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I play on a Conn 56j, and the low range is fairly free blowing. Right when I got the horn I found that getting low was much easier. I was playing on a Bb Yamaha college instrument before I got my Conn, and I had a really hard time playing low on that guy. My former teacher has a Miraphone 1291 Bb that he let me try out a few times, and I really liked it. It didn't feel "precise" to me, but that very well could have been due to my abilities as a player. Anyhow, just throwing in my 2 cents because I have played two of the horns you mentioned. They are both good.

I got to play the 52J that belongs to the Synergy Brass tubist at TMEA, because the Conn display had zero tubas, but they did have Synergy Brass out to perform during the convention which was really cool. Anyway the guy was really cool and let me play it as long as I wanted to. I liked the response in the middle register just fine, but I found the low range stuffy. Especially the low G.

I haven't played the G50, though I would really love to at some point.

I have an older 2341 with the detachable upright bell, and it blows completely different than the larger bore CCs. I really took me a couples days back home practicing on it again to get my game right after playing all those CCs at TMEA. After getting used to the blow again I really like the way it plays, good low range too. Love the sound. But I have to admit, I'd give it up in a second for a THOR or 1291 CC.

I played the G50 for about 8 years. I thought that it was a really nice horn. It centered very well on most notes. I had to pull the first valve slide on the "f's" but that was about it. I also felt that the high range above the top line Bb was a little stuffy.

When I compare it now to my Besson 995 I found that you have to work a little harder with the G50 to get things moving while on the other hand the 995 was a lot more open and a little easier to play.

I've played them all, but in small doses. The 56J is a bit more open-blowing, but the examples I played were not as instantly resonant as the G50's I've played. The new-style King 2341 is also quite resonant and easy-blowing. But all of these are intended to serve a different purpose than a Thor or a 1291. They are smaller bore and (with the exception of the bell diameter) smaller instruments. I think their strength is in solo and chamber works, and for use in orchestras where a bigger American-concept tuba would be too big. All of them are capable of far more sound than one would expect from smallish 4/4 instruments.

The King depends on assembly quality, and at its price point, that assembly quality seems to vary. I've played them that had very stuffy fourth valve notes, and others that were open and resonant when using the fourth valve. Don't draw conclusions about the whole line from just one instrument.

Every G50 I've ever played has made me want to own one and finally learn C fingerings. Their price, which seems to remain high, has discouraged that. If I owned and played one, the availability of a 2341 would NOT motivate me to go back to Bb. Thus, I have to think the G50, in general, is the best of the bunch, in terms of ease of play, clarity of sound, and resonance.

Rick "with the reminder that you paid precisely zip for this opinion" Denney

My little CB50 is an awesome little horn. I'll start with the problems with it; it has some trouble holding up to the orchestra going full blast, (again) the F's are really funky, occasionally you have to do the flip to get the water in the 2nd branch (?). That is pretty much it, though (aside from a few mechanical problems that only mine has; main tuning slide falling out...and that's it).
The good stuff really outweighs the bad, though. I am always getting compliments on my sound with this horn (especially over my 6/4 BBb in band), the horn has a really easy (though fairly quiet...though that's my fault as much as the horn's) low range, the mid range sings amazingly, and the high range is pretty damn awesome (yesterday I was demonstrating this horn to some middle schoolers and played for them the approximate range of my horn right now, pedal D-C above the treble clef). It is so responsive and will do ANYTHING.

It has been a while since I've played the other tubas. If I remember right, I played a 56J at dillon , and was really not impressed (it felt sort of flimsy, and didnt really stand out to me). I have not (to my memory) played a 2341.

I guess I'll jump on the CB-50 (aka Getzen G-50) praise bandwagon.

You guys are really making me miss my CB-50.

I REALLY, REALLY want to buy one (again).

I had one for several years and loved it. One of the dumbest decisions I've ever made was to get rid of that tuba...I just clicked with it, but thought I had to have something bigger and better and got a MW 2000 when they were all the rage. In short, the decision to do that was a mistake for me, I no longer have the 2000 and I wish I could buy back the CB-50 I started with.

I still know the serial number by heart of the one I had. Every time a CB-50 has come up for sale since I sold mine, I've inquired about the serial number to see if it either was mine or is close to mine. In fact, a friend of mine has a CB-50 with the next consecutive number.

I'm not officially in the market for a tuba, but if that one became available, I'd do (or sell) a lot of things to be able to have it back. It was the first tuba I owned, played very well, and has some sentimental value to me for a number of reasons. I've had other good tubas and really like my great Alexander 163 I have now, but that CB-50 was a special one. I'd really love to have one these days especially to compliment my Alexander.