Tag: Premier

Premier 751 For Sale (Job#1623)

SOLD

In my possession I have a really nice example of a Premier 751 vibraphone for sale complete with a full set of cases which are also in excellent condition.  The video below looks at the instrument in detail including a section of higher quality audio recording so you can listen to it.


As can be seen from the video, I have had to do some work to the instrument to get it into perfect working order repairing the damage caused by an instrument repairer! There are some minor issues that are irreparable but I have mitigated these with the exception being the holes drilled through the legs and the damage caused to the paintwork by the oversized casters. These casters were probably fitted for a valid reason at the time, but the new owner would be advised to change them.

The price takes into consideration the overall condition of the instrument in comparison to the all the instruments that I have worked on over the years. As I state in the video, it looks almost new. There has been a bit of repainting, but there are hardly any tell tale scratches which are an indication of how much the vibraphone has been thrown in and out of cars, or not.

In addition to the overall condition of the vibe, it also has a new motor system which immediately inflates the price since these are a costly investment. The vibraphone also comes with the aforementioned cases which retail at £600.

As I have indicated, I will accept offers. If you are interested contact me here: email

Fitting My Replacement Motor System for Premier Vibes

These are the fitting instructions for the replacement motor systems that I produce for Premier 701 or 751 vibraphones.

As you can see from the video I have designed the system so it is easy to fit to your instrument. There is a reason behind every feature of the product which is the result of over a decade of development. Each time I have fitted new motors to Premier vibraphones, modifications have been made to the carriage and the assembly. The result is that I have done pretty much all the work for you, so all you need to do is drill a few holes and use a screwdriver. The picture below shows the tools that I used.

Of course the downside of all these hours spent problem solving is that I expect to be paid for all my work. All of my development costs like this, whatever the instrument, are spread across at least ten customers in order to keep the costs for the individual. I do this because I am not greedy, I have personal ethics, and I like to be fair. So if you are not happy with that and choose to steal my ideas to save yourself a few quid, then may you burn in hell!

The photo above shows the kit. Everything you need, plus a extras, are in the kit. Even the correct sized drill bits (to avoid any mistakes) and a small allen key are included.  Three different sized belts so that you can determine the best fit and a long kettle lead.

I fit an IEC C14 socket to the motor and a C15 plug on the lead for versitility – you can use the lead with most electrical music equipment which has a low current draw.  Obviously I fit the correct fuse, but the size of the cable will only handle 10 amperes.  I make the cable detachable so that you don’t wind the cable around the end of the instrument.  This is possibly the most common thing I see with vibraphones and it is bad practice especially if you then go on to pack the instrument down.  When combined with the poor earth continuity readings that I find on most mass produced instruments the result is a potential death trap.  The problem you face is that most instruments have the cables permanently attached, so as per usual I find myself going in the opposite direction to convention because of what I think are more important reasons than preventing you from losing the cable.

Fitting Photograhs:

Do a better job than this photo! Keep the ribbon cable flat if possible.  Do the cable tie closer to the motor first, then the outer one.  The control panel can be orientated so that the cable fits neatly and you only have a little strip showing along the outer edge of the note rail.  Either cable tie this section, use gaffa tape or just leave it – this depends on how rough you are when packing the instrument down.

If you don’t need to take off the transom bar, it will be very difficult to drill the holes for the cable ties. For this reason I have included two tie blocks in the kit. They are very sticky, but I would advise removing the resonator pad and giving the metal a good clean and then de-grease with mentholated spirits first, this way they will definitely stick around for the long term! The cable ties thread through both opposing sides of the pad and it would probably be easier to thread them before sticking them down.

The carriage for the Premier 751 is longer because of the hole to allow access for the damper bar adjustment screw. This screw I replace and is included in the pack. Therefore the 751 motor carriage takes longer to make which is why it costs more.  For ordering the motor system, send an and include your name and address so that I can send you an invoice.

How to change damper bar felt

When I overhaul vibraphones, my approach is to fix everything that I find wrong, striving to make the instrument better than it has ever been. This process takes time, sometimes even months of work as I deal with a long list of minutia. In an attempt to avoid repetition (although that is inevitable), I try to pick the pertinent aspects of the repair rather than me filming and writing, and you watching and reading the same thing every time. For the same reasons I have coloured this introductory text blue (aren’t I thoughtful!)

In this video I am demonstrating how I go about changing the damper felt on a vibraphone.  The instrument is a Premier 751, but it could equally be any set of vibes.  In fact the same approach can be applied to all percussion instruments where the damping mechanisms allow.  However a word of warning, if you are considering changing the damper felt on a pedal glockenspiel or a set of crotales, etc a great deal more thought is required concerning the setting up of the instrument after the felt has been changed and is therefore work that is probably best left to an experienced professional.


Premier 701 Vibraphone Overhaul (Job No: 1351)

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This is the second of the three Premier 701 vibraphones that I am simultaneously working on and is therefore episode two in the, “aging Premier vibes” mini series. If this blog determined what I do in my workshop, the first episode would be the last in the series as it is the youngest of the three vibes. However that is not how it happens, so this vibraphone is actually the oldest of the three.

The most obvious aesthetic difference of this vibe compared to the other two is that at this time Premier were still polishing the resonators. The motor unit has changed, gone is the two cone gearbox design with the push/pull rod that to change the speed (the gearbox that was forever breaking) replaced by a three stage pulley.

As intimated, losing the gearbox was probably done for reliability but we do start to see the introduction of cost savings and the loss of the gearbox would almost certainly have saved Premier a bob or two.

The external note rails were still being polished, but the inner two are now being painted. However the rest of the components are from the original patterns: black balls in the damper bar, white end pegs, and chunky fanshaft bushes.

When I overhaul vibraphones, my approach is to fix everything that I find wrong, striving to make the instrument better than it has ever been. This process takes time, sometimes even months of work as I deal with a long list of minutia. In an attempt to avoid repetition (although that is inevitable), I try to pick the pertinent aspects of the repair rather than me filming and writing, and you watching and reading the same thing every time. For the same reasons I have coloured this introductory text blue (aren’t I thoughtful!)


This Vibraphone is generally tired, after all it is getting old. As I well know, once you pass thirty your body starts to acquire various aches and pains, now passed forty I am well aware that my body just doesn’t work as well as it did. This vibe is older than me, so it is no wonder that it is falling apart.

As you know I started working on all the resonators which is mainly a job of cleaning up and replacing loose rivets, but there can be issues as seen in (Job No: 1354). On that instrument the whole row of tubes were out of alignment, whereas on this instrument the damage to one of the tubes was just cosmetic.

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Premier Fibreglass Timpani Part 2 (Job No: 1357)

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In the first part of this job I looked at the restoration of the base casting and my approach to the repair. With the drums back from the welders I can now clean up the chassis, do the painting and rebuild the drums.

When I overhaul a set of timpani, there is a lot of work involved over a period of days or even weeks. My approach is to fix everything properly; I am after all a professional and that is what I am being paid to do. By, “everything” I mean every little detail, so in the posts on timpani I pick out examples of problems I encounter, rather than me filming and writing, and you watching and reading the same thing every time. For the same reasons I have coloured this introductory text blue (aren’t I thoughtful!)


Premier 701 Vibraphone Repair (Job No: 1354)

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Premier updated the 700 series vibraphone to the 701 series in 1963. There is no further differentiation in terms of model and serial numbers to go on to help determine the age of an instrument. Old spare parts manuals do provide a guide and put a time period around the type of motor used. However the problem is that Premier went through a development period where several different systems were employed, more than listed in the parts manuals.

I have three vibes in for repair, so I have taken the opportunity to look at the development of Premier’s vibraphone as well as discussing the repairs. Therefore this is the first of mini series, “Aging Premier Vibes”.

When I overhaul vibraphones, my approach is to fix everything that I find wrong, striving to make the instrument better than it has ever been. This process takes time, sometimes even months of work as I deal with a long list of minutia. In an attempt to avoid repetition (although that is inevitable), I try to pick the pertinent aspects of the repair rather than me filming and writing, and you watching and reading the same thing every time. For the same reasons I have coloured this introductory text blue (aren’t I thoughtful!)


The biggest problem that I have to fix on this vibraphone is the bent note rail. Premier 700 series vibraphones are meant to be packed away and carried from place to place. They are very good at being portable, in fact they are probably the most portable whilst still being easy to assemble. What they are not good at is being wheeled around whilst set up because they simply aren’t strong enough. The most common way that the note rails bend is downwards, caused by thoughtless dick heads who use the instrument as a convenient trolley to carry heavy objects like amplifiers. I have even seen them used as a bench for kids! In this instance there has been an impact from the side which has caused the bend.

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Replacement Note Bar for a Premier Glockenspiel (Job No: 1352)

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I have to make a replacement glockenspiel note bar to fill the gap in an instrument where a note has been lost. What happens is that the pin that holds the note in place and on the instrument has pulled out and the note bar has disappeared into the ether.


Almost uniquely, Premier Percussion spent a tiny percentage of the potential profit margin on the glockenspiels that they produced on nails with a twisted shank that hold the note bars in place. This incredible phenomenon meant that the nails were less likely to pull out. It is a shame that they used the cheapest wood available for the frame, otherwise their idea would probably have worked.

Maybe it is extravagant, but personally I just use screws, but then the frames that I make are made of hardwood, typically oak now for aesthetics, but I used to also use hornbeam and ash. Because the oak is a lot harder than the softwoods that are almost universally used in the frames produced by the big manufacturers, even if the holes were pre-drilled using nails would probably split the narrow note rails. If the holes were slightly bigger to prevent splitting, the smooth shank on the nail would be able to go in easier, but it would also pull out easier. Screws on the other hand have the fluting that cuts into the wood, the pilot hole is the size of the shank to prevent splitting and it is strong in the direction it is loaded. Finally I can adjust the height of the screw incredibly accurately on a note by note basis, where as a nail would have to be pressed in to achieve uniform height. All in all, I think it is worth spending the extra 20 pence on screws!

Premier Fibreglass timpani repair (Job No: 1357)

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Same picture, same drums, but this time I am doing the work on them.

When I overhaul a set of timpani, there is a lot of work involved over a period of days or even weeks. My approach is to fix everything properly; I am after all a professional and that is what I am being paid to do. So I am fixing problems associated with the usual wear and tear, as well as “the dogs dinner” that the previous person made of the job. The posts on timpani pick out examples of problems I encounter, rather than me filming and writing, and you watching and reading the same thing every time. For the same reasons I have coloured this introductory text blue (aren’t I thoughtful!)


Commonly timpani use three points of contact with the floor (so they don’t wobble), with two wheels at the back and the pedal at the front, with the aluminium casting under the pedal sitting on the floor. As the drums are moved around, the aluminium foot at the front suffers from abrasion until they are completely worn away. This is a problem that I often have to resolve, but the biggest “problem” is reversing the shit solutions that other people have created to repair them! So in this case the “dogs dinner” was how the toes were repaired. Whatever the pads or heel blocks were made of was not the problem, it is those damn screws that were used to fix them in place.

As can be seen below, my ingenious solution of simply welding another bit of aluminium on even looks like it will last, especially in this raw state.

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The source of the problem is that aluminium is so soft. It is also lightweight which is why most timpani chassis are made using aluminium castings. On a practical note it is a horrible material to work with, clogging up all my saw blades, files and abrasives like treacle tart. But because it is so soft and wears away maybe it isn’t the best material to use as a wear point. It is all about instrument design again – or the lack of it.

The conclusion of this repair is covered in Job No: 1357 part 2

Premier Xylophone Modification (Job No: 1291)


This is déjà vu. Actually I have done it deliberately; sometimes it is nice to work on two identical instruments side by side. However, the job that I have to do is completely different to the other Premier xylophone that I am working on (Job no: 1281). For a start this instrument is almost in one piece!

Unlike the xylophone in Job no: 1281, this instrument lives in cases and is frequently taken out for performances, so portability are versatility are important features that I have to retain in my design solution.

There is often a compromise between weight and strength especially when there is a budget. Unfortunately I do not have the resources or facilities of a Formula One team or Nasa, and I think that most customers would not really want to pay for composite or titanium frames. Aluminium is the option that most manufactures are taking (ignoramacies!). In my view this is the wrong direction; it is like using chocolate to make a tea-pot! Better design is the answer, and accept the fact that percussion instruments are heavy, after all, they are massive. If you want to buy a lightweight aluminium frame that can be carried, then carry it! Don’t put casters on it so that it can be wheeled around. Furthermore, when the aluminium breaks, it is harder to repair. I send aluminium out to be welded; I already spend around £500 a year on renting the bottles of gas I regularly use without needing another one specifically to weld aluminium occasionally.

So I use steel. Steel is strong, steel is cheap, it is easy to work, easy to finish, easy to repair. Steel has a lot of benefits over aluminium, the one downside is that it is heavier. But let’s get our facts right, if I were to hold two bits of tube, one steel, one aluminium, of equal length and equal strength I think that difference between the two would be negligible. Anyway, that’s something for me to find out.

Despite all that, Premier use steel, so that is what I have used to modify this frame. I have also beefed up the design so that the frame is a lot stronger. At the end of the day, it has been given to me because it is broken – the original design failed. Inevitably this means it has put on weight, but I have spent a lot of thought on how to limit it.

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Premier Xylophone Rebuild (Job No:1281)

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It is not uncommon for me to receive an instrument in a pile of bits. This Xylophone made by Premier Percussion typifies the condition of instruments when they arrive.

Whether I am doing a repair, or completely starting again these bits are really important. In this instance, a repair is possible, but the manner in which the frame has collapsed, combined with what the customer requires from the restored instrument gives me an insight as to how I am to do the repair in order for it to survive over the long-term.


One of the many things that I have learnt over the years is never to make assumptions – it is one of my golden rules. Invariably if something I do doesn’t work, when I analyse the reasons why, it is because I have assumed, for example, that the manufacturer will have drilled the holes in the right place. So when I make new frames for instruments, I really do need the instrument.

I used to make up new bottom bars to be fitted to Musser M55 vibraphones, they were made on a jig for consistency and individually checked. They were all good, but the next time I had an M55 in to the workshop requiring one to be fitted, it didn’t work. It was miles out (exaggeration), so I had to make one from scratch anyway. Lesson learned; don’t assume that just because something is mass-produced that it will be the same shape as the next one coming out of the factory.

Premier Percussion generally have higher standards than most using smaller tolerances, but even this xylophone (when assembled) is different to the next job I have to do, which is the same model of xylo. However the two customers have totally different requirements; this customer wants the simplest of frames so that there is nothing to go wrong, so this is what they will get.

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