuse and fluffy whilst too small a bell offers little depth but gives a quicker response especially in the low register. I chose 19” for these BATs and am confident most everyone will like the choice. I brought back with me one J-865UL and will use it as a trial sample for anyone who wants to test it. In Elkhart by appointment or at a conference near you. I will be traveling with a Gemeinhardt display to several shows, bringing along a variety of BMB tubas. Give me a shout if there’s something in particular you’d like to try. I will be in Ames, Iowa for the state convention Nov 15-17, New York State’s NYSSMA Nov 29-Dec 1, Wright State’s Low Brass day Dec 8, Midwest in Chicago Dec 19-21. Grand Rapids, Michigan Jan 17-19, Capital Tuba Conference in DC Feb 1&2, Ohio MEA in Columbus Feb 7-9, NAMM in Anaheim Jan 24-26 Minneapolis Feb 14-16, TMEA in San Antonio Feb 14-16 will have tubas but I will not be there. I would be pleased to do a complete display of all my tubas and Euphoniums at your college. Email me at It is my intention to keep one each of the BBb’s and take orders as I have no feel for whether 4v or 5v in LQ or SP will be popular. I expect February delivery of 5v CC’s in both lacquer and silver and will secure orders with deposits. Oh, the price, around $7,000 depending on specific model. Includes a free case and a great Helleberg mouthpiece. Gig bag available. I will withhold personal evaluation here, but I am extremely encouraged by what I could tell with my dystonic (is that a word) chops.

Monday, October 8, 2012

New Sousa Band concert October 2012 J-345, J-744, J-744

Willie Clark, Jess Lightner, Mark Jones New Sousa Band concert October 2012 J-345, J-744, J-744

Friday, September 28, 2012

Trip East

First to Buffalo where Don Harry took delivery of his J-844 CC tuba. He used it in the Buffalo Philharmonic later in the week. Mark Jones who subs for Don in Buffalo got one as well. That;s three for Don: J-445, J-744 and now J-844. Don took a J-845 that is on it's way to Australia for Ed Diefes, tubist with the Australian Opera and Ballet Orchestra. Ed's tuba made the rounds in Don's studio at Eastman before traveling down under.
More pics in links
Then to Hartt School of Music in Connecticut. This is the first time I got to meet Scott Mendoker who in addition to teaching at Hartt, plays in the Philadelphia Brass. Great player and super nice guy. He invited players from the area to come in to try instruments. I got to meet Steve Lamb from the Coast Guard band who has a Nirschl tuba made from the same tooling that now makes the Big Mouth Brass J-845. Pictures in links. Both ordering J-445's and one of Scott's students took delivery of one as well. Then to Mansfield PA where Dr. Nathan Rinnert's studio now has a J-845 and a student has a J-345. A day of golf with my wife at Quail Hollow and finally John DiCesare's studio class at Kent State. John gave all the horns a good workout and sounded marvelous. Watch for his star to rise.

Wednesday, July 25, 2012

Mark Cox at CMU

I had a lovely day playing golf with Mark Cox and then testing tubas. Mark tried the J-734, J-744, J-844, J-445, J-345 and the H-808 Euphonium. Mark sounded fantastic on all of them. He confirmed what Don Harry and Gene Pokorny found, the new Helleberg mouthpiece worked well on all tuba models. Central Michigan University has a fantastic facility and Mark is a Marvelous player and teacher. I am honored to have Mark's stamp of approval on my tubas and Euphoniums. Tuba inventory is down to one F and one EEb but the next shipment is due by the end of September. I have a number of compensating Euphoniums on which I can pass a fantastic savings because I need to make room for the next shipment. When the next shipment arrives I will be on the road again. Contact me at if you'd like a showing at your college. (I'd love to arrange a Southern tour in the Winter.) pictures:

Wednesday, June 6, 2012

5/4 BBb and CC first samples from China

I had a nice trip to Columbus and Buffalo showing the new samples of the 4/4 (5/4?) BBb and CC. Tony Zilincik met me at Buckeye Brass where he and his student Gretchen tried out the J-844LQ CC tuba. Gretchen ordered the sample. Then off to Buffalo. Don Harry, tubist in the BPO and professor of tuba at the Eastman School of Music put the new models through their paces. Don has been very gracious in testing and providing feedback. Mark Jones who plays second tuba in Buffalo was there as well and wrote a review on tubenet Mark is NOT an agent or salesman and was not coerced or bribed in any way. I am most pleased he liked the instruments and would be delighted to have anyone come to Elkhart to confirm for themselves. He speaks for himself and ordered a tuba, his second Gemeinhardt. These are the first instruments built in China on the German tooling acquired from Walter Nisrchl and built briefly in Brazil before the tooling was moved to China. In my humble opinion they are second to none. These approval samples are 4 valve instruments. I do not anticipate the dependent rotor having any impact on playability. Somewhat surprisingly both Tony and Don are fans of the J-844 FOUR valve CC tuba and see advantages to the reduced weight of only four. They found the privileged pedal notes to work well and were impressed with the long pulls on all four slides. I don’t think I am mis-quoting Don or Tony in saying this J-744 is THE recommended school BBb tuba period. At a street price of $5227 a quality that rivals any and a playability that arguably blows the competition out of the water, it is no wonder. (BTW if Mark was an agent writing a sponsor ad on tubenet I would have asked him to say that. The H.S. BBb market is the larger market. LOL) (I would also have added a note about the ¾ BBb. It is in stock and a great horn for schools as well.) I expect full production with delivery by the end of August and will be pleased to take the show on the road. Let me know if you would like to set up a local 'dog-and-pony-show' of Gemeinhardt (aka Big Mouth Brass) tubas. Prices range from $5227 for the 4v BBb in LQ to $6517 for the 5v CC in SP. The J-445SP F tuba and J-345SP EEb tuba street @ $4871. I've posted pictures for those curious about the mouthpipe angle. It worked well for Gretchen and Tony. Mark liked it. Don may move it out a little as he rests the horn on his right thigh. BTW Don also compared the new F with cross bar to his own earlier Gemeinhardt without the crossbar. Conclusion: Better ergonomics; no negatives. Alex Cauthen from Dallas was here a couple of weeks ago and came to the same conclusion. Mark asked me to order a cross bar for his F. .............................. Gene: "Wow!"

Monday, May 14, 2012

The J-445 had a good run in Chicago. Two concerts in the hall, on tour of Russia and Italy and a recital at Ball State. When I first went looking for a CC tuba in NYC in 1964 Walter Sear said "When the chips are down you go to the tuba you've played most of your life." Gene announced he will be performing the Vaughn Williams tuba concerto on the York. If he's not going to use the J-445 I couldn't be happier that he'll play it on the York. The first time I heard Mr. Jacobs he was playing the VW with the Evanston Symphony. I was a little disappointed in what I heard after hearing about his huge sound. I later learned that he used a shallow cup mouthpiece trying to make the York sound like an F tuba. I sat in his basement and held a db meter while he tried tubas for a later performance. A bell front CC, the Besson F and the York. Again he settled on the York. When he finally recorded the VW with the CSO he chose the instrument for which it was originally written; a instrument with which he was not comfortable; an instrument in a key on which he rarely played. It is a great performance but not, alas, the legacy I felt he should have left. And so when Gene told me he was going to use the York, I could not help but think it was the right one. Here is Gene Pokorny talking about the upcoming performance: ....I'm looking forward to it.

Wednesday, April 11, 2012

Gemeinhardt Tuba Goes on Tour

Gene Pokorny has chosen to take the Gemeinhardt J-445 F tuba on the Chicago Symphony’s upcoming tour of Russia and Italy. I went to Symphony Hall yesterday and added some T bar’s to facilitate slide adjustment on 3&4. BTW Gene is performing the Vaughn Williams Tuba Concerto with the orchestra May 15, 17 &19. (The Saturday concert is in Naperville because of anticipated protests downtown from the previously scheduled G8 summit.)

If you would like to try the J-445 F tuba or the proto-type of the CC tuba, I will be displaying these, as well as the full line of Gemeinhardt horns, Euphoniums and trombones (and of course the flutes and other woodwinds), at the Pennsylvania Music Educators' Convention. This year the convention is in Lancaster. Exhibit Hall Hours: Thursday, April 19, 9:30 a.m. - 6:30 p.m., Friday: 8 a.m. – 4 p.m.

I would really appreciate some input on the I-808 Compensating Euphonium. I will have TWO versions at PMEA.

Sunday, March 25, 2012


March has been an action packed fun filled month of adventure, excitement, disappointment and more excitement.

The first weekend I went to Chicago and heard Gene Pokorny play Das Lied von Erde on my Gemeinhardt F tuba. A week later I was off to Cleveland where Ron Bishop and his students tested the F for purchase at the Cleveland Institute. Then down to Muncie, IN where Gene Pokorny played a recital at the invitation of tuba instructor Mathew Lyon. Mr. Pokorny played ‘my teacher’s old York, LOL, aka ‘the’ York, as well as my Gemeinhardt F. More on that later.
Then off to China to see the sample of the J-845 CC tuba. This is where the disappointment came in. It wasn’t ready. But we ironed out some design details, started a new mouthpiece to include with the tubas, started design of a 6/4 tuba and have a production schedule for the J-845, J-844 and J-744 tubas.
I also did some design work on an ergonomic Euphonium and approved new rotors for our French horns and worked with the trombone slide maker.
Knowing I am a vegan, my host treated me to a vegetable stir fry at the factory. Wok this way. Pictures attached. See March 2012.

Update on the BBb and CC tubas.
The full size J-744 big BBb sample tuba will be done April 30 and in US by May 15 for approval.
The full size J-844/845 big CC tuba sample will be done May 15 and in US by June 1.
If samples are approved, production instruments will be in U.S. approximately August 1.
I did play test the ¾ CC tuba and loved it. ¾ is for sure an inadequate description. The bore is .730” which makes it larger than a 36-J. The bell throat is as large but flairs only to 16” making it more a compact tuba than true ¾ tuba. This is by design in part so that the BBb version matches school bid needs for a middle school tuba. The CC is more open as you would anticipate. Available in 4 or 5 valves in silver or lacquer, I have one on the way to test the waters. This one will be 4 valve lacquer. Street price in this configuration is only $4303. It believe it will be a perfect solo and quintet tuba large enough to hold its own in most large ensembles. I hope you can try one and give me input about its potential. BTW it fits in a small MTS case making it a great travel tuba.
More F tubas and EEb tubas are in production. I still expect them in late April or May.

Friday, February 24, 2012

The journey to build the Gemeinhardt tubas

Chapter One, becoming a tuba player.
I wanted to play trumpet. My mother talked to some educators who told her to have me start on piano and hold off on trumpet until fifth grade. And so I learned that the white note scale was the C scale. When I got my trumpet the music was written in Bb so the ‘white note scale’ was still the C scale. For reasons more macho than musical I volunteered to play tuba during sixth grade summer band, never expecting that I would not be allowed to go back to trumpet. It was an EEb Sousaphone and I was told to subtract three flats and play it like trumpet. And so the white note scale was still the C scale. When I got to Junior High I was ‘invited’ (I had no choice) to play the BBb Sousaphone. I was told that Bb and F were open, Eb was first valve and “I could figure out the rest”. Gosh I was frustrated. The white note scale was no longer the C scale. I kept up with my piano and trumpet lessons but in band I was a BBb tuba player. I kept making mistakes like playing Gb second valve. It seemed C fingerings came second nature but BBb fingerings were anathema. I wondered why tubas weren’t simply built in C. When I found out that they were, I resolved to purchase one. There were none to be had in Cleveland so off I went to New York City. Bill Bell’s old Cerveny was for sale for $425 and Walter Sear wanted to sell me a Mahillon because it was compact enough to ‘take on the subway’. Bell’s Cerveny was pretty well worn out and the subway argument didn’t resonate with this mid-Westerner.

Still looking for a CC tuba I called the local musical instrument manufacturer. (Doesn’t every city have one? LOL I was born in Cleveland.) They told me they had built eleven CC tubas for Bill Bell but were back ordered on BBb tubas and Sousaphones so had no desire to build any special orders. Meinl-Weston tubas were just being introduced by a man in Cincinnati. I found a CC tuba but continued to petition the local manufacturer to build a CC tuba. Fast forward to 1980. I was teaching at the University of Akron and had a budget to buy some tubas. The design engineer at the local manufacturer was, and remains, a good friend. We discovered one Bill Bell model remained in parts on the shelf. I was now more particular and wanted a larger bore tuba but convinced my friend to assemble the tuba as a market test, promising to buy it, no matter what the market test showed. (There is more to this but it is tangential to the story.)

Fast forward again. I quit playing and teaching and was now a district manager for that same manufacturer. I lobbied manufacturing and marketing to make a CC tuba, drawing pictures, pointing out tooling, showing sales forecast and pointing out the prestige and referral benefits to the entire line. It took twenty years but a CC tuba was finally made. It was not as I would have built it, but it was progress. The tuba made it to market and had moderate success. An F tuba was proto-typed but never made it to production.

The manufacturer became part of a larger conglomerate and the F project was dropped. Shockingly the CC tuba was eliminated from the line. It seems the smaller sales did not justify the inventory dollars to corporate minds.

There you have it. That is why the Gemeinhardt tuba is made overseas. American business thinking does not relate to small quantities. And yes, I have, at various times, been in contact with other stateside manufacturers. The type of tubas I wanted to build were not an option, at least with the bore sizes I had in mind, and certainly not what I consider ‘affordable’. The Chinese have been extremely cooperative. (I have additional thoughts about the ‘built in America’ goal but again that is tangential to the story.)

Chapter Two, the continued search for a CC tuba
I quit that ‘local’ company after it had been absorbed by a larger company (and incidentally eliminated another CC tuba it had acquired in a purchase of a Wisconsin manufacturer) and went to work for a flute company at a job I believed to be an independent salesman. I thought I would ride that out to retirement. As luck would have it they were contemplating expanding to become a full line band instrument distributer and there I stood as the resident brass expert.

After exhausting the possibilities of working with or acquiring an American brass company, I contacted a friend in China who built French horns and trombones. Simultaneously I contacted Walter Nirschl in Germany. Being a student of Arnold Jacobs I have a preference for a .750” piston tuba and Walter was building what I believed to be the best tuba on the market. Walter convinced us to consider trumpet and Euphonium production at a factory in India with which he had some ties. We built trumpets and Euphoniums there for two years under the W. Nirschl brand name.

After being approached to distribute for a Brazilian company we decided to shift the Indian production to Brazil. We found business concepts in Brazil and India challenging but Gemeinhardt had experience partnering with a Chinese company to build flutes. The horns and trombones from China were doing well and had demonstrated to us the potential of a good partner in China. Ultimately a decision was made to move all production to China. Our business formula was to partner with a Chinese factory, design instruments rather than simply copy and finally to work with them to achieve quality levels for the American market. It has proven to be a good decision. We have brought good instruments to market in a timelier manner, with better quality, and at a more affordable price than we could have done in Brazil, India or even the U.S.

Chapter three, building a CC tuba
Backing up slightly: Walter asked me what kind of tuba we should make in India. That was a no brainer for me. Walter’s 4/4 BBb and CC tubas were, in my mind, the best on the market. Producing them at a more reasonable cost was the next step. Gemeinhardt contracted to purchase Walter’s tooling for his 4/4 (some call it 5/4) BBb and CC tubas.

The intention was to manufacture in India.
When we moved the Indian products to Brazil we decided to move Walter’s tooling to Brazil as well. Some tubas were built there but the relationship was not long lived. Subsequently the tooling was moved to China.

Although there will be some ergonomic changes of hand position as described regarding the F tuba, the bell and branches will be built precisely according to the German tooling. Testing has convinced me that a dependent fifth rotor is superior. For those who disagree there remains another CC tuba on the market utilizing Walter’s design.

Chapter Four, The F tuba
I have been asked if my tubas are copies of anything or what was the point of departure. All instruments (and all music) pay tribute to what came before. Although my designs are not copies of previous instruments, there are features and characteristics that draw on what came before. What did I use as inspiration?

What would I have wanted in an F tuba when I had chops? A tuba that played like a York. Big, full open, and with a bright lively sound that projects; an F tuba like Pop Johnson (who designed the York tuba that Arnold Jacobs played) would have designed; one that Arnold Jacobs would have liked. I wanted a very efficient tuba; the most sound with the least effort. Hopefully it would conform to normal tuning tendencies. Need I say it would be a front action piston valve tuba? An argument about the pros and cons of pistons is another diatribe but there are some inherent characteristics of a piston tuba that I find preferable.

Although a student and fan of Arnold Jacobs, I don’t find his recording of the Vaughn Williams tuba concerto to be the best example of that concerto nor a good representation of how he sounded. He recorded it late in his career on a tuba that he never used for anything else. I heard him perform it years earlier with the Evanston Symphony. He used his York tuba but tried to make it sound smaller with a shallow cup mouthpiece. I remember sitting in his basement on Normal Avenue listening across the room, and holding his db meter, as he played it on a bell-front rotor CC tuba, the Besson F and finally his York. He ultimately settled on the old friend that he had played most of his life for that performance. Walter Sear told me “When the chips are down you got back to the tuba you’ve played most of your life.”

Yet when Mr. Jacobs ultimately recorded the Vaughn Williams with the Chicago Symphony he used the small Besson F tuba as was used on the London premier of the piece. He had earlier described a recording on that tuba as “rather farty”. It is not my idea of the perfect F tuba. There are a plethora of rotor valve F tubas on the market. My goal was to make an F tuba in the style of the York tubas, the F tuba that Pop Johnson would have created.

John Fletcher’s recording of the Vaughn Williams sounds right and proper to my ear. So as I looked to the F tuba I wanted to create, I looked for a bell that was similar to what he used. It has a taper reminiscent of the big York but appropriately smaller as required for an F tuba. Fletcher’s tuba was in EEb with top action pistons. So the .681” bore was not appropriate to front action pistons which are a little farther down the taper. I felt .750” was too large. .730” seemed a good size and is the approximate size of the fourth valve on the Besson, a similar point in the taper. In keeping with the magic of the York CC design, I reasoned that the fourth valve needed to be larger just as on the York. .750” was chosen.

I have owned and played and built tubas with bell sizes ranging from 14” to 22”. I believe the bell flair should be proportionate to the throat. Mr. Jacobs described a tuba with a bell too large as sounding like a fluffy fart. Additionally a bell flair too large causes the low register to respond too slowly. One only needs to take the bell off a Sousaphone a detachable bell tuba to hear the effect of too small a bell flair. Response is quick but breadth of sound and projection is reduced. I find 18” to be the point of departure for a medium sized tuba. Bessons were made with 17” bells but Georg Solti encouraged Fletcher to get a “bigger” tuba. The result was his regular EEb tuba but with a 19” bell resulting in a visual image similar to what Solti saw in Chicago. Psycho-Acoustics?

Chapter 5, Description: INSTRUMENT SPCIFICS
The dependent fifth valve was decided on for two reasons. First, placement. Putting it before the pistons does not appeal for acoustic reasons. It is a low register valve and should be in a bigger part of the taper so it can be larger tubing. Putting it after the pistons makes for a very short tuning slide unless the conical taper is postponed. Putting it on the big side of the tuning slide is problematic because the F tuba is quite large there, much larger than the CC, .866”. The angles of such a large rotor and the size of the rotor itself are not desirable. Secondly it has been demonstrated that more valves, especially rotor valves, make for more resistance. Early testing of the CC tuba showed that the instrument played almost ‘too good’ for one particular player without the rotor. An axial flow or other modern valve of that bore would be enormous.
And so the dependent rotor seemed logical. Positioning where I did allowed for a very simple mechanism without levers; and it is adjustable in several ways. The size of the post can be changed, the rotation of the post can be changed, and if the rubber band option is employed, the tension of the return can be changed. I have posted on my blog a link to fingering suggestions for the dependent fifth valve.

The 5th valve mechanism can be rotated, the nylon lever can be tightened down by shortening the screw, the nylon can be removed to use only the rod, it can be moved inward or outward for increased or decreased leverage and the nylon can be covered with tubing to make it larger or softer. The valve can be operated with a clock spring or with a rubber band. The tension can be increased or decreased by the rubber band. Thus this, the simplest mechanism I could devise, may be the most adjustable and customizable 5th valve mechanism on the market.

I’ve seen some talk on the internet about alloys, especially bell material. My experience shows the York tubas were yellow brass. I have seen and played lacquered CC tubas that are clearly yellow brass and my own 6/4 York/Holton was yellow brass. Regardless, my experience has shown that the thickness of the metal and the anneal vs work-hardened condition is more important than the alloy. I have been involved with comparisons of yellow, rose and brass bells on trombones and horns. Rarely do such comparisons take into account the gauge, comparing thin nickel to heavy yellow etc. Construction, i.e. two piece vs three piece or in the case of trumpets, one piece are also a factor because they affect wall thickness. I have seen literature that indicates the seam somehow affects the resonance. I reject that notion. Wall thickness and temper caused by annealing are the contributing factors. I opted for a standard gauge yellow brass bell.
I have found that a nickel silver mouthpipe is longer lived and more responsive. I have made that a standard feature of Gemeinhardt tubas and Euphoniums and trumpets.

I believe I am typical enough to use my own hand for the valve placement ergonomics. I am puzzled by some tubas that offset the fourth piston closer to the bell. That is the opposite of many of the old tubas that essentially had a Sousaphone compatible valve block. I realize that it this ill-advised fourth valve position is because these tubas were designed with valve blocks from top action tubas. And the opposite, the diagonal placement of the Sousaphone valve block requires the player to reach farther across the tuba. And so I set the second and third valve vertical with the fourth valve back a little and the first back a little more just as the right hand would lie on your sternum. I reason that tilting the horn to the bell side or player’s left is a matter of personal ergonomics and angling the wrist down a little is not a problem but angling the wrist upward is not comfortable.

Chapter 6, Description: MODEL NUMBERS

I am sentimental and when sentimentality combines with logic I cannot ignore it. When I first started to build a brass line for Gemeinhardt in 2005 I contemplated the model numbering system. I saw manufacturers who used one digit, leaving no room for upgrades or improvements. I resolved that three digits with 100 at the student level and 700-900 at the top level would be used. Conn used a letter system dating back to at least the 1920’s. The brass was organized in score order. A was cornet, B=trumpet, …D=French horn…H=Trombone, I=Euphonium, J=Tuba, K=Sousaphone. I noted that if I adopted the same system and put the letter first instead of last like Conn did, a list would sort itself in score order in a spreadsheet. Using the same letters seemed natural because once you know what size Florsheim’s you wear, you want to buy the same size in Skeechers or Foot Joy. (The J is not a holdover from any brands Gemeinhardt distributed in the past.)
When it came to tubas I used the first digit to identify scale degrees like solfegio so 3 is EEb, 4 is F, 7 is BBb and 8 is CC. The second letter identifies overall size. The third is the number of valves. OK, OK. Size is subjective. The J-744 and J-845 could be called 4/4 or 5/4 depending on your definition. When I studied with Mr. Jacobs we referred to his big York as 5/4. Now the same instrument is called 6/4. Same horn. What changed?
And did you notice another tip of the hat to the Conn tubas of yesterday? The bottom of the valve caps on tubas and Euphoniums is slotted for a quarter. In our shop we have a quarter mounted on a T handle which is very handy especially on Euphoniums.

The York CC tuba that Chester Roberts used in the Cleveland Orchestra.

Nirschl tuba from Tooling used to make Gemeinhardt J-845 next to another Grand Rapids York CC.
Judge for yourself how close they are.

Wilbur Wurtsbaugh assembling the F tuba prototype in Elkhart

F Tubas

There are two more F tubas due in today. We are already backordered!
If you are planning to get one, it would be wise to get a deposit in.
A dealer in Mesa AZ has some on order and a dealer in Granger IN has spoken for any available stock of F and EEb tubas. Email me if you need more info.

Sunday, February 19, 2012

Back home in Indiana

I am glad to be back home after five shows in six weeks.
I was glad to be in the warm weather of Florida. I enjoyed California except for getting a case of Nammthrax stomach flu. My ears have almost recovered from the room full of tubas in D.C. Texas did not disappoint and it was great to see some old friends. Ohio was like a homecoming for me.

I am truly overcome by the response to the new tubas. I was confident they would be good but the response has been beyond my expectations. I am thrilled by the great players that have taken the time to try them and by the positive comments they have made. I have asked the factory to increase production.

I learned a good deal about the needs of Euphonium players. It appears the I-808 has great acoustics but will need some ergonomic changes to accommodate the majority of players. I am planning a trip to the factories in China at the end of March to oversee the large tuba production and make the necessary tweaks to the Euphonium.

I was also gratified that more players are noticing our excellent French horns and trombones.

The next big show will be PMEA in April.

Saturday, February 4, 2012

San Antonio and Columbus

The new F tuba will be at
TMEA in San Antonio February 9-11
along with the innie/outie Euphonium and the rest of the Gemeinhardt brass.
Yes we make Horns and Trombones too!

Then Columbus, Ohio - February 16-18.

Monday, January 30, 2012

Capitol Tuba Conference 2012

Capitol Tuba Conference at Ft Meyer. There were great performances that I didn’t get to see because I was tending the exhibit.
My sincere thanks to everyone who tried out my new tubas.
And thanks for the kind words. By many accounts the J-445 F tuba was the best F tuba there (and the best of the best were there).
And thanks for the input on the Euphonium. I will be incorporating a few more features in upcoming production.
I’ve posted pictures in the links to the right.

On the way home I stopped in Buffalo where Don Harry and Mark Jones took delivery of their J-445sp F tubas. Their comments: “This is even better than I remembered.” In choosing they flipped a coin. Both horns played the same as the sample they tried a month ago. Don took the proto-type CC to Eastman. Mark is going to use it in the Buffalo Philharmoninc but it will be back with me at the Ohio Music Educator Convention in February. Buffalo has scheduled 2 TWO tuba pieces in the same month! (Strauss and Harris.)