B&S Symphonie Buyer's Guide - Brass and Pipes

B&S Symphonie Buyer's Guide - Brass and Pipes

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The Symphonie F-Tuba stands out as one of the most influential tuba designs of the 20th century. It remains a top choice for many professionals and has inspired numerous modern F-Tuba designs. This guide offers a comprehensive look, beginning with a brief history of its development and then diving into four distinct creation periods from 1963 to 1985, based on my personal observations of the production lifecycle.

We’ll also provide price estimates for each series, considering factors like condition and modifications.

Note: The opinions shared here are personal recommendations to guide you through the used Symphonie market. Always use your judgment. Proceeding without it may lead to issues like financial loss, valve problems, and other unfortunate outcomes. Now, let's delve into it.

History

For those new to this, here's an earlier blog post about the inception of the Symphonie.
Blog Post about the first Symphonie from 1960

TL;DR
The birth of this model was driven by two determined individuals, a musician and an engineer, whose collaboration set the project in motion. Subsequent refinements by notable musicians and the skilled craftsmen at B&S brought the design to life.

However, two decades of production pressures and external influences from non-GDR tubists led to changes in the design. By the mid-1980s, the heavier 2-piece bells and less conical valve blocks marked the end of the Symphonie's production. This "progress" is viewed differently nearly four decades later.

Important Note: Be cautious of smaller F-tubas from GDR times with "Symphonie" engraved on the bell, differing from the flagship 42cm bell models featured in this guide. These smaller versions often have intonation issues. The Symphonie name was also marked on specific BBb, CC, and Eb tubas, but this guide focuses on the F-Tubas only.

The Four Production Series

Through my extensive experience playing and restoring Symphonies, I identified four unique series:

• 1963 – 1965 Prototypes
• 1966 – 1972 First Production Series
• 1973 – 1982 Second Production Series
• 1983 – 1985 Third and Final Production Series

While there is overlap due to spare part usage, each series has distinct characteristics worth noting before making a purchase.

1963-1965 The Prototypes

Prototypes vary significantly from later production series.

• 5 valves
• Primarily yellow brass with slightly thicker metal
• Engraved as VEB Symphonie without the B&S logo (By 1965, the B&S or Weltklang name appeared)
• No blue B&S emblem or serial number; don’t confuse with Weltklang engraved versions
• Half-round squared-off nickel-silver braces
• Bass trombone size receivers with the receiver-in-sleeve style
• 3rd valve slides are 2 whole steps rather than modern 1.5 steps; 5th valve has a short whole step length
• Rounded valve crooks
• 5th valve activated by a thumb trigger on the left hand
• Chunkier pre-WW2 valve casings, vertical brace pieces often brass
• Braces differently positioned compared to later versions

The prototypes featured straight brass braces for the paddle assembly

The bracing was made of nickel-silver stock with half-round feet

3rd slide was two whole steps

Close examination of the leadpipe reveals a slightly smaller taper than later versions. The factory likely experimented with various tapers before standardizing.

Most prototypes reached GDR professionals, with an estimated thirty instruments produced, including one that made its way to the UK.

1966-1972 The First Production Series

Finalized prototype designs and production begun between 1965-66. A colleague in Berlin recalls receiving one in 1968. Upon unboxing, his teacher commented it looked like a BBb rather than an F-Tuba due to its size compared to contemporary F-Tubas.

• Two models: 3099 (5 valves) and 3100 (6 valves), available in yellow or gold brass
• Slightly thinner sheet metal than prototypes
• One-piece bells with some featuring a V-shaped gusset, all engraved B&S “Symphonie”
• Serial numbers on the bell or mouthpiece receiver
• Half-round nickel-silver braces with smooth-filed points
• Receivers mostly bass trombone size, some gold brass 3100s with larger receivers
• Standardized leadpipe taper larger than prototypes
• Removable or sleeved receivers with chunky nickel-silver brace
• Introduction of the blue enamel badge
• Lighter valve block components while maintaining internal bore
• Hand-filed stop-arm plates, requiring custom alignment
• Variety in paddle assemblies with different springs and arms, no standardization
• Seamed lead-filled pipes for crooks, a slightly squared-off appearance
• Some models with belt rings and lyre box for military or police use
• Weltklang engraved versions for Eastern European markets without the blue badge

Notice the bell-to-bow brace in half-round nickel-silver

1st production series half-round pointed style bracing

Braces for the paddle assembly in nickel-silver with extra support

1973-1982 The Second Production Series

Efforts to reduce costs and improve consistency introduced changes in the 1970s, impacting appearance and feel. A Berlin colleague recalls eagerly using his new Symphonie in 1975, finding it a welcome relief for its improved intonation.

• Seamless crooks and bows made with hydraulic or ball-out die forms
• Standardized stop-arm/horseshoe plates for easier bumper fitting
• 2D stamped nickel-silver braces, weaker than previous versions
• Removable standard American shaft receivers with modern bracing
• Serial numbers typically engraved on the receiver, occasionally on the bell
• Removal of uncomfortable bottom bow keel, replaced with a thinner guard wire
• Reduced metal quality; slight gauge drop from pre-72 versions
• Plastic blue emblem replacing earlier enamel versions
• Introduction of non-Symphonie engraved, two-piece bells
• Budget-friendly 4-valve models with extended leadpipes, mostly yellow brass

The modern receiver bracing debuts. The receiver itself appears similar to earlier versions but...

...is removable

1983-1985 Third and Final Production Series

By 1983, Symphonie production ceased, though spare part assembly continued until 1985 mainly for repairs.

• Two-piece bells with a kranz like the rest of the B&S production
• Solid nickel-silver American shank size receivers
• Modern, sturdy bell-to-top-bow bracing
• Extended 5th valve slide to a flat whole step; widened 3rd valve crook
• Shrunk bottom bow guard wire to 10cm, added top bow guard wire
• Modernized paddle assembly with chunkier paddles
• Yellow brass versions prone to dezinkification, even in gold brass models
• Special orders with Vienna or French-style fingerings, mostly for PT1x models

A colleague received one of the last Symphonies in 1985, praising its low-range sound but noting intonation wasn't as accurate as his older model.

Unofficial Versions

If you lived in the GDR, acquiring a Symphonie required connections. Factory workers sometimes built tubas in private workshops, sneaking spare parts home. These unengraved, serial number-less instruments occasionally surface, often playing better than factory-made versions. For more information on related topics, see Why is custom oxford cloth christmas tree storage bag Better? and Revolutionizing Agriculture: Hydroponic Strawberry Farm Success Story.

A colleague recalled purchasing a gold brass Symphonie through a connection at B&S in 1974, using it until retirement, finding it superior to his service tuba.

Supplementary Videos:

To help identify your Symphonie, here are some short videos addressing various changes:
Symphonie receivers explained
Symphonie bracing explained
Identification Table of the four Symphonie Series

How to Evaluate the Condition of a Symphonie

Years of experience with Symphonies have shown a range from factory-fresh to unusable. Here's what to consider when evaluating condition:

Symphonies primarily served GDR orchestras and windbands, with annual factory overhauls including new lacquer. While some instruments are well-preserved, others suffered abuse. Weigh the tuba; a 5-valve should weigh around 8kg, 6-valve around 8.5kg. Weaker weight suggests excessive buffing, and faint engraving hints at over-polishing.

Check the top bow and areas where hands rest for metal integrity. Avoid instruments with large patches, indicating past abuse. Smooth and even bell, bottom, and top bows are essential; significant unevenness suggests poor repair work.

Valve section assessment: Ensure smooth, even movement, and quiet mechanics. Any "clack" or excessive noise signals required servicing. Non-stick valves after weeks indicate wear. Verify slide and cap fit; wobbly slides lead to leakage affecting intonation.

Modifications:

1. Upgraded valve linkage
2. Adjusted slide lengths with reinstalled trim-rings
3. Modified leadpipe receivers for better mouthpiece selection
4. Conversion of bottom comb guard to a modern guard strip

Valuation

Price estimates depend on condition:

1. Like-new condition: 8,000-11,000€
2. Minor wear, possibly restored: 6,500-8,000€
3. Dents, minor valve/linkage noise, good repair: 4,500-6,500€
4. Heavy lacquer loss, repairs, multiple dents: 3,000-4,500€
5. Playable but needs work: 1,500-3,000€
6. Non-playable, complete horn: 500-1,500€
7. Non-playable, spare parts value: 100-500€

Additional considerations:

• Add 10% for gold brass
• Add 5% for 6 valves

Players value upgrades like improved linkage, extended 5th valve slide, modified receiver, and triggers where necessary.

Collectors value items owned by famous players, original sales receipts, original mouthpieces, and original components.

Value deductions include non-original parts, faint engravings, missing blue badges, and signs of dezinkification/red rot.

In Conclusion

Valuations are based on experiences in Berlin, Germany, with input from other regions including the USA, UK, Canada, Brazil, and Japan. Always use common sense and consult trusted friends or experts when in doubt.

While personal preferences vary, early versions have their charm, but later models like the 1978 3100 can also be exceptional. If you made it this far, thank you! Feel free to reach out for further questions or suggestions on other tuba models for future guides. Now, it's time for me to practice on my Symphonie.

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