TubaForum.net

Yorkboy wrote: ↑Tue Sep 07, 2021 8:49 pm
A - “Boy, is this water cold”

B - “Yeah, and it’s deep, too”

That NEVER gets old.

Whichever horn you can best play in tune with the rest of the group...Miraphone 188.

Although I haven't seen one in orchestra in quite some time (if ever), I'm really a fan of the Miraphone 1291 as well.

I had one for several years, and those were also the busiest tuba years of my life. The one I had was VERY easy to play, could make a LOT of sound when needed, and was as simple to play in-tune as the 188 (Joe won't believe me, I'm sure). I sold it and moved on to a bazillion other tubas, but I know that if I would have kept the 1291 forever, I would have been just fine. I also owned, and used, 1 single mouthpiece during that time.

Kind of weird, huh? Owning 1 tuba and 1 mouthpiece and playing constantly gave me the BEST results.

cthuba wrote: ↑Wed Sep 08, 2021 10:37 am

matt g wrote: ↑Wed Sep 08, 2021 3:23 am

bloke wrote: ↑Tue Sep 07, 2021 8:23 pm Everyone says that what I use is great, but I just don't see many people using what I use...so I'm just going to post the group-think thing (which I don't actually believe), and say,

"Son...What you need a grande archestrul six-quahter sea chtubar !!!"

The 2155/2000/5450/etc and the PT-6(P) would be excellent “go-to” tubas as well.

The problem with “optimal” is that it’s like trying to find the best objective solution to a very subjective problem.

I understand that this is hard to pin down... But I wasn't really looking for answers just opinions namely to see of the general consensus had changed at all.

It’s an interesting discussion for sure. I’m not intending to dismiss anyone’s opinion, rather most all opinions are valid in this context.

Based on listening to orchestral tuba players since 1972 my favorite sound came out of an Alexander 163 ... when being played by Chester Schmitz. Ed

I love my 5450. All of this is really subjective, I just find that I have an easier time supporting an ensemble as the only tuba player with something around the size of the 5450, i.e. the Pt6(P), MRP, Willson, etc. I'd rather have to hold back than constantly push the horn to give more. I personally don't like the gymnastics most 6/4 tubas require in the intonation department, nor do I like the consistent fluffy articulation that all of them seem to share. 5/4 is the winner for me.

Hi like an instrument that makes a nice sound, doesn’t require a bunch of violent slide movement to play in tune, and isn’t built like a piece of crap.
—————
What if we work it backwards?

“I like working in orchestras with at least 16 fiddle players… Maybe 20 or more…all who play really well on really nice resonant instruments… so I’m never told to barely play, in order that they be heard.”

I played 31 seasons with a better-than-most "regional" orchestra in the DC area and used the following horns more than once:

Cerveny Piggy CC
Mirafone 188
Yamaha 321 Eb
Yamaha 621 F
Kalison Pro 2000 CC
Yamaha 821 F
Besson 983 Eb
Getzen Canadian Brass CB-50
Alexander F
Miraphone 1291

There was only ONE time when I didn't feel like I had the right horn / sound for a concert, and that was doing Tchaik 6 on my CB-50 (although the director really liked the sound quality of that horn). I just didn't like the way it paired with the trombone section for that show, and didn't full come to that realization until dress rehearsal in the hall. For reference, the orchestra size bounced between about 70 and 80 most seasons.

At some point, tubas become something like golf clubs - use the right tool at the right time in the right place in the right way. Don't underestimate the importance of what the director is looking for in terms of sound. Listen to the trombone section - are they killing it, do they struggle, or is it hit and miss? How many basses? 3? 8? 11? All this matters. Alan Baer once said in a masterclass that his job was to add depth to the trombones and clarity to the basses, and it's a brilliant one-line synopsis.

From my list, if told I had to choose one horn and that was it I'd pick the 1291 but the 188 is really close. The 188 offers more flexibility away from the orchestra though.

Vegasbound wrote: ↑Wed Sep 08, 2021 3:08 am Besson 981/2 but I am in the UK ( and studied with Patrick Harrild)

Or a CC if the rep calls for it

From another Forum I know that Vegasbound is an ex-Military Bandsman, he that still plays to a high standard but now earns his living outside of playing music.

From what little I know of U.K. Orchestras the four valve compensation Eb Bass is the weapon of choice for U.K. Orchestral players. Whether they are the best instrument or not I do not know but you can be certain sure that they wouldn’t be used if they weren’t up to the job. Sometimes what separates the best tool from the rest really isn’t particularly noticeable, whereas skill is.

(Patrick Harrild was for many years the Principle Tuba in one of the UK’s most respected Orchestras . He primarily played a Besson Sovereign four valve Eb.
https://lso.co.uk/more/blog/641-a-farew ... -tuba.html
https://m.youtube.com/watch?v=p_LW-98USAM )

Sometimes what separates the best tool from the rest really isn’t particularly noticeable, whereas skill is.

That quote is quite profound. Brings it to perspective fairly quickly for me.