.

[winston]

.

[MartyNeilan]

I had to make that very same decision 2 yrs ago and chose a used Meinl Weston 2145 (large piston). It has an excellent high and low range and unlike some 4/4's does not easily get edgy under volume. I have used it in everything from very large ensembles to Berlioz excerpts to quintets to church gigs to the Gregson, even successfully pulled off the first mvt of the Vaughan Williams on it. I will probably even be playing the MW 2145 in a jazz improv class next semester. Other options include the Mirafone 186, Conn 52J, Rudy Meinl 4345, PT-4P, and many others. Don't make the common mistake of going too big - that 6/4 that sounds great under a band or orchestra may not work as well in a quintet or a solo recital. Likewise that incredibly lyrical small rotary F may not have that fat FF low register sound some directors may look for. I have since added an enormous bell front Martin for symphonic band and outdoor gigs and a 4/4 F for works like the Mozart horn concertos, the Vaughan Williams, and lighter rep that requires even more "finesse," but there is nothing I couldn't do on the 2145 if I absolutely had to, from the Ride to Bydlo. Having at least two mouthpieces - a larger mouthpiece for ensemble work and a shallower mouthpiece for solo work also helps get the most out of a 4/4 CC.

[Allen]

I own a Meinl-Weston model 32 (4/4 CC), and am very happy with its versatility.

If I had more money (and the time to learn to play them well), I would have two others: a very large CC or BBb, and a small F (or perhaps Eb).

Allen Walker

[tubacdk]

Rudolf Meinl RM-43 3/4+ CC

I do own one and use it for the vast majority of my work.

[MartyNeilan]

With all due respect, Joe, perhaps that one tuba was purchased after much research and testing to find that one all purpose horn that worked best and was affordable for that specific person. After all, I would trust someone's opinion of a horn more if they shelled out the bucks to buy it - they put their money where their mouth is.

[CJ Krause]

***

[tubacdk]

This thread's going nowhere. Everyone who owns one tuba is simply naming the one that they own.

nope, I named the one that I use most out of my three. and if I had to own only one tuba, even though I've tried everything I've been able to get my hands on (including the 52J ), it would still be the RM-43.

[tubacdk]

With all due respect for the vast knowledge and experience of Marty, Chuck, and everyone on this this, I will back up and clarify my comment. This thread "going nowhere" simply means that I view such threads as anti-informational...
This thread inquiry (like all others like it in the past) might as well be worded: "What tuba do you have?"

I beg to differ. I find these threads rather informational, even though there are the posts that I choose to ignore because their responses are very much along the lines of your "what tuba do you have" comment. I like to read peoples' thoughts on different models of tubas, their quality, and their usability. For example, I'd love to read more about your experience on the Conn 52J. I'm actually very curious what most people would use if they were only allowed to own one tuba and use it for all their work.

I've tried many horns that I thought would be the best all-around single tuba and come to my conclusion. Maybe another poster may bring up an issue that I haven't thought of, and maybe that would influence my equipment choice somewhere down the line. Maybe my comments might do the same for someone else. I can definitely see how a thread like this could become trivial or maybe even anti-informative, but I don't think that a thread like this is inherently bad.

-ck

[Rick Denney]

...This thread inquiry (like all others like it in the past) might as well be worded: "What tuba do you have?"

I agree with everything you said. Nevertheless, I'm glad I don't have to make the choice. In the days when I could only own one good tuba, it was a 4/4 contrabass. If I fell on hard times and had to sell my tubas, the last one I sold would be the 4/4 contrabass, but some of the sales along the way would cause deep pain.

In your case, the last one you'd sell, I suspect, would be your F. But that would exclude you from some of your gigs.

As much as I love the Holton, I don't think I could make it work in quintet for many works. As much as I love playing F tuba, I don't think I could make it work in concert band. It is possible I could make a large Eb work for what I do, but I rather think I'd be better off with a 4/4 contrabass. Which 4/4 contrabass? One that was easiest to play in the all the venues in which I play. (In my individual, ignorant-bloke situation, the Miraphone 186 might be the 4/4 I'd keep, or I might trade it for a new King 2341).

Rick "who thinks if you put all the answers in categories, the smallish 4/4 contrabass is the category in which nearly all fit" Denney

[tubacdk]

"Quality"? I don' need no stinkin' "quality". If the valves go up and down, the sound goes out the bell, and it sound is good, there's the "quality".

that's exactly what I mean by quality... the good things about its playability. valves, tone, pitch, that kind of thing. the complaints about dentability & such bug me. just take care of your horn and it'll be fine.

[Alex C]

If I had to pick ONE tuba for the work I do, I'd pick the Besson Soverign Eb. I like to tell people that it was the only horn I've ever owned that had no compromises.

Truth in advertising:
I don't own it anymore.
I have more than one tuba
I'm trying not to think but I see signs that the nation is weakening so... it might be my fault.

[MikeMason]

let's face it, everyone on this board , to some extent, is an equipment geek. yes, i mean you. equipment is by far the #1 thing we all talk about. it entertains us and we like it.this is an irrefutable fact. i, personally, embrace my tuba geekiness. i would like to own one of every tuba ever made. it just feels good to own tubas................