Listen to Jack play examples based on our discussions regarding string tonalities and tuning. Listen alone and intently to the conversation and especially pay attention to the musical affects that can be used in service playing, repertoire, to accompany, or for transcriptions. 

Best listened to in your parked car with the engine off.

St. Andrew String Matching Magic

This is a supply-house Tromba I turned into a Tuba. In the beginning of this recording, you'll hear the unvoiced original tongues on 7.5"wc. Most did not play. After working with the original tongues for a couple of days, I decided to cut a brand new set of tongues from new brass.
The second part of this recording is with the new tongues on 7.5"wc in the shop on the voicing machine. Listen for C and F# samples, then the completed shop voicing. Stay tuned to hear how it sounds in the church.

Flemington Tuba before voicing, samples C's & F#'s, then shop voicing complete

This is the Flemington Tuba installed. It's located directly behind the facade on the right side approximately 3' higher than the facade toeboard. I raised the pressure onsite to 8.5"wc and spent several days tonal finishing with Eric helping. Notice the distinct contrast between the new Tuba and the existing 1970's Austin reeds.

Flemington Tuba Before Tonal Finishing But After Shop Voicing Installed In The Church

Jack reveals the secrets of how the string division and swell strings layer. It's not only timbre, but, of course, how they are delicately balanced to interact with each other, and ESPECIALLY how they are tuned that is crucial in achieving proper orchestrally-imitative string tone.

It's an ORgan!