TubaForum.net

...

sidebar: thicker vs. thinner...(regardless of whether formed of tubing or sheet metal)

It seems to me that thicker brass (in proportion to size) is less likely to vibrate (as if a percussion instrument or stringed instrument) audibly.

The advantage of thin brass is that such as instrument is easier to hold up in the air and play it.
The advantage of thicker brass is the reduced likelihood of rot holes.

Hazards of thin brass are
- a false sense of "feedback" (ie: "wow...I must indeed be doing something wonderful with 'my sound' ") - as such instruments tend to more readily transfer the vibration of the sound column to the frame of the instrument
- the risk of the bell of the instrument beginning to audibly vibrate (again: as if it is a percussion or stringed instrument)
- improved chances of severe damage

bloke "no science, here...just practically speaking"

bloke wrote: ↑Sun Sep 19, 2021 6:32 pm sidebar: thicker vs. thinner...(regardless of whether formed of tubing or sheet metal)

It seems to me that thicker brass (in proportion to size) is less likely to vibrate (as if a percussion instrument or stringed instrument) audibly.

The advantage of thin brass is that such as instrument is easier to hold up in the air and play it.
The advantage of thicker brass is the reduced likelihood of rot holes.

Hazards of thin brass are
- a false sense of "feedback" (ie: "wow...I must indeed be doing something wonderful with 'my sound' ") - as such instruments tend to more readily transfer the vibration of the sound column to the frame of the instrument
- the risk of the bell of the instrument beginning to audibly vibrate (again: as if it is a percussion or stringed instrument)
- improved chances of severe damage

bloke "no science, here...just practically speaking"

I appreciate the tactile sensation, but it's not required. It does seem that I often like better what I hear out of the bell of thin brass, although that's not always true. I remember discussions from the old place (you, me, @Rick Denney , and others) about feedback. I had a Kurath 5/4 CC, and similar to subsequent heavy/thick Willsons, the player feedback in the hands/lap/etc. was minimal. And I was fine with that, since the instrument made such a dark, lively, and commanding sound. And you could pour the coals to her and she just kept taking it without even close to breaking up. I seem to recall Rick not being especially fond of the lack of feedback with Willsons, but that was a few moons ago, and Rick can correct me. I always liked the Willson 3400 Eb, despite it being heavy. Or maybe that heaviness is what made me like the sound...? The real jewel IMHO is the rotary F. I like the piston F alright, and the one I trialed from you was a very good instrument, but for me, the rotary F is head and shoulders above it. But I digress....

We used to have discussions about certain large bore tubas that I really liked because they were an easy blow, especially the wide open low range, but some thought they were air hogs. The point of all that being that much of what appeals to us individually is purely personal preference. Play what works for you.

' funny how "about the middle of what many makers have chosen" often seems to work out best for so many types of goods.

Does handmade valve tubing help response like several manufacturers claim?