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I wouldn't consider those notes "tight" but you should spend a lot of time on them, I got mine and thought they were weird but careful coaching and teaching from my professor (whom I bought the horn from, that helped a bit too) helped me a lot. The biggest thing I had to learn is the different airstreams that I use on my CC vs. the F. You can think about the notes that are "equivalent" notes on CC, use the airstream you would use for low G (CC) for the low C on F tuba. This process might not work for you, but it certainly helps me when switching back and forth.
I absolutely love the tone color I get out of my 45s. As with any F tuba, just get used to it, it's worth it.

Yes, it's helpful to think about it like the "equivalent" note on a CC tuba. Low B giving you trouble on an F tuba? Is your low F# spectacular on your CC tuba?

I think that unless an F tuba has a spectacular or nearly absent "low C", it's not worth really saying much about. Do your homework and practice. Have someone else test it too, to make sure that the tuba's not junk either. There *are* clunkers out there.

If you're ever around Chicagoland PM me and you can come try my 45S anytime you like (other than school year time, during which I'll be about 100mi SW).

Not to knock Meinl Weston, but this is the horn my school has for the school F horn. And honestly, it is not so great. Specifically, the notes you are asking about are literally the range of the horn that is the worst. Every single one is sharp. That being said, they have improved on the model since my school bought the horn, so I can't speculate on the newer models.

School owned 45 SLP

this model is not the same as the 45S but is based on the same bugle, the SLP is the piston and the S is the rotary. As with any tuba you should try before you buy. You have to look at an F tuba as a separate instrument, set aside from your Contrabass tuba, intonation can be managed with the easily accessible slides on the 45s and by airstream changes. I think this can be compared to Alexander owners, they love the tone they get from their horns, and they learn to manage the intonation of their horns. You either manage with the horn or you sell it and try to find a holy grail.

I have not played this instrument, but I have played F tuba as my main axe since 1985. If you can find a horn you would call "flexible" on the pitch, it really helps.

swillafew wrote:I have not played this instrument, but I have played F tuba as my main axe since 1985. If you can find a horn you would call "flexible" on the pitch, it really helps.

Not to hijack the thread... what model do you use?

pauvog1 wrote:
The 45slp is pretty diffferent compared to the 45s according to their website. The bore sizing through the valves is different, and the body construction is very different too when I compare pictures of the two.

This is exactly right.

It is an apples and oranges comparison between the 45s, the 45slp, and other "45" F tuba models like the slz. There is more to it than pistons vs. rotors. I haven't spent enough time on a 45s to make any other comments.

pauvog1 wrote:The bore sizing through the valves is different, and the body construction is very different too when I compare pictures of the two.

The valves in the piston version occur earlier in the bugle than the rotary version. It is usually never a good comparison to use bore sizes with piston vs. rotary.

One thing I would comment is it probably depends on what your intended use is. I've found the 45S can stand up to modern orchestral brass, but you may want something smaller and brighter as a solo bass tuba. Of course, YMMV...

I'm not going to run up and get them out to check, by my memory tells me that it's bigger than my Miraphone CC 184 (which I use as a quintet horn).

It's a very large F. 6/4 is not a bad description.

The MW 45S is not much different in size than a B&S PT10 or PT15.

About half of the Meinl-Weston F tubas are '45'something so you probably want to be VERY specific while discussing them, else you might potentially buy something you weren't expecting.

Is it more similar to the pt 10 or 15? The 15 has a larger throat than the 10, so which would it be most similar too?

Thanks,
pauvog1

I have played a PT-10 for 20 years and have just acquired Russ Dickman's 45S. In thinking of the MW as a larger horn, I was interested to see that the valve slides are pretty much identical in diameter between the two instruments. The horns are also the same height, though the lead pipe is higher on the 45. For whatever reason, though, the 45S is clearly a louder instrument. Over the years I developed a certain level of confidence in figuring out the unforgiving low range of my PT 10. I had hoped that this would transfer to the 45 S more than has thus far been the case. It's not yet comfortable. However, I believe that with patience and some experimentation with mouthpieces, I will be able to sound good below the staff. My first day on a RM-9 mouthpiece that Russ loaned me was quite encouraging. Now to figure out where I can buy one .... I like the rotors on the 45, but the first valve slide is awkward to reach and the third is impossible short of a complete reposition of the arm. I'm looking at rods on these slides so I can move them from the top.

Michael Eastep
Calgary