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My quintet had it's annual posh private school graduation gig last night.Since I really don't have a quintet horn(though some would call my f my quintet horn-not me)I've got an army surplus mira 186 CC 4valve on loan from the local high school(none of their kids play cc).It's ugly but plays really well(its the older,smaller bell version).We played the 2nd mvmt of Pezel 3 pieces as a warm up so I could make sure my Bb scale was in the same zip code as the other guys.The gig went reasonably well and i thought the horn was very appropriate and starting having thoughts of permanantly acquiring it.As we packed up, i asked what everyone thought of the horn.Mostly blank,let's go home, kinda looks.The lead trpt player(DMA,UNT) says"how'd you like my new Yamaha C trpt?".Reality check.What he meant was"I'm sure you didn't even know i had a new c trpt.Your new tuba sounds like a tuba to me."Unless something is really,extremely weird,or we miss alot of notes,or play really out of tune, most people really don't care what we play.All this horn swappin and debatin is just for ourselves.It still turns me on though.......

MikeMason wrote:My quintet had it's annual posh private school graduation gig last night.Since I really don't have a quintet horn(though some would call my f my quintet horn-not me)I've got an army surplus mira 186 CC 4valve on loan from the local high school(none of their kids play cc).It's ugly but plays really well(its the older,smaller bell version).We played the 2nd mvmt of Pezel 3 pieces as a warm up so I could make sure my Bb scale was in the same zip code as the other guys.The gig went reasonably well and i thought the horn was very appropriate and starting having thoughts of permanantly acquiring it.As we packed up, i asked what everyone thought of the horn.Mostly blank,let's go home, kinda looks.The lead trpt player(DMA,UNT) says"how'd you like my new Yamaha C trpt?".Reality check.What he meant was"I'm sure you didn't even know i had a new c trpt.Your new tuba sounds like a tuba to me."Unless something is really,extremely weird,or we miss alot of notes,or play really out of tune, most people really don't care what we play.All this horn swappin and debatin is just for ourselves.It still turns me on though.......

Yeah, ain't it sumpthin'? I think it kinda follows the maxim: "We don't want to hear about the labor pains, just show me the baby."

Bloke: I've come to help fight Lurgi. First Louis Pasteur, Madame Curite, Phillip Harbin and now me!

I don't know, some people seem to notice.

A few weeks ago I took along my Melton Eb to an orchestra for playing Verdi Requiem where I had only used my CC's there previously. I was amazed when the principal double bass came over to me and said "I see you have got a smaller tuba". I explained that it would be more appropriate sounding for the music and then said "I am surprised a string player noticed" - to which she said, "I'm not a string play, I'm a bass player!"

Postscript: Even more surprising this last week she came over again and said she had played the Verdi with another orchestra last weekend and the tuba player had used a cimbasso - I was gobsmacked - I doubt many brass players would know a cimbasso!

Bloke I know what you mean about our wives and Tubas I thought I was going to have to call 911 when my found out I ordered a new Miraphone 191 5 valve. She even said "What wrong with your St. Petersburg"v?? Guess non tuba players just dont know. Hopefully when the new Miraphone arrives she will hear the differance.

I agree with a lot of this. Recently, I've become friends with several collectors of vintage bass brass instruments, including contrabass trombones, Russian bassoon Serpents, church serpents, over the shoulders, and just about anything else I can think of.

You can either play the instrument, make it sound in tune and with a big full sound. Or you can't. I've learned a lot in the last few years that makes me believe that we put a lot of stock into equipment, when the player makes the big difference.

Obviously, some instruments sound and play better than others, but more often, we look at the "hardware" to fix a "software" issue.

ASTuba wrote:Obviously, some instruments sound and play better than others, but more often, we look at the "hardware" to fix a "software" issue.

Well, duh.

The question is not whether an instrument makes a player sound good or not. Good players always sound good, even if they have to overcome a bad instrument to do it. And bad players always sound bad, even if their tuba is hiding its face in embarassment.

The question is whether a given tuba:

1. Brings the player joy.

2. Encourages the player to explore his musical limits.

3. Allows the player to express his potential.

I don't care how good you are, if you are fighting your instrument, even if it's easy to play, your music will reveal it. If the instrument brings you satisfaction--even if it's a bear to play well--the music will reveal that, too.

The problem is that it takes some maturity to answer those three questions. Those who are too young or who lack the self-awareness to know the answers should stick with something that plays in tune easily, makes a decent sound, and holds its value until they learn how to answer those questions.

I'm a lousy tuba player, but my instruments bring me joy. My best may not be very good, but I'm still happy to pursue it, even if it means spending money.

Who cares what the trumpet players do or don't think?

Rick "whose quintet members have their own issues to address" Denney

Rick,

Not disagreeing at all. This is something I seem to find in younger, less experienced players, not as much in more veteran players, regardless of ability or skill level.

Rick Denney wrote:[quote="ASTuba"

The question is whether a given tuba:

1. Brings the player joy.

2. Encourages the player to explore his musical limits.

3. Allows the player to express his potential.

well said... now I understand why I a often feel compelled to try new mouthpieces and instruments even though mine work just fine for me.

After reading countless posts of "Which horn to purchase?" or "CC or BBb?" all I am now thinking is: "Boxers or briefs?" No one else really cares.

Ken S

Last Saturday, after a concert with our faculty brass quintet I asked my wife for her opinion about the sound of my new CC tuba. She replied, "You always sound the same no matter what CC tuba you're playing." (For the record she's a fine musician and she can tell the difference between my CC and F tubas.) Perhaps we all develop a concept of how we want to sound and that's what we try to accomplish with every instrument that we play. Our preferences go to the instruments that most facilitate our efforts. If you need to know I'm playing a PT606.

Well, I guess there are exceptions to every conventional circumstance. Ever since I got my 186 earlier this year, I have received numerous compliment on its tone and looks all the way from the director, to section mates, upper brass, to (believe it or not) reed players.

But as far as the questions, I still like to play my Besson better. But I also know from elementary school band that what I may prefer to play doesn't mean a hoot in a hollow as to what may be necessary to support the ensemble.

So I play the 186 where necessary, and the Besson where I can.

Tom Waid wrote:Perhaps we all develop a concept of how we want to sound and that's what we try to accomplish with every instrument that we play. Our preferences go to the instruments that most facilitate our efforts.

I think you are quite right! We all have subtly different sound concepts, which is one reason* why different people prefer different mouthpieces and models of tuba.

* physical and personal characteristics and the type of playing we undertake are also major factors