Miraphone 187

[WakinAZ]

TJ, rather than repeat myself too much, search on my user name for "187" (without the quotes). Short version: kick-***, underrated, undermarketed larger 4/4 size rotary horn. I only sold mine due to financial problems and lack of playing at the time. For me, it is the "one that got away"; I truly regret selling it. Only one stinker note, C in the staff had to be played with 4th instead of 1st. Usual (for me, anyway) Miraphone alternate lower register fingerings for D and Db in the staff. Did I mention it was efficient? Yes, not an air hog.

DP, I found it to play bigger than its slightly smaller brother the 186, and able to play louder without breaking into bass 'bone splat. I have owned both horns. Worth it for the extra several hundred over the cost of a 186.

Eric "replacement horn in the works, right Mr. J.?" L.

[WakinAZ]

I just noticed you have a YBB-641. I don't think you'll find a tremendous difference between the two. It will depend on the individual horns in question. (I will now duck to avoid the flames.)

Eric "who doesn't think a good YBB-641 is as bad as most of the TNFJ thinks it is, based on recent play-tests" L.

[Chuck Jackson]

Eric "replacement horn in the works, right Mr. J.?" L.

But of course, Mr. L. Think there's any chance of snow?

Chuck'who needs a Growler of Beaver Creek Brewery's Red Ale, too"Jackson

[WakinAZ]

Too soon to say. Hehe... **rubs hands together**

[BavarianFanfare]

I bought my 187 in 11/2007. It has a fat sound and is easy to play. Roger Lewis personally recommended this horn to me. I am really glad I got this horn. If you are playing strictly on b-flat, what more would you need? It is an underrated, undermarketed horn. I really do not know why. For me, a Conn Helleberg seems to work well with this horn. It comes from the factory with a Miraphone Helleberg, it works fine for me as well. Get an MTS Large Frame Case with it, and you'll be happy. As I have said, Roger Lewis recommended this model to me, and I am very happy. Thank you Roger!

[Roger Lewis]

on the 187 - I mentioned the flat C in the staff to Markus Theinert and they have since shortened the 1st slide on the horn to make this note easier to play in tune with just 1st valve. It is an extremely easy to play rotary BBb instrument with a very nice, German sound to it and great resonance. I recommend it over the 186 simply because it is easy to keep the notes just below the staff from getting too edgy. The tuning is great and it doesn't suck the air out of you like some horns tend to.

Peace.
Roger

[iiipopes]

If I had more cash available when I bought my tuba, I would have considered the 187. But I got lucky in that the St Pete retrofit upright bell on my 186, although shorter, also has a broader throat to bell flare ratio, so gets some of that bigness and roundness that goes with a 187, rather than the more projection quality that seems to be the characteristic of the newer 17+ inch 186's, and is different in overall timbre than the older 16 1/2 inch 186 bells.

Two of the other guys in my community band tuba section have 186's also, and after playing beside them for a few years, it becomes apparent what the differences in bell stack geometry does to the tone.

I would compare the relative qualities of the two tubas to Bach trumpet bells: if the newer 186 is analogous to the 37 trumpet bell, the 187 is more like the 43 or 72 trumpet bell.

Make no mistake, the 187 is larger than the 186 because of the larger diameter bows leading to the bell, which has a larger throat for the same rim diameter, but retains its playability due to the having the same valve block as the 186. I'd call it a 4/4+, along with the PT-605.

And something mentioned elsewhere: due to the different geometry of the bell stack and inner bows, the leadpipe is NOT interchangable with the 186, and the down pipe to the tuning slide is a different geometry -- more "L" shaped than "dog-legged" shape. I always wondered if that "L" in the main tuning circuit contributed to that one stuffy note Schlepp talks about.

[windshieldbug]

I always wondered if that "L" in the main tuning circuit contributed to that one stuffy note Schlepp talks about.

I don't think so. I have the same problem on the 186's I've tried. I really think it's more of a case of me not practicing like I should.

I think that stuffy note is just due to the person in your bell.

[TubaRay]

I always wondered if that "L" in the main tuning circuit contributed to that one stuffy note Schlepp talks about.

I don't think so. I have the same problem on the 186's I've tried. I really think it's more of a case of me not practicing like I should.

I think that stuffy note is just due to the person in your bell.

That note must be a real dog.

[WakinAZ]

Schlepp, my F four lines below the staff always popped right out - I could sit on that note all day. I found the low register to be the easiest I've ever played. All in all, the dang thing just about played itself. Maybe a different mp would make it slot better?

I found a Helleberg gave mine a dead, woofy sound. Then again I wasn't much of a H-berg fan at the time so didn't try it for long... TU33 worked great for me, didn't feel like a big mp in this horn.

I also bought mine from WWBW on Roger's recommendation. Roger, does it get old being right so much?

Eric

[iiipopes]

Indeed about the mouthpiece. Being a German tuba, it was designed for bowls, not funnels. But we all love the breadth of tone a funnel gives.

Matt at Dillons recommended, and has worked fantastic for me, for a Miraphone rotary to use a Curry D cup. It's a hybrid funnel with just enough curve at the bottom of the cup to focus the tone but not lose the breadth, and give definition and clarity.

[iiipopes]

The Curry D does have a wider rim. I had to have Vladimir turn it down to an 18 profile for me so it didn't ride up my chin off center on my embouchure. You can get it in your choice of inside cup diameters. I prefer 1.28, as it's the same as my Wick 1 and Kelly 18, so switching back and forth is not an issue.

I have never really been a pedal note player, but in community band for the formal concert last season the chorale in the middle of a West Side Story medly ended on a D, and I dropped it to the 234 near pedal D and set up the final chord really well -- the whole hall just stacked overtones like a ladder. This season, we have an arrangement of "Be Thou My Vision" that ends on the Db, and I drop that to the near pedal Db pull134 and just sits there and purrs in a large enough hall.