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I like large horns. But... the real 'key' here is how efficient they are.

I can generally get a 'small' sound out of a big horn. But... I seem to have to work waaaay too hard getting a 'big' sound out of most small horns.

bloke wrote:- .... .- - .----. ... / .-- .... .- - / ... .... . / ... .- .. -.. .-.-.-

Lol

The band directors at one of the schools I teach for just say, "DING". In 5 years the kids have not caught on.

goodgigs wrote:Hi Ron,
Go down to Harlem and find Bob Stuart. Nobody will make a better case for using a small Yamaha horn then Bob.
Mr. Exeley knows him if you don't already. He's a way nice guy and will probably let you honk on his a bit if you want.

It does make a big difference if you have a mic or not. I asked Bob about that after a Tuba Tuba concert a few years ago, got a semi-answer.

I use my CC/BBb 621 when it makes the most sense, but I bring my big old Conn Sousaphone or Kalison DS BBb if it is an outdoor or big hall gig.

David Richoux wrote: Kalison DS BBb

Say what? Are there more of these around?

I find it incredibly hard to play on the York-esque CC tubas for some reason. Anything in that 6/4 CC range, including the Rudy 5/4, and even other 5/4 tubas I just can't do it. But, the BBbs of that size range feel a lot better to me. As long as I lusted after a Martin, I'm lucky and thrilled that it works for me, even better than I hoped.

snufflelufigus wrote:I've always preferred blowing a mid size horn just because they're easier to blow.

TubaTinker wrote:

I like large horns. But... the real 'key' here is how efficient they are.

Snuffle, I don't think that a blanket statement about ALL big horns is valid. As TubaTinker referred to them, some are wonderful "amplifiers." You referred to age in your inquiry; Arnold Jacobs labeled some large tubas such as the venerable CSO York(s) as an "old man's horn."

There are some 6/4 tubas, such as the Neptune that I have on loan, which play every part of the range with no more need for air support than a smaller horn. In fact, both the low Db (all 5 valves) and the notes above the staff speak very easily. There are other factors besides air requirements that make playing the Neptune a challenge (intonation on certain notes, slurring on a rotary specimen), but those are separate issues.

OTOH, there are some big horns that require a completely different approach when supplying them with air. The huge 6/4 Rudy Meinl BBb will not respond if you attempt to "force" sound from it. You must use slow, thick, warm air. Now that's a horn that has some fascinating positive attributes, but nimbleness is generally not the first adjective that I'd use to describe that monster.

To answer your question directly, I really enjoy playing the 6/4 Neptune in orchestra. Its broad, stage-filling (not just with volume, but with "presence"), orchestra-blanketing/supporting (NOT "destroying") sound is the epitome of what a 6/4 contrabass tuba should do for music written after 1870 or so (as opposed to parts originally written for ophicleide or serpent for which one would use the original instrument or a bass tuba).

OTOH, I brought the Neptune to rehearsal of my 11-piece brass choir. While it is possible to play that big horn softly, its overall tone quality did not blend as well in what is still essentially a chamber setting as my 4/4 Nirschl CC. Now I use the 4/4 CC in the brass choir for most pieces and my 983 Eb tuba for lighter, higher pieces.

Slight correction, Steve, It was Chester who referred to Jake's York as "an old man's horn".