TubeNet

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Specs on the 2250 TL

http://www.meinlweston.com/melton-meinl ... 250tl.html" target="_blank

I'm betting with the bell size change, that thing might be damn near perfect.

I like the double dependent 2250 because it has cleared the social path to put two dependent valves on the cheap four valve horns I'm interested in- 2268, 653,...

I think a VERY real attraction of the larger bore 'buzzy' inflexible sounding horns is that by definition they sound much more even and consistent to a non-tubists ears. The smaller bore 'sweet' sounding horns can often sound very different from one valve combination to another and register to register.

A violinist sitting on a committee is likely to interpret a constantly varying sonority as lack of control of the equipment or poor intonation.

Ironic since their timbre is also quite fluid and varies by string; homogeneity is not necessarily good, IMHO. It's a recent aesthetic.

I came across this topic, 5 years have passed, anyway I would like to give my opinion. I've never tried a Melton 2250 tuba, but I tried a new model from Miraphone, the Elektra. It's perfectly built and so easy to play and agile, but....I eventually chose to buy a '80s Besson Eb. As it was said in this topic, some of new built tubas, especially german crafted ones, are monophonic. I could listen to this sound at auditions, anyone had the same sound and instrument, yeah powerful and well projected and soooo agile that it could resemble a computer. I also tried a Melton spezial in a band and, well, it was easy to play, but no more than easy, no interesting sound to my ears. When I took back the Besson it was way better. I could be little crazy and maybe I will never win an audition against those "trend-friendly" Melton and Mira and B&S players, but first of all I think about music.

I agree with you, I think it's a matter of trend. Today people want to hear that kind of sound, maybe tomorrow it could be different (I hope).

Just tried a 2260 RA... IMHO, "Go-go-gaget... boring". Plays fine.