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Thought some of you would be interested in a picture of the prototype of the Miraphone piston F tuba. It's due out in April or May so start saving your money now, it's a good one.

Sorry about the man of mystery there, it's the only picture I had of the horn.

I felt like the proto-F played similarly to the Yamaha 822. For me, it played with a little "tubbier" and darker sound than the rotary Miraphone F tubas. I don't think the notes pop out quite as fast as the Firebirds, but the response was still very good. It's a fun horn to play.

Observations: in a large room full of tuba players trying to rattle the walls, this instrument's sound projected through the tumult. More than one person stayed on the instrument for almost an hour.

Playing characteristics were similar to the small Yamaha F, that is, the pitch was good (it is really hard to be picky with all the sonic competition) and the response was great from top to bottom. The extreme upper register was secure up to double C (some people refer to that as slotted) and the low register was solid, not even a hint of a squirley low C. The pedals were a lock as you would expect from an F tuba.

From listening to others, I think that the sound has a "German" quality; to me that means that there is an overall dark color but it seemed to have a solid core no matter who played it.

I couldn't find a shortcoming for the tuba in that room, given time in a quiet surrounding I'm sure something would come up. Certainly it's not a perfect tuba but it is really, really good. Markus Theinert said that he was truly proud of this horn like no other; I think his pride is justified.

I offered Markus Theinert $40 for it, but he wasn't selling. It's a blast to play, by the way.

tubashaman wrote:Is that prototype for sale....id consider buying

Yes, it is for sale! $50,000 but you have to wait until the production models come out (but they will be a lot cheaper).

tubashaman wrote:Same body design as the 1291/1292, which is a great tuba design

I don't see the design relationship between the two. I don't think there is any asymetrical tubing.

It is completely capable of being played successfully in a solo or orchestra setting. If you goal is to destroy the orchestra, you probably need another instrument. However, I do remember that Bobo absolutely overwhelmed the entire LA Phil on their recording of "Rite of Spring" and he was playing the early Mirafone F tuba which was tiny.

Judging only from that photo, it looks similar to the 1291 to me. The fifth valve seems to have the same setup, and the thumb ring looks like it is sort of floating in space on a piece of tubing like on the 1291. The picture is at a weird angle, so I can't tell if it's asymmetrical.

To anyone who played this -- does it have the same short-throw valves as the 1291?

Isn’t this little thing a bit too resistant when it turns the player's face all blue?

K

tubashaman wrote:My 180s 5th valve is a flat 23 combination....and id really like a flat whole step,

Alex C wrote:Sorry about the man of mystery there, it's the only picture I had of the horn.

This is, most likely, a mob informant that is participating in the Federal Witness Protection Program. Probably someone who Alex hooked up with from his past and hasn't seen since his release for good behavior.

Does this tuba have the same short-throw valves as the 1291?

bort wrote:Does this tuba have the same short-throw valves as the 1291?

Does this imply that the 1291 has Conn 20K-style oval ports? Or how is the short throw obtained?

Klaus

You know, I've had this tuba for years, and I completely cannot picture the valves in my head right now. I'm out of town, so someone else will have to answer.

tubashaman wrote:Ive heard Bobos recordings, yes some fracked notes if you listen closely, but he has a name and is a great tubaist....and I will probably never be able to outplay him.....

Roger Bobo is more than a name in the music world: he is a recognized artist of the very highest caliber. And I concur with you in that few brass players will ever play at his level (outplay? never), so I don't think I would be brave enough to say "yes some fracked notes if you listen closely." I'm not a fan of the LA Phil from those days but the recordings I have listened to were because of Bobo... and what a player he was! I don't think there is a fracked note in his recording history. It's probably not even in his vocabulary.

However, we are all human (exclude Bud Herseth) and everyone misses a note sometime. Still, when I asked Mr. Jacobs if he'd ever taught Bobo he said, "Roger came for a lesson when he was in his late teens. Every note was a pearl, he didn't have anything to learn." High praise indeed.

I just couldn't leave the put-down of Roger without comment. Back on topic:

Boy, that Miraphone prototype F tuba is great but it doesn't turn your face blue, it blows it up like a big blue balloon.

I enjoyed playing on the horn. I cannot speak to the intonation. I did not have a tuner with me, but it seemed to play intune with itself. When I played my first Miraphone back in the eighties. I thought I would love this horn with piston and I was not disappointed. It was one of the highlights of the show for me.

Just one word to the Roger Bobo discussion: As tubaplayer - artist he was one of the GREATEST!!! He's isnt just a technican but an ARTIST of the highest level. Just listen to the Bydlo solo on his blog site! This is the greatest music making you can imagnie. Full of dynamics, contrasts, feelings, etc.....and all this CLEARLY articulated!!! And of course this is only one drop from his "musical ocean". He always does something new, something different, something exceptional but ALWAYS with MUSIC in his mind as the main goal!

I would be so happy if I could once reach that level. He is one of the BIG examples.

Happy musicmaking!

I am looking for this Bydlo you speak of.
Would you be able to post a link to this?

Thank you very much for your help.

The music plays automatically, if you go to

http://bomaestro.blogspot.com/

I have been advocating the use of euphonium for this solo. That hardly is what Bobo uses, but that doesn't matter when it is so superbly played as in this sample.

Knowing a tiny bit about his Bobo's instrument collection I would imagine the instrument used being a rotary Bb tenor tuba likely by Alexander. And the tutti portion of the tuba part being played on a larger instrument by another player. The experts will tell me how far off my guesses are.

Klaus Smedegaard Bjerre

tubashaman wrote:Ive heard Bobos recordings, yes some fracked notes if you listen closely, but he has a name and is a great tubaist....and I will probably never be able to outplay him.....

tubashaman wrote:to further clarify, I think Bobo is a wonderful artist and musician, but my ears are somereason prone to clean/technical perfection

Great music though

This seems to divide opinions

I find this to be a strange criticism of Roger Bobo as a player. If you read his writings in professional journals and his blog, you will realize his obsession with the most minute details. Attacks, intonation, interpretation...all facets of musicianship are keenly analyzed.

I have no idea what you are trying to say with "my ears are somereason prone to clean/technical perfection," James. Can you please clarify what you mean by this? Roger Bobo is one of the most recorded tuba players ever, and I can't think of enough fracked notes to count on a single hand in all of those recordings. Listen to his recording of Kellaway's "The Morning Song" (on Gravity is Light Today - the original) and tell me he's not one of the most accurate and technically perfect players you've ever heard.

imperialbari wrote:
Knowing a tiny bit about his Bobo's instrument collection I would imagine the instrument used being a rotary Bb tenor tuba likely by Alexander. And the tutti portion of the tuba part being played on a larger instrument by another player. The experts will tell me how far off my guesses are.

Klaus Smedegaard Bjerre

I'll have to check with the Maestro, but I remember a discussion after playing Bydlo for him on this particular Alex about the instrument used in that recording (Decca 1967 with Zubin Mehta). I remember him saying he actually used his Miraphone F on that particular recording but later used the Alex in several performances. I'll have to ask him if that is in fact the same recording.

As to the other comment out the valve noise on the Carnival recording.....sit in a chair next to Roger Bobo and have him finger the notes for you in a technical passage. I guarantee your lips have never been so abused once you process the shear energy and precision that comes from that man's hands.

For me, that clicking takes me back to the first time I actually heard him playing live. He was rehearsing the Plog Three Miniatures for an upcoming recital....wow. That's all that needs to be said.

-Josh