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I currently play a Holton 3/4 Bb tuba. I want to upgrade to a full size tuba and have been looking at a yamaha 321, Holton 346 or King 2341. I have a chance to get a Conn 20j in very nice shape at a very reasonable price. My question is should hold off for a 4 valve tuba over the 3 valve 20J and is the recording bell of the 20J a benefit or disadvantage? I play in a community band.

Tuba Charlie

In my expeirence, band directors do not like recording bells. If that's all you've got, you probably won't get turned away, but that depends on the director and the band.

The horns you noted are certainly a diverse mix of tubas. A lot should depend on whether you can get along with a top-action or front-action horn.

If the 2341 you are looking at is one of the older ones with a detachable bell.... THAT is the horn that will give the most bang for your buck and be more versatile than the others. Recording bells can usually be found for under $300 and an additional upright bell in either 19" or 22" for not a lot more.

As far as the 20J with a recording bell goes.... forget the 'great false tones'. In a community band, you're probably not going to encounter any notes below an F below the staff. The 4th valve is more important to give the horn alternate fingerings over 1-3 and 1-2-3 combinations. I've found that recording bells are sort of frowned upon by most band directors except for use in outdoor concerts. Having both an upright bell and recording bell for the 20J would be a plus but I think you'll find an upright bell to be difficult to find in good shape at a descent price.

tubacharlie,

Few things that haven't been stressed . . .

The Conn 20J is a 6/4 BAT tuba that is great at putting a floor under a large band. Most folks would say it isn't ideal for smaller tasks, although there are two members here who play them in quintets. The Conn has a very deep tone, but may not be what you're looking for. The 2341 King is much more a middle of the road horn which is kind of a do-all, although it won't put out the sound that the Conn will. The tone on the two horns is different.

You need to play-check the Conn to see how flat the F at the bottom of the staff is. On most it will be rather flat, but it can be played 1-3 and that usually eliminates the problem. Intonation will be best if the leadpipe and valve slide knuckles are undented, the valves are aligned, and the horn is played with one Conn tuning bit (takes same bit as the 20K sousie). Also, some say their 20J cannot be played softly, but I don't find that the case with mine. YMMV.

The 20J weighs about 28 lbs, so it is a little heavy to shlep around with the bell on. I play my 20J sitting on my chair between my legs, slanted up to my right. I find I can turn the recording bell to the left and slant the horn so that I am effectively playing an upright bell. IDK why no one else does this . . . I don't know whether this will get you funny looks or not, but it is one way to get an "upright bell."

KiltieTuba wrote:
Yes, most directors do not like the recording bell (I showed up to rehearsal with the Conn Jumbo the other night and the community band director asked if I would be bringing my "concert" tuba the following week).

It just goes to show that you can't cure ignorance. Some people are programed to make rash judgements when they see a Sousaphone and don't take into account the musician playing it. What a shame.

I attended a clinic at the Midwest Clinic last year with Dan Perantoni. He said in his presentation that he won a scholarship at Eastman auditioning on a Sousaphone. Never let anyone give you grief about a Sousa...

What's this have to do with 20J's? Nothing...they are great horns, but a bit heavy.