TubeNet

Hi,
Considering the popular support for the (old) Mirafone l86 CC (and the style of sound that it delivers), it is difficult to document its use on recordings. I am interested in hearing this instrument on some orchestral recordings. I am aware that the 186 CC is well represented on older L.A. Phil, and some Pittsburgh Symphony recordings.
Any other recommendations are appreciated.

Thank you,
Kathott

Anything that Mark Cox (my professor) plays on would have it. He's been playing a 186 since he was in High School.

HI-
Ravel's La Valse, NY Philharmonic, Mehta conducting, Don Harry on his 186.
Regards-
mark
jonestuba@Juno.com" target="_blank

I think Tommy Johnson played the Jaws solo on his 185 CC, and probably hundreds of other movies and TV shows in the seventies. Sometime in the eighties he switched to his 188 CC, but the recording sound of both would be somewhat similar to a 186.

Basically, listen to some old TV and movie soundtracks and you'll hear a similar sound. I believe Mr. Johnson also played his 188 on all of Weird Al's polka records.

Hi, I am adding to my own previous post........

If Mirafone 186 CC's are so great, why isn't anybody playing them? Not too many pros, and not too many students - Mirafones have the same reputation as Bach trombones - they only sound as good as you are playing. The stovepipe bell gives a particular delivery to the sound, and the 186 wrapping hasn't changed too much.
They are old and dusty - who is playing one?
Thanks,
Kathott

Stirrng the pot eh?

Since my last post I have sold my 186 for a similar vintage 184 (mainly for combo, quintet & sm. orch. gigs). I've moved on to older and dustier Alexander tubas. I love the miraphone sound, and the 184 does what I need it to.

But then who really cares about me. Look at Mr. Mike Mason (Pensacola), 186-er turned Jinbao-o-phone. Still a 186 (albeit new type clone). Other guys who use them are Mr Joe Exley & Brandon Johnson - they rock out in the streets with serious quality sounds. I will defend this old stand by, they just put out a great sound. I have heard that Mr Pokorney was a 186-er pre Chicago (Prok 5-St. Louis/Slatkin).

They are still out there, just not in vogue. It is an old design compared to the volume of selection now-a-days. I believe you are seeing the effect of market share competition, combined with the arms race to 6/4 sized horns in tue orchestras.

Marcus Rojas plays one. I think it's a CC, though I've never been quite sure from the photos I've seen. Sometimes I think it could be a BBb.
Dave

I saw Marcus play with that jazz'ish trio a while back; I think it's a C.

R. Winston Morris
Dr. Kenyon Wilson

are, or have been, users and proponents of the 186.


And me.

There are a number of "pros" who play (or have played) a lot on Miraphone 188's as well. Although there are some differences between the 186 and 188, but they are far more similar than they are different.

I can't think of a list, but someone else could probably do that!

I'm gonna give my clone a whirl this season.I'll let u know how it works out.if I feel totally outgunned,maybe a 1291 BBb clone....don't think I'll need it though...first up is pines...

MikeMason wrote:I'm gonna give my clone a whirl this season.I'll let u know how it works out.if I feel totally outgunned,maybe a 1291 BBb clone....don't think I'll need it though...first up is pines...

Mike, How big an orchestra is it? It will be interesting if the conductor (or anyone in the orchestra) even notices!

Of course in the UK players manage fine on compensated EEb, so no reason why 4/4 CC should not suffice.

Jonathan "thinking while equipment might be important to us, to everyone else a tuba is just a tuba"

pauvog1 wrote:

Biggs wrote:R. Winston Morris
Dr. Kenyon Wilson

are, or have been, users and proponents of the 186.


And me.

The first two referenced use the 188. Those two models definetly have more in common than not though.

Since I bought Dr. Wilson's 186 C, I feel very confident in asserting that he is, or has been, a user and proponent of the 186. He used this horn in Chattanooga prior to purchasing a 188.

I don't think Don Little will EVER get rid of his 186 CC. He also lists his discography on other parts of this website:

http://music.unt.edu/tuba/scrapbook.php" target="_blank

Karl "who feels the same about his Alexes, CC and F" H.

Jonathan,funny story on that topic.When I first got the Thor,i took it to an annual quintet gig with folks i only see once or twice a year.I didn't mention anything about the new horn and no one said anything.I emailed the principal trumpeter the next day,who i have known for 20 years."how'd you like my new tuba?".Him-"what new tuba?how'd you like my new trumpets?".So,very few people notice and even fewer care.Right notes,rhythms,pitch,dress,grooming,punctuality are much more important.I may be franticly looking for a bigger horn after the first rehearsal for Pines,but i doubt it.Maybe Tim Jackson will let me borrow that york 3valve BBb!

Biggs, I was a student of Kenyon when he decided to sell it and go with a 188. Do you still have the reversible bow-guards that he had made? And to the original poster, I use a 186. Not that I'm anyone special, but I do make money playing the tuba and loading things onto trucks.

Jay Parke wrote:Biggs, I was a student of Kenyon when he decided to sell it and go with a 188. Do you still have the reversible bow-guards that he had made? And to the original poster, I use a 186. Not that I'm anyone special, but I do make money playing the tuba and loading things onto trucks.

Absolutely - I consider them an integral part of the horn! Turning them to orange-side-out makes me play better, something like Dumbo and his magic feather.

I traded my '86 185CC for a '02 186CC. I've gotten nothing but compliments on the sound of both. I play the 186 in symphony and concert band and it fits the bill.

Miraphones tend to play "bright", but the sound has more to do with the player, not the horn. For me, the Mira sound equals "lots of core" with a vocal quality.

A friend of mine said he plays the horn that makes the sound he wants. Doesn't care about make, model, key, origin, age, etc.

Fred Tempas

Sumner Erickson on the Pittsburgh Symphony Brass recordings. I thought he was using his HB-6, but he verified it was actually his 186 CC.

poomshanka wrote:Sumner Erickson on the Pittsburgh Symphony Brass recordings. I thought he was using his HB-6, but he verified it was actually his 186 CC.

+1,000,000,000

He's an interesting fellow, but that CD is an AMAZING recording of the Art of Fugue by J.S.Bach. Even though I absolutely love his sound on the CD, I remind myself of the talent who mic'ed/recorded/edited/produced/etc.. the music. They also have a "say" on the recording of the music.

But seriously, buy this CD NOW. Here's an example of what to expect:

http://www.youtube.com/watch?v=r2ErCUgMoho" target="_blank

("Sweet Jesus!!" at 3:05)