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I think we'll see a pattern, what do you think?

There has been some distress over option one, just to clarify:

sim·i·lar   
[sim-uh-ler] Show IPA
–adjective
1.
having a likeness or resemblance, especially in a general way: two similar houses.

Student BBb instruments are often built with valve circuits too long to "help" valve combinations. If this is the pattern you're trying to see, it's fairly common knowledge.

the elephant wrote: None of your slides should be pulled a "similar distance as the others". They should be pulled whatever distance is needed. Each is different.

My slides are in different places from horn to horn, as well.

Are yours not?

I am not getting you at all.

In most cases, the 2nd slide is pulled between 1/4" and 3/8" on contrabass tubas. On bass tubas -- who knows. On my Yamaha F it is out 1/16" or so. On my Holton BAT it is out about a half inch. Every horn is different, and every player will get different results using the same horn.

+1

My top action Holton Eb is the only tuba I have with the second valve slide pushed all the way in - my other horns have the second valve slide out at various lengths from 1/4" to about 5/8". All horns are different!

The #2 slide on my tubas stays pushed in. I've learned not to speak in generalities on TubeNet but I have to say that I've never seen a sharp 2nd valve on a BBb tuba unless the entire horn is sharp. I just put up with a slightly flat 'A' because combinations using the 2nd valve are usually sharp.

Your mileage may vary.

I vote "Pulled a similar distance as the others", similar = "the best length that I need it to be (five valves inclusive) to get the most notes that I need to resonate at their fullest"

Mine is in all the way and pulled for certain notes especially at the lower end.

How come there's not a "pulled to where it's in tune" option?

J.c.S.

J.c. Sherman wrote:How come there's not a "pulled to where it's in tune" option?

J.c.S.

+1

It seems to me that most often all tuning slides would be pulled somewhat. This would leave you a little "wiggle room" to fine tune. This based on the concept that there aint no in-er than all the way in. I usually approach a new (to me) horn by pulling them all a bit...maybe 5% or so and working from there

I'm always pushed in all the way. The horn was made when bands tuned to a high or a low tone. This one tunes at 440 pushed in on all valves and slides and doesn't seem to change after warm up. Is this common for older horns?

I have never owned a horn that old, so I'll let an expert answer that one. After three days on the poll, the percentages have held steady. Repairmen are well represented in other threads, but still not slide cutter in the bunch.

I have a Cerveney 6865MR, and one of these days I'm gonna have to break down and have the 2nd valve slide SHORTENED! A well respected player/restorer in the Northwest gave me the best advice on slide settings I've ever heard: Push 'em all in at the end of every gig/rehearsal, and re-tune by ear and tuner each time you warm up. Your slides won't oxidize as much, and I know about where each slide will need to start in relation to how far the main tuning slide is pulled. Tuners are helpfull, but you really should develope your ear! I think every Band/Orchestra student should be taught solfegg, Major AND minor! "Ti" is closer to "Do" than you think, and yes, tuning is noticably different when swithching between Band and Orchestra. Also F# is NOT the same as Gb! LOL!

Al

My 2nd valve slide is right next to my first valve slide, so I tune both.