TubeNet

As I get it there is a big difference between the pre- & post-WWII Con instruments also, with the older being way heavier.

With the samples you mention I am less convinced about the time of production be4wing the sole factor determining the weight. With rotary instruments it is my impression that Cerveny used the thinnest sheet brass for their instruments. Partially to get fast response and bright sound, partially to save weight. All objects very relevant for military bands doing a lot of marching not only in parades, but also in real moving of troops.

The Markneukirchen tradition apparently used slightly heavier sheet brass, whereas Kruspe in Erfurt used extremely thin sheets out of the much spoken of Kruspe alloy. Their object was/is great clarity in the lower dynamics, which is desirable in opera contexts.

MW and Miraphone certainly worked out of the old Bohemian craftsman’s tradition, but haven’t they been very much influenced by the American market, which was open to them right from their starting in post-WWII Bavaria?

Klaus

Does the third valve slide on the older Meinl-Weston act as a palm rest for the right hand, as is common on models today, or does it just have a thumb ring? We have old pre-Getzen Meinl-Westons at my school also, similar as you described with the krantz, and I immediately noticed it didn't have the third valve slide/palm rest, which seems to be a hallmark of MW rotary tubas today. I think the ones here might be some of the first MWs that Rex Conner got into the USA.

So, how do the identical models of different eras compare soundwise / responsewise ?

Side note, outing myself as being among the spelling nazis: I´m convinced the thread´s title refers to Geretsried, the home town of the Melton factory since WW II