![]() The top bow is where things start to diverge. Clearly the 1950s VEB factory to their credit were likely aware of these issues, as the various prototypes I’ve seen, kept improving on these fronts. Like the Alexander F-tubas the Hess and later VEB versions all seemed to suffer from similar issues, such as general intonation and poor response, especially in the infamous F-Tuba low register D-Db-C. Like the Hess, these early tubas were based off of designs brought from Alexander by designer Cronlein in the 1930s. ![]() The design of the pre 1960 Fs were carried over from the previous Hess firm in Klingenthal. Clearly those tubas had room for improvement. ![]() He went on to mention that after receiving a new Symphonie, he considered leaving the old VEB on the street corner because “I would have felt bad selling it to a friend”. It was in his words, “a dreadful instrument, that could be made to work, but required great concentration”. ![]() My recently retired colleague Georg Schwark of Rundfunk Berlin fame, had just such an instrument when he first started playing tuba. To be brutally honest, most of the prototypes left much to be desired in terms of playability. ![]() The vast majority of these prototypes were considerably smaller than the Symphonie, both in bore and body size, usually a modified B&S Model 92 as they were later known. ![]()
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