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So I bought Tim’s fiberglass sousaphone yesterday. As advertised. Like it a lot. Looks cool and nothing needs doing. We’ll see if a project I have in mind for it gets off the ground. I wanted to post about his other horns, some of which are for sale.
The metal Holton sousaphone: beautiful. Plays great like a fine b flat tuba. Great sound and everything comes out easy. I just wanted something lighter. Definitely superior player to the conn I bought.
Silver original condition getzen g50: also a great player. You could do everything on this horn. Easy size to manage but enough heft to not be out-gunned in most orchestra or band situations. Good clear slots for partials.
Raw brass g50 with York bell and bottom bow(maybe he said Holton, but I’m pretty sure York). Slightly warmer more mello sound,definitely more flexible and responsive. Slurs noticeably easier. I would pick this one.
The miraphone 186 c. Wow! What a great horn. All the things you hear about. The right combination of slot and flexibility. Beautiful sound. Everything comes out easy. Great ergonomics. Didn’t put a tuner on any of these but nothing stood out to the ear. This should definitely be the last horn Tim sells.even for the occasional strolling gig, just strap up. Not that heavy.
I enjoyed our visit and talk. He gave me some good advice about a jazz project I’m working on. Beautiful house in Pensacola. You can do business with Tim with no worries, if you’re in the market for one of his horns.(I’m not sure which are for sale still).

never had the pleasure of meeting Tim in person, but the online persona is certainly immediately likable.

Thanks Mike,

Yes, it was a pleasure having a fellow tubist visit. I'm trying to gather my thoughts and ranking on some instruments so I can simplify and downsize my studio. "(I’m not sure which are for sale still)" haha, I’m not even sure as it changes daily. But Mike did help me focus with some astute observations. Really helps to have an outsider look things over since I tend to look at instruments as brothers & sisters. Mike’s comments helped me return to the reality of “they are just tools”.

After listening to Mike make the rounds on a few horns (some very nice playing I might add!) I was delighted to hear the G50 & 186 side by side. When playing the G50s they feel (play small & tight) but really sounded nice and full/big alongside the 186.

I have come to realize that when climbing the tuba ladder (moving up in quality) it’s easy to let things go as you make obvious upgrades. Once you have several really nice horns it’s damn hard to decide which one should leave the nest.



TJ

I think the answer is obvious -- don't sell any of them.

"In Heaven there are no tubas... that's why we play them here."

Regarding the G50, instruments in that size range and approximate design really tend to be efficient as well as easy to play.

The 32-in tall 19 inch bell Holton and York things in B-flat (from which the G50 emerged) are pretty amazing, particularly when people go back and put only slightly larger bore valvesets on them (just as with the G50) as the .65X" - .665" bore sizes tended to throttle them (Yorks and Holtons) just a bit.

bort2.0 wrote: ↑Mon Mar 27, 2023 10:40 am I think the answer is obvious -- don't sell any of them.

"In Heaven there are no tubas... that's why we play them here."

Are you sure?

I suppose you base that assertion on some fundamental nature of heaven which i have yet to grasp? Or is it personal experience?

(Besides, tuba doesn't even rhyme with here.)