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As you can see from my signature, I have a good collection of 6 tubas and have played them all at gigs in the last couple months.

However, I have been wondering of recent if playing so many different tubas is really such a good idea? Although obviously great fun, it does mean I cannot practice as much as I would like on each one (just don't have the time) and feel it is having some detrimental effects on my performance (e.g. more split notes than I like). I think I generally play fairly well, but wonder if I could play that bit better if I reduced my tubas to say one bass and contrabass (Melton 2040/5 Eb and Neptune CC - no doubt my 'best' tubas) to get more face time on each? After all, each tuba has individual characteristics, so the more familiar one is with it, the better should be the musical results.

Any thoughts? Has anyone here reduced their tuba roster for this reason?

I am really just musing at present and not in any hurry to sell tubas (I do enjoy them all), but in the long term see my tuba collection more likely contracting, than expanding.

I play about 2 hours each day with six different groups on four or five different horns.... switching between Eb and BBb. I'm probably a better player now than I ever was (62 years old). But.... I began to wonder a while back if I could be a better player if I stuck with only one horn. Well... with the variety of groups I play with, I don't think I could boil it down to only one horn but I'm certainly going to eliminate the Eb horns and concentrate on only BBb tuba. But... still not just one horn. I'll keep my St. Pete 202 for concert band and brass band.... a hybrid Conn 14K sousa body with an added 4th valve and convertible helicon and sousa bells for stand-up German gigs and an occasional outdoor gig.... and a King 4V 1241/2341 with upright bell and BF bell for Dixieland stuff. Three horns should do it but at least they will all be BBb.

Tubatinker,I'm surprised the Marzan hasn't made it to"preferred" status for large ensemble...

This thread reminds me of a conversation I am having with my buddy Matt Gaunt right now about horn selection.

We have both long played on relatively small "do it all" equipment, and have made certain compensations/adjustments trying to get different outputs from our small-ish CC tubas. I believe there are compromises that come along with trying to play small equipment and make it sound large (and the converse is also likely true).

That said, it CAN be done well. Go hear Matt play Meistersinger with the Chicago Symphony Orchestra on his 4/4 CC in a few weeks if you don't believe me. No doubt, he will sound amazing as usual...

Something to think about, though - there is distinct value in having different horns for different jobs. How many depends completely on the individual. You, Jon, are an extreme case - I can't quite imagine keeping myself sufficiently fresh on 6 different horns (unless I was playing 6+ hours a day, which I hope to someday do once again). A certain amount of maintenance/upkeep is required to stay on top of a given instrument, if you ask me.

So, if you decide to get rid of your 2182, you know how to reach me!


jim

These are different tools; tools to create music.

Ideally one would have a full tool box and be able to use each tool when required for excellent reproduction and interpretation.

You are the ONLY person that can answer the question, "Do I need to spend more time with one tool in order to master it with the time I have available, or is my having many tools to use making me more effective over all?"

MikeMason wrote:Tubatinker,I'm surprised the Marzan hasn't made it to"preferred" status for large ensemble...

Me too! But, mine just sits in the corner most of the time. I'll bet I haven't played it two hours in the last year!

Paraphrased from Robert Tucci: "The best equipment is the type that you don't have to think about."

Are you able to sit down and make music on all of your horns effortlessly? Ideally, you shouldn't have to think about fingerings, pulling slides, lipping notes, etc., but only concentrate on making the music in your head match the music outside. Of course, for us mere mortals, there always seems to be some part of the technical aspect that we end up thinking about, one way or another. I know for the F I currently play, I have to keep reminding myself to pull out or lip down middle of the bass clef Ds. I have almost gotten to the point in which it is automatic, but I still need to think about when I see a D lurking in the next measure.

Personally, I can't ever see myself needing more than two tubas, but if you've got enough metal to get really situation specific, then why not? I guess you should decide if the technical challenges present from playing a large fleet interfere with the ease of music-making enough to off-set the specificity and enjoyment brought by several instruments.

Scooby Tuba wrote:There has to be a home base to which all the others must relate and with which all the others agree.

This home base should get that all important face time to which you refer. The others are then selected when they are the appropriate tool for the job. The others must be kept familiar, but will be visited less and in general more only when they are being put into action.

I like this idea Scooby! Gives me the thought to concentrate most my home practice on my 2040/5 and Neptune, only pulling out the others as needed to get up to speed for specific gigs, rather than attempt to evenly divide face time.

Provides the benefits of more concentrated practice, with the tonal flexibility and fun of a larger tuba collection.

Tubas for different gigs are no different than different mechanic's tools in a tool box. Most time, a standard socket set will do. But if you're going to bleed brakes, you need the brake clawfoot to keep from messing up the bleed fitting, and so on.

So enjoy the fact you have an arsenal of tubas to choose from. I keep an arsenal of about a dozen guitars and basses for just the same reason. Any time someone wants to question why I have so many, I simply go to my shelf and start pulling out CDs and DVDs of each of them in concert earning money in their respective context, or otherwise contributing to the specific context of charity or service gigs.

My personal philosophy is that....

playing tuba is like playing golf - you have to have the right club for the shot. Just because you can hit a 9 iron 250 yards doesn't mean you always should.

Staying with that analogy, when practicing at the range on my golf game, I make sure I spend some time with every club in the bag. But I DO spend a lot more time with "the money clubs" - the driver, the approach wedges and the putter. Those are the clubs that give you the chance to improve your score and accuracy.

Same for tuba. I live with my quintet horn, the Yorkbrunner and the F tuba - these are "the money clubs". I visit all of my horns from time to time to stay up on their quirks, but I don't pull them out of the bag as often. A specific phone call for a gig may move one of these to a "money" position for a while. I stay familiar with them all, but live with the ones I use the most.

Just my rather warped perspective and echoing what Scoob said.

Peace.
Roger

Roger Lewis wrote:you have to have the right club for the shot.

That is precisely my justification for having so many tubas

If I play BBb in a brass band then I need a BBb, if I play high French repertoire I need my 182 F, etc, etc....

It seems like everyone really has the right idea, so I won't restate....only say that now I want more....... MORE TUBAS..... MORE!@!!!!!!!!!!!!! muahahahaha

I'm in a situation comparable to Neptune's, though my horns aren't nearly as sexy as yours, Jonathan. I've trimmed down to 6 - a 186 BBb, a 983 Eb, an old Kruspe F, and 3 CCs - a 184, a Gnagey and a Neptune. The F has training wheels - it'd be malpractice to take that one out for a gig at this time, and I may never get it under control. If I had to pick 2 to keep, it'd be the Gnagey and the 983, but the 184 is so sweet and forgiving that I usually use it for quintet work. It's also easy to schlep. The Neptune is great in large ensembles, but often it's just too darn big. All but the Kruspe have VERY consistent intonation and response. Otherwise I'd go nuts trying to keep them all under rein. Long story short, consistency is the key, IMO, if you're going to play multiple tubas well. As much as I loved my Alex (now Tuben's "Wizard") it demanded more time and effort to keep it on task than I had to give. Too much spice.

Wasn't it the famous tuba architect Mies Van der Roar who said, "Less is More" ?

Don (wishing I had your problem) Shirer