TubaForum.net

Search for the subject will deliver statements that some of you have used different shafts (#0,#1,#2) with their F-tubas.
Some have stated that they migrated from the latter to the former.

If you want, please comment on Your motivation to do so.
What will the different shafts do for you?

I use one on my Chinese copy of a YFB-621 F tuba (which is by all account very similar to the source material).

I have a #1 and #0. Since the 621 already tends towards slightly mellow/bland, the #0 can give the sound a bit of zing, and makes the high register slotting just a hair easier.

Playing in quintet I prefer Joe's Helleberg II variant or the Solo with #1 backbore. Really just depends on the literature and what I'm trying to blend with or stick out from.

I have 2 number 0 shanks and 1 number 2.

I haven't found anything I like the 0 on better.

I do NOT own a 15"-bell compensating E-flat tuba, but - WERE IT that I did, and WERE it that I played in a brass band, I might (??) consider the Solo with the #2 (large throat and large exit bore) shank RATHER THAN an Imperial cup...but (mostly) I'm using the #0 shank (16-1/2" bell B&S F tuba).

My E-flat (as I've spoken of it endlessly) is a late 1950's 3+1 comp Besson with a 22" detachable recording bell. My idea is to make it sound as much like a contrabass tuba as possible (and I mostly use it with small (early/20's-30's popular) jazz combo's at setting such as Sunday brunches, ships' lounges, or medium-size outdoor gatherings...so I use my Imperial (medium-depth funnel) cup and with a tall (adds 1/8" cup depth) rim (and a small/British shank exterior - as I've chosen to now swap out the o.e.m. receiver).

(The #1 Solo shank features the same large throat as the #2 Solo shank, but the exit bore is smaller - more like the #0 shank's exit bore.)

-------------------------------------------------------------------

OK...BACK WHEN I played this recital with Mark, I used a #2 Solo back-bore...so whatever...Maybe (??) it doesn't make all that much difference (??)
ie. We do whatever we need to do to make the sound we choose to make, eh...??




...The new (silver-plated brass 1 pc.) "Shallowberger" features roughly a 1/8" shallower cup than Solo, and the throat is about the size of a typical large bass trombone throat, and cup opening is 32.3mm (with my #2 RIM profile, NOT to be confused with back-bore numbers)...I use it on my cimbasso, and (as my F tuba is a larger-bodied one) I don't care for it with that instrument, but might really love it on some tiny little tuba...maybe even a Yamaha 103 (etc.)

I use a #0 with my Gronitz Piston F. If I had a tighter playing tuba, I might consider a #1 or #2.

I started on the #2, and then #1, and now the 0 for the last several years.

The 0 is more efficient, and I still "sound like me" on all of them. When I started on the #2 I was using a smaller (read as not big, very MW 45 like) F - tuba, now I am using a larger piston one and appreciate the extra resistance on my current axe.

russiantuba wrote: ↑Wed Oct 18, 2023 4:41 pm I use a #0 with my Gronitz Piston F. If I had a tighter playing tuba, I might consider a #1 or #2.

I never had brass lessons and missed some of the vocabulary. What does "tighter" mean?

[

Solo 2 (one puece) had a larger exit bore, just like the #2 Solo shank.

jtm wrote: ↑Wed Oct 18, 2023 8:02 pm

russiantuba wrote: ↑Wed Oct 18, 2023 4:41 pm I use a #0 with my Gronitz Piston F. If I had a tighter playing tuba, I might consider a #1 or #2.

I never had brass lessons and missed some of the vocabulary. What does "tighter" mean?

More resistance, less open

Pauvog1 wrote: ↑Fri Oct 20, 2023 3:52 am

jtm wrote: ↑Wed Oct 18, 2023 8:02 pm

russiantuba wrote: ↑Wed Oct 18, 2023 4:41 pm I use a #0 with my Gronitz Piston F. If I had a tighter playing tuba, I might consider a #1 or #2.

I never had brass lessons and missed some of the vocabulary. What does "tighter" mean?

More resistance, less open

Means you can blame the horn if you screw up, especially if you chip a note, make a face, and then take out the mouthpiece and make theatrics of inspecting it. Nobody will ever know you're in the wrong.