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I've gone back to doing long tones/expanding interval exercises, whereby I'm working on breath control, beauty of sound at all volume levels, and intonation all at the same time. I only do two octaves. I start at second space B-flat and go up and down half steps until I reach the B-flat at the top of the staff and the B-flat below the staff. I start each pitch at pianissimo, crescendo two slow measures to fortissimo, and diminuendo back two measures to pianissimo and fading Into nothing on each pitch. It doesn't take very long, and it focuses my attention on probably the three most important aspects of playing (ok plus "time", as I'm also attempting to keep the time steady) all at once. I do have a tuner turned on, and glance over at it when I'm suspicious that I might be wandering a bit off course.

I don't do this as a "warmup". I play random stuff and maybe even an etude or two before doing this. I prefer that I'm awake and aware and blood is flowing before working on this... I don't like the word "routine". I like to really be paying attention when working on something regularly, and not just going through the motions (ie. with no sharpened awareness nor even any self-critiquing involved).

If I don't like the way I started one of the pitches, I will start that one over. I want to make sure that I have breathed in just the way I intended, and started the pitch at just the volume level that I intended.

If I catch the pitch wavering amidst a crescendo or dominuendo much more than a couple of cents, I'll start over on that pitch.

Sounds a lot like the Carmine Caruso studies. So simple looking on the page, but so difficult to do.

I think I learned this one from Tommy Johnson. He felt that it was also a great exercise for finding the center of every note.

The variation I play has to do with my practice routine in general= a note a day. Today I did many exercises in D or starting from D. Tomorrow it'll be Eb.
So many exercises, so little time...

The huge Miraphone is pretty close to In tune given various first valve slide positions and the way I've got the valves' circuits set up. There are two or three pitches that try to be slightly flat or slightly sharp, but not much. What I try to do with those pitches is to get in the habit of pulling them down or up while doing the exercise and making those as comfortable (while as habitual) as possible. In other words habitually pull them very slightly up or down to where they belong, both by hearing and maybe a little bit of muscle memory.
The F tuba - as far as so-called slotting is concerned - is so barn door wide open on everything, that all I have to do is pay attention to sound (meaning the tuning) has it really easily plays any pitch just about anywhere from 20c flat to 20c sharp. (ie. I just don't think I need to do any long tone exercises with the F tuba.)
One thing I'm working on doing better is speeding up air as I decrease the amount of air for diminuendos. It supports the pitch and just about completely eliminates any chance of double buzzes.
...This huge tuba is very particular and not very forgiving at all - regarding any techniques that aren't completely spot on - but it's absolutely worth it.
(I got away with a lot - all those years with the 5450 C tuba. )