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You mentioned that the 2145 had a dark tone, and I will definitely agree. However, you did not mention what kind of mouthpiece you were using. Perhaps that also relates to your dislike of the Mirafone. FWIW, if you can get your hands on a medium to shallow bowl (C shaped cup) mouthpiece you might be able to brighten up the tone a little. Something like a Bobo Solo, Mirafone C4, Schilke 69C4, Rudy RM9, PT (PeranTucci) 64, etc.

Marty "who agrees that the 2145 is DDDark" Neilan

How many 2145's did you try? A student of mine bought one from Dave Fedderly, and it is fantastic. If you like aspects of the horn, try others of the same model. There are always differences.

Porky wrote:I would probably be considerate of you to place your real name in this thread, so future vendors can see you coming.

The entire purpose of the trial period is defeated if players are (ethically) expected to keep the horn, instead of returning something they weren't satisfied with.

If the vendor doesn't want any returns, they shouldn't offer a trial period.

I have a 2155 and am in a small ensemble with someone who has a 2145 i personally like the open feeling of the 2155 but the 2145 seems to do okay for what type of ensemble i'm in.

Sorry about that last post. The person who has the 2145 seems to be able to hold up the ensemble with it sometimes. i don't know it depends on personal preference i think. I mean i've played other 2155 that i hate and i would much rather go to something else. But try bunches of em

Well, I played 6 MW 2145's befor I bought the 2145 I currently own from Marty Neilan. (Still loving my horn btw, Marty ) There is a significant amount of difference from each horn, inconsistent in manufacturing I guess. However, when you find a good one, these instruments are phenominal one. If you find a crappy 2145, it could be very bad. I played a silver one at Baltimore Brass about a year and a half ago, and I thought I was going to have to throw that horn through the wall, it was AWFUL! Mine, well, I'm not going to sell it any time soon, I'll just say that.

Good luck. There's a horn out there for everyone. (Chances are, it's not a Conn.) *COUGH COUGH*

After trying a few side-by-side, one with the older, smaller valve set played much better. It played wonderfully, and for me, was one of those rare "plays itself" types of horns. The sound wasn't quite what I wanted, but boy was it a player!

I might also recommend you take a look at the Gronitz PCM (their 4/4 CC tuba). My buddy plays one, and several players - whose names everyone on this board would recognize - have opined that his horn is one of the best CC tubas they've ever played.

They aren't the cheapest horns out there, but playing a great horn every day might help blur the memory of what you paid for it. I've yet to play anything cheaper that I thought could hold a candle to the Gronitz.

Worth a look, IMHO...

...Dave

I played a Rudy 5/4 and a PT-10 together for about a year, and I ended up borrowing a Miraphone 184 for a recital piece, and I'm still using it for band (the other guy plays a PT-6). It's an incredible all around horn, although it IS lacking in sound for something like Gliere's 3rd symphony...used the Rudy for that. I have been using the 184 more and more, though, and would suggest it for an all around horn. The tone can shine, especially with a Bobo Solo in it, but if I use a Helleberg, it really darkens up.

Tim Ayer

P.S. And seriously, if you want an experience, play the Planets on it, and really whack out those pedal Eb/D#'s. I was giggling for an hour after that.