TubeNet

Another guy and I are considering trading our horns- my 4 front valve Eb Giant for his 2J. Only problem is that I've never played a 2J.

Does anyone have any experience with both? My Giant plays quite well with good intonation and has a doable low range. Since I prefer to use my small King Eb or Getzen 1062 bass trombone in quintet I really wouldn't need to use the 2J there. It would probably be used as a smaller big tuba.

Does anyone know of any videos or audio clips on the internet with a 2J?
Or, does anyone in Chicago have one and would like to try out one of my odd instruments in return?

Thanks!
Bob

If it plays anything like my O-99, and it should, I think it will eventually suplant your small Eb in quintet. It should provide a broader base for the other four to build on. The only downside I can see is learning a new set of fingerings. But you're a young guy with a quick mind. Shouldn't be a problem. Try it, you'll like it. If you don't, there is always a market for them.

tbn.al wrote:......The only downside I can see is learning a new set of fingerings. But you're a young guy with a quick mind. Shouldn't be a problem. ....

2J is one of those numbers that Conn 'recycled'. Prior to 1931 a 2J was an Eb tuba. After 1973, they were built in CC. (I think that's right!).

Ooo! I think I knew that. Young guy = quick mind. Old guy = slow mind......bad back, no grip, loose teeth, no hair, limp..........well anyway.

tbn.al wrote:...... Old guy = slow mind......bad back, no grip, loose teeth, no hair, limp..........well anyway.

Heck.... that pretty much describes me!

If you've ever played a Conn 4J, which is the BBb version of a 2J. Just as the 3J is the CC version of the 5J. I'm guessing that these corresponding models would play very similar. (?)

ASSUMING - the 2J is the CC 2J (as noted previously), and that condition, intonation, etc. on the two horns is comparable . . .

Sounds like a good trade to you. You would be getting the more versatile, and more marketable, horn.

TUbajohn20J wrote:If you've ever played a Conn 4J, which is the BBb version of a 2J. Just as the 3J is the CC version of the 5J. I'm guessing that these corresponding models would play very similar. (?)

I thought the 3J was the improved vertion of the 2J?? BB

To clarify, this is indeed a 2J in C.

tbn.al wrote:If it plays anything like my O-99, and it should, I think it will eventually suplant your small Eb in quintet. It should provide a broader base for the other four to build on.

That's actually just about the opposite of what I like for quintet.

I played my King in my college quintet on Frostfire a while back. The group also had a euph on the 4th part. When the tuba instructor saw the concert, he made the joke that he would have liked to see a tuba in the group and not 2 euphoniums.

bigbob wrote:

TUbajohn20J wrote:If you've ever played a Conn 4J, which is the BBb version of a 2J. Just as the 3J is the CC version of the 5J. I'm guessing that these corresponding models would play very similar. (?)

I thought the 3J was the improved vertion of the 2J?? BB

It is. With a marginally larger bell and some other tweaks, just as the 5J is the "improved" version of the 4J, again, with a different bell and some other tweaks.

Bob Kolada wrote:To clarify, this is indeed a 2J in C.

tbn.al wrote:If it plays anything like my O-99, and it should, I think it will eventually suplant your small Eb in quintet. It should provide a broader base for the other four to build on.

That's actually just about the opposite of what I like for quintet.

That would be a good topic for a thread. Should the tuba voice be another soloistic voice equal to the other 4 or should it be a bass voice on which the 4 solo voices sit? Maybe it should be both, or either, depending on the composition. I started my quintet playing a small Eb, then a small F, then a tiny rotary BBb, then a smnall rotary BBb and now a smallish piston BBb. You can see from the progression where I'm headed. Actually I am being dragged by the rest of my quintet, kicking and screaming at first. As I get used to the idea of me being the foundation most of the time rather than an equal solo voice it's not so bad. In fact I rather like it. It appears to me that most of the music is most of the time scored in such a way as to prohibit the bass voice being anything but a foundation. I do miss that trombone like core sound though.

tbn.al wrote:

Bob Kolada wrote:To clarify, this is indeed a 2J in C.

tbn.al wrote:If it plays anything like my O-99, and it should, I think it will eventually suplant your small Eb in quintet. It should provide a broader base for the other four to build on.

That's actually just about the opposite of what I like for quintet.

That would be a good topic for a thread. Should the tuba voice be another soloistic voice equal to the other 4 or should it be a bass voice on which the 4 solo voices sit? Maybe it should be both, or either, depending on the composition. I started my quintet playing a small Eb, then a small F, then a tiny rotary BBb, then a smnall rotary BBb and now a smallish piston BBb. You can see from the progression where I'm headed. Actually I am being dragged by the rest of my quintet, kicking and screaming at first. As I get used to the idea of me being the foundation most of the time rather than an equal solo voice it's not so bad. In fact I rather like it. It appears to me that most of the music is most of the time scored in such a way as to prohibit the bass voice being anything but a foundation. I do miss that trombone like core sound though.

I've used everything from a 5-valve Miraphone 187 to my Cerveny F in quintet. I prefer using the F in quintet. To me, using a big BBb is like trying to fly a C-130 with the Air Force Thunderbirds at an airshow. It's a bit much for the situation.
I suspect a lot of your choice will depend on the voice you produce on F and/or CC tuba, and what your quintet prefers to hear from the bass.

For some examples of what a 2J CAN sound like, visit Wind Song Press and listen to some of the clips of Harvey Phillips.

I would imagine that some of Dave Gannet's recordings would also have been done on a 2J or similar.

I am assuming you mean the 2J CC as produced from 1971. A 5J would be pretty well the same. In any case the player will be the major factor in determining the quality of sound coming out.

Depending on your particular situation it could be a very good quintet horn. A lot though depends on what the full ensemble is striving for sound wise.

The question of whether the tuba is another "solo" voice is interesting....

Considering that there are so few voices in a quintet it seems to me that each does indeed need to be a soloist at times - and certainly of a "soloist's" ability and sensitivity. At times on is the soloist and most of the times an accompanist.

It is very much a matter of taste whether to use two trombones or one tbn and tuba. Generally the greater variety of tone colours provided by use of a tuba appeals - but there are times when two tbns suits the music better. Probably as many answers as there are people asking the question.

Bottom line - if it fits, wear it. As for being a good deal, Yes, I think you would be getting a good deal - IF it fits.

Bump!

Since the 2J fans think you're getting a nice deal, I'll ask for an extra million dollars.

On a serious note, it is a very nice plaing 2J: one of the ones made by olds in the 70s.(methinks)