TubeNet

Well, close. I haven't played a Rudy 3/4 CC, but I have played a 3/4 BBb, and I've played a MW Bell that a friend used to own. I'm quite the opposite. For me, the Bell model was a growly bugger, and the Rudy would be the horn I played if I didn't have my 186.

Great topic (or at least one that is close to my heart)!

I have owned several of each of these models through the years.
I studied with Sam Pilafian back in the early 90s and purchased one of his Bell models- a NICE one...
I did my first recording (with the Shirim Klezmer Orchestra) on this instrument, and it was a really juicy and special sound, in my opinion. I love the Bell model sound, particularly on a close mic...

I subsequently had several really nice Rudy 3/4s from the late 70s; one of which I had the bell cut and a screw ring installed (partly for travel case reasons, partly for sonic reasons - perhaps I wanted to try to make the Rudy sound a little more like the Bell?). Anyway, this was an idea that I picked up from Charlie Villarubbia (who shares a lot of my opinions on this topic). I recorded CDs with the Paramount Brass and Shirim on this horn, and remain quite happy with the effects to this day.

I found the Rudy 3/4 to be a very good compromise in that it has a lot of the "Germanic" tonal characteristics and playability of the Bell, while providing both enhanced clarity, better projection, a more open low register, and more sound in general. Plus, great Rudy 3/4s seem to be easier to find than great Bell models. I own one today, and am unlikely to ever sell it. For me, it is simply a more flexible and functional instrument than a Bell model.

If I ever found a really great Bell model (like the one Sam sold me so many years ago), I'd consider buying it.
To justify it, I'd likely need to have a gig where I lived on a mic (or just played it in my basement for my own satisfaction). For me, getting these things to cut and project is the challenge. That said, very few things sound so amazing to my ear as a Bell model, AT THE BELL. Step back 10 yards, and you run into rapidly diminishing returns, in my opinion.

As a Sam student, I played assistant/lackey on several Empire recordings, and I seem to recall Sam always having a close mic on the tuba for their sessions (as well as for many of their concert settings, for that matter). When it came time to make my CD with Paramount, we did the same. I don't think the Rudy does poorly on a close mic, by any stretch. It might sound a LITTLE bit less refined at the bell than a Bell, but not much. Plus, what sounds killer solo-ed out on the board vs. what sounds killer in the context of an ensemble are commonly two different things as well. Again - step back 10 yards for the real test...

Don't get me wrong - the Bell model is a very special sound, but only in the right hands and in the right settings. For a much more general purpose yet equally delightful Germanic 3/4 CC tuba, I prefer and suggest a Rudy 3/4.

As an aside - when I was doing more orchestral playing, I had a really nice PT6 (rotary). To my ear (and Sam's as well), these things sound a LOT like a great Bell model, just (a lot) bigger.

regards-
Jim Gray

I owned a 3/4 Rudy Meinl in the 1980's. It was a nice little tuba with good intonation. However, for what I was doing at the time, I gravitated to the bigger tubas like the Alexander and 5/4 Rudy Meinl. Now that I am approaching old age, I am playing tubas with smaller valve bores such as a 3/4, Bob Rusk cut York CC tuba (.687" valve bore) and an older Bell Model Meinl Weston. The Bill Bell Model has a sound that I like and projects well in the orchestra. The trade-off is some odd-ball intonation quirks that I have modified the tuba to overcome. I do a lot of slide pulling and pushing. But, once I learned how to play the Bell model, it is quite a nice instrument. It is also good for me ergonomically. It is a rather tall tuba and forces me to sit up straightly when I play giving me better lung efficiency.