TubeNet

In another thread, a well-respected member of this board posted that there are two new tubas on the market that are "capable of winning auditions."

Which got me to thinking, are there truly instruments not capable of winning auditions? Are there characteristics of certain readily available instruments that put them at an advantage or disadvantage in audition situations?

My question for those with experience (and who therefore can submit an educated answer) is: can you describe SPECIFIC MODELS (don't pull any punches, my horn(s) may number among the unworthy, but s'okay with me) that are either good or bad for auditions with reasons why they are good/bad?

For the sake of simplicity, we'll stick to orchestral auditions and 4/4-6/4 CC tubas and F tubas since they are the most used instruments in major orchestras in this country. Also, we ought to confine ourselves to comercially availble instruments, because though the Sam Gnagey/Oberloh/Rusk jobs may be great we can't exactly saunter into Dillon/WWBW etc and buy one.

Fire away!

JCalkin wrote:In another thread, a well-respected member of this board posted that there are two new tubas on the market that are "capable of winning auditions."

Which got me to thinking, are there truly instruments not capable of winning auditions? Are there characteristics of certain readily available instruments that put them at an advantage or disadvantage in audition situations?

My question for those with experience (and who therefore can submit an educated answer) is: can you describe SPECIFIC MODELS (don't pull any punches, my horn(s) may number among the unworthy, but s'okay with me) that are either good or bad for auditions with reasons why they are good/bad?

For the sake of simplicity, we'll stick to orchestral auditions and 4/4-6/4 CC tubas and F tubas since they are the most used instruments in major orchestras in this country. Also, we ought to confine ourselves to comercially availble instruments, because though the Sam Gnagey/Oberloh/Rusk jobs may be great we can't exactly saunter into Dillon/WWBW etc and buy one.

Fire away!

Although a good bang for their buck, and a wonderful first buy as a tuba.... my old saint petersburg literally couldn't win a competition... in fact in some tryouts while in high school i would borrow someone elses horn and the difference was amazing... hence why i pushed it off on my little brother when i came to college years ago

This guy tells me that for every brand that someone says can't win an audition, SOMEONE will tell us of an audition they won with that horn.
____________________________
Joe Baker, who observes that some predictions are easier than others.

Joe Baker wrote:

This guy tells me that for every brand that someone says can't win an audition, SOMEONE will tell us of an audition they won with that horn.
____________________________
Joe Baker, who observes that some predictions are easier than others.

well i'll be waiting for the guy that wins one with a saint pete...


then i want to hear him in person.

Whew,,,, a close call. I almost had you as my college teacher

GopherTuba wrote:well i'll be waiting for the guy that wins one with a saint pete...


then i want to hear him in person.

ross tolbert didn't win the audition, but he used one in the Minnesota Orchestra for a few years. and that's a decent orchestra.

Wasn't he the bald headed guy they used in all of their print ads?

I would guess he was being paid by the manufaturer to use that lawn decoration in the orchestra. Funny, I don't remember any ads with his section mates or anybody else from the orchestra for that matter giving warm testimonials or looking glowingly on a performance of him with the St. Pete.

not to be cynical,but, alot of players have used alot of horns over the years when properly incentivized. DISCLAIMER- i don't know Mr.Tolbert,and have no idea about his motives.He may very possibly love St. Petes,and I'm quite sure he sounded great on it.

you will see that many of the recent auditions were won on specific equipment that seems to make it easier for the player to get across the "music" that he brings to the stage. The PT6, both rotary and piston have won a number of auditions. The Nirschl York has won 3; the Hirsbrunner York has won 1; the Gronitz PCK has won 3-4 (Ed Jones is now playing one of these instruments). Many of these same instruments have made it into the semi-finals at the auditions.

But when you hear 50 people, all capable of filling the position, but one of them brings more to the "music" you have to ask "What's going on?" When playing, you have two distinct areas of the brain in action, the reflex area, or hind-brain, and the conscious thought are or front brain. The reflex area is playing the dots on the page, the dynamics and everything that is written on the page (as well as breathing, heartbeat, etc.). The front brain is working on 3 main functions in the audition: playing in tune with yourself; playing in tune with what you hear and creating the "music" from the dots on the page.

When the tuning aspect starts to become dominant, it pushes out the music making function - there's only so much that the front brain can handle in real time. So the horn that allows the front brain of the player to focus on the "music" gives the player an edge.

This is just how I see the world. I'm outta' here'

Tubas don't win auditions, people do, it's as simple as that.

Lew wrote:Tubas don't win auditions, people do, it's as simple as that.

True, but if you happen to be using an Italian tuba ( a Perazzi 28, say) you might end up winning a different audition than you were hoping for.

And No Child Is Left Behind! I just felt like adding that - not aimed at any other post.

Roger Lewis wrote:And No Child Is Left Behind! I just felt like adding that - not aimed at any other post.

I think you're on to something... No Tuba Left Behind!

(For the record, I won the audition for the DSO with a Marzan slant rotor CC!)

Joe Baker wrote:

This guy tells me that for every brand that someone says can't win an audition, SOMEONE will tell us of an audition they won with that horn.
____________________________
Joe Baker, who observes that some predictions are easier than others.

Okay, so what does Kreskin know about tuba auditions!

Since "professional" wasn't stipulated in the original post, I really DID expect to see where some young whiz-kid made all-state orchestra on a St. Pete, or a Reynolds fiberglass sousaphone with a frozen third valve, or WHATEVER anyone came up with. So, I was wrong. Ain't the first time, that's for sure !

'Course, there's no question that some horns help you out and others hold you back. At the highest level, I think it's true that you need extremely good equipment to make it.
_______________________________
Joe Baker, who is willing to admit it when he - er - Kreskin is wrong!

A tuba "capable of winning auditions". Its a nice catch phrase. Next time I see a tuba walk into an audition on its on power and win the gig, I'll give the phrase some credence (I'll also freak out if I ever see that!). Until then, its always the musician not the horn that is responsible.

Granted, it is certainly easier to play one's best on a superior instrument. However, I'm sure that if any of the true greats ever picked up an inferior instrument, they could make it sound just fantastic.

When I was an undergrad at Eastman, a certain trumpet professor at the time lent an instrument to a buddy of mine while his was in the shop. This loaned trumpet was used in the Chicago Symphony for years. The teacher sounded unbelievable on it. When my friend played it, he said it was one of the worst playing and out of tune instruments he had ever played. The proof is in the pudding, as they say. This teacher learned the inconsistencies and intonation flaws of the instrument and compensated. Same great player, same great result.

JCalkin wrote:In another thread, a well-respected member of this board posted that there are two new tubas on the market that are "capable of winning auditions."

Which got me to thinking, are there truly instruments not capable of winning auditions? Are there characteristics of certain readily available instruments that put them at an advantage or disadvantage in audition situations?

My question for those with experience (and who therefore can submit an educated answer) is: can you describe SPECIFIC MODELS (don't pull any punches, my horn(s) may number among the unworthy, but s'okay with me) that are either good or bad for auditions with reasons why they are good/bad?

For the sake of simplicity, we'll stick to orchestral auditions and 4/4-6/4 CC tubas and F tubas since they are the most used instruments in major orchestras in this country. Also, we ought to confine ourselves to comercially availble instruments, because though the Sam Gnagey/Oberloh/Rusk jobs may be great we can't exactly saunter into Dillon/WWBW etc and buy one.

Fire away!

I answered a question that was asked. I'll make it a point not to do that in the future. I wouldn't want people to think I was posting to sell something. I've played the horn - which is more than most of the rest of the world can say.

Sorry.
Roger

Ach, Roger: don't mind the soreheads. I find your posts interesting and well informed!

Lew wrote:Tubas don't win auditions, people do, it's as simple as that.

As in, guns don't kill people, people do.

But----you need to have the gun.

Roger

Lew wrote:Tubas don't win auditions

... maybe not, but tubas can lose auditions...

UncleBeer wrote:Ach, Roger: don't mind the soreheads. I find your posts interesting and well informed!

I hope Roger you keep posting. I too find the posts of folks like yourself
and Lee Stopher to be both interesting & insightful. I like to think that
as an adult I'm able to decipher what is strictly self promotion or just a sales pitch and I'm not implying that you do either.

Quite frankly, I'm also not quite sure why some folks are so offended by sales anyway. A good sales person is looking to fulfill the needs of his customers in the best possible way - not sell him something that doesn't meet his needs both from a use and price perspective. A burned customer doesn't return and doesn't spread the gospel about your services. Not really going to be helpful to your future business if you know what I mean.

A good salesperson should know his products better than anyone. Who better to explain a product (like a tuba) to us than this. While I have never done business with you Roger, I believe from your posts that you fall in the same league with Lee Stolpher and Matt Walters. I bought my last horn from Matt and he couldn't have better fit the definition of an excellent salesman.

It seems to me this board has been really fortunate to have both excellent representatives of sellers of instruments, manufacturer reps, and excellent professional players like Allan Baer posting. There are less and less of these folks posting these days because it seems there is always somebody getting their shorts tied up in knots because they infer some evil "SALE" intent in a post.

Yes there are Con Artists out there (forgive the pun), but I think most of us can decipher the good from the bad. It would be a shame to lose the good info we get because of the infrequent bad piece of info.

IowegianStar wrote:a performing "Conn Artist"...

"Dive! Dive! Dive! Number one, you have the conn... "