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How do pre-1989 Meinl Weston Tubas compare to the Meinl Weston Tubas made today? I know that the ones made now are excellent, but I don't have much experience with the horns made prior to 1989.

Is there an appreciable difference in quality between then and now?

Can you (the TubeNet choir of experts) share some of your experiences with the older Meinl Westons?

I'm not the "expert" some others on the board are, but in terms of quality of construction, every Melton I've ever seen has been a very nice tuba. I think intonation has improved over the years, and MW continues to push the envelope in terms of design. There are more models out there today than there ever were in the 60s, 70s and 80s.

I was trying to avoid this term, but I was having a conversation with someone who tried to convince me a "communist era" Meinl Weston wasn't as good as one the was produced after 1989.

I disagreed with this person, but I don't honestly have much experience with older Meinl Weston Tubas outside of rubbing dents out of them.

I am trying to find out if there was any truth to this person's claim.

Well, Communist or not, I'd think that the 90s would be when computer-aided engineering really started to expand and improve production. Also, not sure when the MW large valve set was invented, but that idea of perfecting one piston valve block and then using it for everything must've been in the early 90's as well.

I had a Bill Bell Model (32, I think) that was purchased in 1971. I remember this horn having GREAT high notes, but the low register was 'stuffy.' Minick put a 186 leadpipe on it in 1975 and that made the low notes marginally better. I sold this tuba to Gary Buttery in 1976 (I think), when I bought my first Miraphone 186. I'd love to play that horn again sometime. I remember loving the sound of the horn and it was really easy to play. It had that 'dual purpose' 5th valve where you could set it up as a long whole tone, or a two tone valve. I got it with a removeable bell up, thinking that I would get the recording bell at some time (I never did). I played this tuba at Disneyland in 1974. The valve linkages were the old S-shaped linkages that needed to have that little black screw oiled regularly, or they would rattle. It came with the LH 5th valve set up. Minick put a lever under the thumb ring so it could be played with the right thumb. This was before all the 5 valve tubas came with the 5th valve under the thumb.

I've had a few of the Meinl Westons (25's I think) that were school owned come through my shop and aside from being abused, they had a nice round, easily centered sound and played exactly how I have expected MW's to play: really well.

These were Meinl Weston's that were engraved "Meinl Weston a division of Getzen" or something similar.

Thanks for the input Bloke...especially regarding the piston valves. I agree that when clearances are very tight any imperfections cause the pistons to completely seize up.

I honestly don't remember MW marketing a piston valve tuba before the 2165 came out. But I had never followed them all that closely.

While my main axe for years has been an Alex 163, my heart lies with MW. My first tuba was a 25 with the getzen stamp. It was (and still is) a great sounding horn. I won't compare the piston instruments created since the 2165 and 2145. Thats apples and oranges. But as far as the rotary instruments go, I look at it a couple ways.

I have owned two 25's and three 20's. All were West German (70's and 80's). These all had BEAUTIFUL organ like tones. My current 20 has a great high range, and a killer low range. Almost as open as the 163. The older 25's all had great overall sounds, but it always seemed that the lower ranges were not as open as the 20's.

The newer 25's (20's no longer are production models) IMO are not quite as 'warm' sounding, but the intonation of the newer ones, esp those from the past 4-5 years are superior throughout the horn. The older ones could be a bit squirly, esp at the top of the staff. Dillons had a silver 5V 25 that was a fantastic orchestral horn.

I agree with Tony that the 37's are great solo and quintet horns, but I never played one that I would sit in an orchestra with. I of course am no Bill Bell.....

There is another model that I have had trouble tracking down. The University of Arkansas owned a MW B flat that had the valve set of a 20, but was much larger than a 20 or 25. The bell throat was giant and with a PT88 could put the bottom on any group. I could never find a number on it.

Also, the 32 and 30. I have played dozens of these over the years. Lots of dogs (very tight sound and horrible lows), BUT, the good ones are AWESOME!!!! Gary Kurtis (IU 88-92) had a fantastic version. If you can get a good old one, hang onto it. I've only played two new ones, and they were not bad.

IMO - The newer ones are very good and consistent. But if you can find a good 70's model, they are gold! And heavier than hell......

Also.....just by chance, the uglier they are the better they seem to play....just sayin.....