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From my personal experience, the YFB-621 is a great recital horn. I haven't heard the YFB-821 but I suppose it is an upgrade. I'd like a little more flexibility in color on the 621 but it's so solid.

I might also choose the Norwegian Star. It is more colorful than the Yamaha's and still has a fine low register. I am not as attracted to the Starlite version, it just didn't have enought tuba-sound in it for me.

I'm interested in what euphoniumists have to say on this. I expect to hear Soverign-Willson-Yamaha-Meinl-Hirsbrunner-York-Miraphone but I wonder if there's a euphonium in use which sounds different from these.

Although I do not own one my favorite recital horn is a Conn 14k. Just because it's sound is what I think a tuba should be. Flame away....

This:

viewtopic.php?f=4&t=31693

the elephant wrote: I dislike the tone of nearly all HB, B&S, Yamaha and Willson tubas, so they are all off the list for this specific application as it relates to my life.

YES! It does seem to me that FEW people do not like playing B&S tubas, HOWEVER, I have heard only a few people play these horns well.

They seem very self-stimulating for what comes out of them sometimes, especially compared to other horns. I often wonder if some people love these horns based more on their feel and less on what is actually coming out of their bell.


Wes "trying to state as few absolutes in that post as possible as not to offend the rabid B&S crowd"

Upon reading the previous posts, a few remarks / questions arose on my side:
- rather than reading a list of favorite tubas (more often than not usual suspects get to be named), I´d like to read what it is that makes you consider a specific horn. I´m sure some Alexander users might have something to say on this.
- Question regarding remarks on B&S-tubas, but aimed at ANY choice of horn here: some argued that B&S users might judge their horns on what they feel rather than what the audience hears. I reckon this is what MOST equipment choices are based on. How many of us go and test horns, recording certain test pieces in the same hall in order to make a decision based upon a review of same recordings, maybe a few days later ? Who will neglect a horn he/she may have spontaneously felt in love with, to the benefit of another, the sound of which might have appealed to a trained listener, but which didn´t feel quite as comfortable ?

Only twice have I limited a recital to one instrument. Usually, it's several more, to give an audience a greater pallet of tones to enjoy.

That said, If I HAVE to limit myself to one: YFB-621. It's the most versatile to me, easiest to play, great pitch, and a $1,000 other reasons. I now use a Faxx HB on my 621.

If I add one, it's my Boosey & Hawkes Imperial Eb. It's the most dexterous. Pyrotechnical pieces - Herbert L. Clark and such - are easiest to perform on this, and pitch is practically perfect since I know her so well. With this option, however, I'd prefer an Alexander F. Richest color in the cosmos, and I've found listeners prefer the sound on this above all other instruments. Sadly, I don't have one right now. I use a Yamaha Self mouthpiece on the Boosey with a tone ring, and I use a Miraphone C4 on the Alex Fs without variance.

I’ve substituted other Ebs for audience interest, such as a York Eb for Weber’s Horn Concertino, a 1913 Conn Eb for Clarke’s “Debutante”, A Diston for Debussy’s “Syrinx,” and a 19th c. Eb Helicon for the Sachse Concertino for Eb cornet. My Miraphone C4 is my default mouthpiece.

I rarely use CC for recitals. That said, I’ve used my Alex 164 for Schumann’s 3rd Romance (unique Alexander Mouthpiece on this, which Alexander claims never to have made). Not ideal. I would prefer a smaller Miraphone or my Kalison DD (Bach 12 mp, but I’m not too happy with it). But my own money’s-no-object choice would be an HB-2P.

Of course, this doesn’t include additional non-tubas I use regularly.

J.c.S.

Besson 983 Eb.

It has a lot of power in the mid and upper registers, and the low register is solid, no 'problem notes'. I just enjoy hearing the color change down low from somewhat 'dark', to 'warm' in and above the staff. It always sounds like a tuba, but never sounds 'thin' like some of the small, german F tubas I've played in the past. If anything, my 983 Eb plays a tad sharp above the staff, which I like. Lipping down slightly or pulling a slide a bit is fine, especially if the recital in question gets long or has a lot of high playing.

Have you ever played a horn with a flat high register when your chops are tired? Intonation nightmare!!!

Oh yes, the Conn Helleberg lets the 983 Eb retain the 'core' sound in the mid range (around Bb in the staff) that is not present in other, shallower (bowl shaped) mouthpieces. some people say the Conn Helleberg is a contrabass mouthpiece, but is works and sounds just great on my 983 Eb.

the elephant wrote:This is not a limit to one horn, but a limit on usage - a horn that only gets used for solo playing. Look at it from the reverse angle you have right now…

No such thing for me...

J.c.S.

You already know MY answer...

jon112780 wrote:Besson 983 Eb.

It has a lot of power in the mid and upper registers, and the low register is solid, no 'problem notes'. I just enjoy hearing the color change down low from somewhat 'dark', to 'warm' in and above the staff. It always sounds like a tuba, but never sounds 'thin' like some of the small, german F tubas I've played in the past. If anything, my 983 Eb plays a tad sharp above the staff, which I like. Lipping down slightly or pulling a slide a bit is fine, especially if the recital in question gets long or has a lot of high playing.

Have you ever played a horn with a flat high register when your chops are tired? Intonation nightmare!!!

Oh yes, the Conn Helleberg lets the 983 Eb retain the 'core' sound in the mid range (around Bb in the staff) that is not present in other, shallower (bowl shaped) mouthpieces. some people say the Conn Helleberg is a contrabass mouthpiece, but is works and sounds just great on my 983 Eb.

You beat me to it, I was going to say my Besson 983 too. I am not a pro, nor do I ever expect to perform in a recital, but the 983 is the closest thing to an all around horn that I have and use regularly. It has a great low range and an easy, singing high range. To me it sounds like what a tuba should sound like, not an over sized euphonium like some F tubas I have heard seem to sound like.

I find mine to play well in tune with itself throughout my usable range (pedal Bb to F above the staff). OTOH, I need the slide all the way in on my 983 or it is flat. I use a LM-15 mouthpiece, which is the best one I have found to maintain intonation and sound on this horn for me.

I would have to say my York Eb...it's got some intonation problems and the really high range isn't completely steady (above a Bb in the treble clef, it gets a little funky), but that horn is SOLID...It's turning into my main solo horn (ok, and quintet, but that's more because I don't feel like lugging my Getzen). Helleberg 7b, and it sings with that classic York sound...

Bob1062 wrote:
I actually DO like the sound of the 621 (but I haven't liked a lot of OTHER people playing it), and I probably would have bought one Fall 2007 except for that horrible valve angle.

Good low range, nice sound, easy to play, and it feels good to play.

Remove the thumb ring. VOILA! A great tuba emerges.

Besson F, 3+1 comp. I have no idea what mouthpiece any more. But, a terrific small horn that projects well and sings amazingly. Not a lot of variety of timbre, but that can be done with a

Piggy. A good one. A Helleberg style thing should work well, but I went to a PT something. Never should have sold that horn. Change bigger to smaller mouthpiece for color differences.

Yeah, the 621 F too. But I haven't played enough on one to say that firmly.

But I do have to throw in a good B&S F, despite the pachy premise stated in the OP. For non-recital use, I've tried lots of other things (on gigs of varying style, from dixie to quintet and everything in between and around.) I've been told to bring nothing BUT that F. For recitals, although it's been a few years since I've done one, the B&S will probably be the only thing I'll use next time.

.

the elephant wrote:

J.c. Sherman wrote:

the elephant wrote:This is not a limit to one horn, but a limit on usage - a horn that only gets used for solo playing. Look at it from the reverse angle you have right now…

No such thing for me...

J.c.S.

But that is the point of this entire thread, J.c.

If you could have a tuba that never, ever was used for anything at all except for solo playing in a recital setting, if the only performing you ever did, ever, was as a recitalist (maybe on tour) and you needed to pick a horn or horns that would only ever be used in this setting, ever - what would you use? This is an attempt to untangle people's ideas about multi use, do-it-all tubas. I am combing crumbs from the Freak Jury's collective beard.

If you never, ever had to use a certain tuba i any other setting, if you never needed raw power or whatever, what would you choose to represent your musical voice? It is not restricted to a single tuba, but the tubas are restricted to the single usage.

Use your imagination. This is not reality we are describing here.

This makes me smile.

J.c. has apparently not changed THAT much in 20 years... Dude would have a different horn out for every note he had to play if he could. Part of his undeniable charm.

For years, I played EVERYTHING on my Rudolf Meinl 3/4 CC. Had it all. Great sound, plenty of projection, nicely laid out to do cool improv-y tricks with the third valve slide... everything. But I am starting to assume at this point that that particular tuba has been divided among the scrap nickel dealer and the city dump. Sigh.

I never got the chance to try it enough, but that little Meinl Weston F, the 182 or somesuch... sweet sound, great intonation, easy to play, had some oomph to it if you finessed it right... That would be a nice recital horn for sure.

Ummm... Helleberg or Miraphone Rose Orchestral mouthpiece for the Rudy. I'm totally out of touch with smaller mouthpieces at this point, so whatever would be comfortable and such with the MW would do it.

I would say...an Alexander 3/4 CC. WIth a mouthpiece with the cup shape of an old PT-9 with a big throat and 33mm width. That would be perfect for me.

So, not one euphonium post. Bor-ring.

Gronitz PF-125 is of interest to me:

Yamaha F tuba playability with a much more interesting sound.

I also really like the little MW 182...way different than a Gronitz piston F, but would be a fun recital tuba.

I am going to also say my 983. Yes, I have used it ensemble settings, and yes, I view it as an all-around horn. But, if I had my way, I would use a bigger tuba (probably a Miraphone 191, 1291, or 188), for ensemble work. For solos and recital work, I don't think I would ever replace my 983. It just has that warm, sweet sound that is as close to what I'm looking for as anything I've tried. Whenever I pick up my horn, I'm always hearing John Fletcher's sound in my head...although I'll never get there, this horn puts me closer than any I've tried.

So, while it is my only horn, and therefore my "all around horn," if I had to choose a horn just for recital work, it would still be the 983, and I'd find other equipment for the other stuff.

Depends...
What's my recital repertoire?