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I know that this probably seem a strange question - but do colleagues consider different approaches to Band playing and Orchestra. Having just done a Brass band Gig I had to concentrate much more on blending, producing a much more rounded, less articulated foundation tone. Whereas in Orchestral playing, although at times the tuba player reinfoirces low strings and horns/bassoons, the majority of time the tuba acts as a sub bass to the trombones playing with more edge, and articulation - which has its own set of challenges.

Just wondered what other peoples experiences are........

Take it for what it is worth but I think there are different approaches to playing in different ensembles.

For me brass band, concert band, orchestra, quintet and solo all vary greatly. And generally in that order I get "brighter". Brighter probably isn't the right word and is not all incompasing. But brass band, on BBb bass, I really try to blend and think "warm" or "dark" or "bass" pick a word. For orhestra there are bunch of tonal textures used by players.

That is what I think gernerally. There are lots of factors like what type of music in each group.

Ray

I agree 100%.

I think there are some very different valid concepts out there about exactly what makes a "good" tone, depending on the type of ensemble.

I played a 5/4 Rudy Meinl CC in brass band, and although I sounded amazing (naturally ), it was tough to get the right 'type' of sound. I've since tried a few different tubas and found its much easier to get the right 'type' of sound with a traditional compensating BBb.

For me, there's a completely different mindset when playing a compensating BBb.

I think the idea of a variable concept of 'good' tone is something that is underrated!

Not mentioned in the above - but there is something to say for sounding like yourself. I have basically one tone; centered and therefore able to blend with different situations. I'm happy that tone has pleased a lot of people over the years, sicne it's the only tone I can produce!
I would be wary of trying to ape someone else's tone, or trying to sound like someone else's recordings - develop your own sound to its fullest.
Too many symphony sections have become chamelons today - trying to sound like the guest conductor's last CD. This can get out of hand - I have a freelance friend (NOT a tuba player) who subs in half a different NYC ensembles - symphony, opera, Broadway - and seems to own six or seven horns so that he always sounds like the person he's subbing for. Yikes!
That said, I always teach students to be sensitive to the sound and vibe or the group they are playing with at the moment. Use your ears and blend in. If you start with a centered sound to begin with the flexibility can be developed.
The old British Brass Bands (and probably the current ones) used to purchase their instruments as a "set" - everybody had either B&H or Besson tubas, etc. That worked for the whole band - if the manufacturing was consistent, everybody had the same bum notes as the next guy! For most tuba players scuffling in today's musical environment that's never going to happen.
As Joe Novotny used to say, "buy a tuba and learn to play it".
Mark Heter

+1, Ed

Play in tune and in time, make a sound that at least you like; after all, you'll be the one hearing it when you practice and probably the only one when in an ensemble.

My primary concern in large ensemble playing is intonation. As far as timbre goes, I like a 'felt but not heard' type of sound, especially if I'm playing a lot of those typical whole note tuba parts.
My two cents