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The "deal" is that when Miraphone started marketing in the US, "Miraphone" as a name was already taken as a buisness name by someone who was unrelated to brass instruments. So they took "Mirafone", a spelling which they thought us Yanks would think of as more German, anyway.

All of the "Mirafone"s are just instruments that were made by "Miraphone" for the US in the 60s or 70s.

windshieldbug wrote:The "deal" is that when Miraphone started marketing in the US, "Miraphone" as a name was already taken as a buisness name by someone who was unrelated to brass instruments. So they took "Mirafone", a spelling which they thought us Yanks would think of as more German, anyway.

All of the "Mirafone"s are just instruments that were made by "Miraphone" for the US in the 60s or 70s.

Mike, that's the first I'd heard that it was a trademark issue. The story I always heard was that the U.S. distributors didn't think the Miraphone spelling looked Yurrupean enough.

But here's a Miraphone for only $39.95:

http://www.cq2k.com/miraphone.htm

I'll bet they thought internet searches would work in their favor, heh, heh. Note that both spelling appear here, too.

For a long time, Both spellings were shown an all Miraphone literature, with each trademark triangle overlapping the other.

The Mirafones where imported when the importer was in Sun Valley, back in the 70's and into the early 80's. Mine is spelled that way.

Rick "not hard of hearing" Denney

There are also newer horns that slip in from time to time spelled with the F.

My 1261 isn't more than 6-7 years old, and its a Mirafone.

Rick Denney wrote:The story I always heard was that the U.S. distributors didn't think the Miraphone spelling looked Yurrupean enough

Rick, you're right, I think that it was Melton I was thinking of. My bad. But either way, ph became f became ph again...

Rick Denney wrote:But here's a Miraphone for only $39.95:

http://www.cq2k.com/miraphone.htm

I'll bet they thought internet searches would work in their favor, heh, heh.

Not bad marketing. I can hear them now, "Lessee, tubas, hams, how can we lose!?"

My 1971 detachable bell is spelled with the "f" as well. I remember in grad school in the early to mid 80's the one I played on then, which the university had owned for at least a few years at that point, I believe, was "f" also. What that "f" really means is, "f_____ great horns!"

yeah...my miraFone (1290) is better than it's miraphone replacement the 1291...

though, it was tweaked a bit.

That horn is far the exception than the rule. There are maybe 3 good 1290's out there - my former 1290, one belonging to a player on the West Coast that saw its fair share of improvements from a legendary left coast repairman, and the one in the Mirrorfoney tuba quartet. Some are dogs and gave this horn a bad rep. All it takes is one dog to sit at a prominent retailer, have everyone who comes by try it, and have have everyone write the model off as a bad insrtrument. By nature of it being a dog, the horn will stay there indefinitely and no future models will be ordered. The rather unusual appearance from the extreme open wrap also turned a lot of people off to the instrument.
A now deceased gentleman in Nashville did a considerable amount of custom work on mine shortly after I bought it from brasswind (thanks Charlie K), and after my wife decided to remodel it with a 3lb rubber mallet Lee Stofer basically rebuilt half of it. A precise alignment of those pistons (then new to Mph/Mf) did wonders in both cases, as well as cutting the 5th valve to a flat wholestep. He also relieved a considerable amount of tension from the manufacturing process and fixed numerous other factory glitchers. It has changed owners a few times and and been through a lot since then, so I cannot speak for its current condition.

Sounds like with a little TLC things will be back in order. BTW, a Deg or BBC tuba rest can be very effective in lowering the position of the tuba in relation to your body. Or you can just trade me even for my large 3/4-small 4/4 Weimar that is a shorter, more compact horn that is relatively free blowing but not to the degree of the piston MiraFphones in the 12xx series.

boy, I'm just learning a ton every day

cktuba wrote: In the immortal words of Lee Corso... "Not so fast my friend." I know a guy in Omaha who has a highly modified 1290 that plays absolutely fantastic.

Did he buy that horn from Bob Joles about 3 years ago (hot rodded by Robb Stewart) , or did he himself have the work done (meaning a 4th stellar 1290!!!)

As a followup, I think I have come up with the perfect horn for Brooke. A 188 has more resistance than the 1290, and many other large sized piston horns, but is still relatively free blowing by many standards.
The 188 has a very compact wrap - the exact opposite of the 1290, an open wrap design taken to the extreme. The 188 also has a very low top bow, as far as full sized contrabass tubas are concerned. Used ones pop up often enough, you may want to try one and see what you think. Unlike the 5/4 1290, the 4/4+ 188 is much more of an all purpose horn (although there are those here who may disagree with that.)

I own a 1290 that I purchased new from Kolasny Music in Denver that got the horn from Orpheus Music in Texas (I think) when they lost their Miraphone distributorship (about 15 or so years ago). The horn was one of the 6 prototypes made by the factory I'm told which would mean that it was pretty much hand made. Some of the things such as valve felt configuration on the production horns was different. I had to have the thumb ring moved to a new place, I had the spit valves removed and the slides re-aligned so that they would operate smoothly and quickly. The horn has been a super horn to play - it is a bit large for quintet but still produces a wonderful sound in that setting. The horn is great in all registers from double pedal C up to the C above middle C (that's on my really great days).It is great for band, orchestra, and I have even used it for E flat parts in brass band and had it work out OK. Some of these horns were great although some also came out that were awful. I'm not sure that isn't true of many horns out there. Always play a horn to see if it works for you and don't be too concerned with the name on the bell. This would be great 1290 number 5.
These horns are worth playing if you find one.
Phil

MartyNeilan wrote:As a followup, I think I have come up with the perfect horn for Brooke.

Thanks for the input. I'll try and find one that I can give a play. I always appreciate some input...though, I feel I have stolen a bit from the original topic...haha



Isn't the 188 a rotary horn only?

I definetely prefer pistons, but if one horn is far better than I don't mind rotary.

I really do like the 1290....I need to get soem repairs. The thumb ring bottom has come on soldered...and a brace came undone as well. Valves are a bit noisy..but that's just easy repair work. AND I would like it dedented and probably have the lacquer stripped. It's wearing a bit anyway. Unfortunately, the horn was like this when I bought it...I was able to overlook those things, but now I just cant. haha

What kind of shape are the other beautiful 1290's in?

Mine is silver plated with a little plating wear where my left hand rests but it is nickel plated underneath. It has a few small dents here and there but it is in very good condition both playing wise and cosmetic wise. These horns are well worth the time to at least try. There are some issues with the player needing a fairly long torso as (this assumes that you want to play it on your lap) the horn is quite tall. The very open wrap makes the horn very free blowing.
Phil

was yours originally silver plated??

Let's see some pics. My horn needs some de denting and prettyness, but still plays as good as yours...maybe better?

j/p

Yes, the horn came plated from the factory. As to which plays better probably depends more on the player. They can be wonderful horns.
Phil