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When I started playing 45 or so years ago it seems (if my memory still works) that everyone tuned to a 440 A. Now it seems that some instruments are being made at 442 - MIraphone lists the 1291 and 1292 as available in either 440 or 443 and the 1293 only comes in 443 unless they have added the 440. The only difference in the Miraphones (I am told) is the main tuning slide. When I got my 1293 it had the 443 tuning slide and I could barely get it down to 440. Roger Lewis was kind enough to have MIraphone to send me a 440 main tuning slide. I have heard from Roger that many orchestras are now tuning to 442. What experiences are others having?
Thanks, Phil

Strings tune to 442. Also... Yamaha produces ALL of their products for the 'modern market' these days. Their chimes, bells, marima, and other percussion instruments that can't be tuned are shipped at 442.

My community band tunes to A=440 unless the clarinets can't make it down to there. All it takes is one sharp clarinet to ruin everything!

High schools are stuck with bass clarinets that Yamaha does not even bother to offer a longer neck for.

As another poster mentioned.... my Miraphone 1291 originally came with a 'regular' or an 'American' main tuning slide. I'm fortunate to have both... thanks to Roger Lewis back when he was with WWBW.

I'm afraid we're just stuck with the 442 mentality. Might as well just 'suck it up' and make sure anything tuba you buy has a short enough main slide to do it and enough 'pull' to get back to 440.... plus whatever it takes to meet the climates where you plan to play.

TubaTinker wrote:Yamaha produces ALL of their products for the 'modern market' these days. Their chimes, bells, marima, and other percussion instruments that can't be tuned are shipped at 442.

It's not just Yamaha. Adams, Musser, and Dynasty/Bergerault also build their mallet percussion at A=442. Other tunings are available on a special order basis.

Percussion is tuned to 442 to give an "edge" when a band is tuned to 440. (you don't "shave" a few ounces off a marimba and then put it back... )

String players always want to tune sharp to make their instruments a little louder, I doubt that the actual pitch has much to do with it; they just like the projection of what they call their "cannons".

As a orchestra professional, you need the flexibility to perform at 440 - 443 under pretty well controlled circumstances.
As an band musician, you need the flexibility to perform at 440 under wildly varying temperatures, organizations and weather.

The pitch doesn't matter, just that everyone in the group uses the same...

windshieldbug wrote:Percussion is tuned to 442 to give an "edge" when a band is tuned to 440. (you don't "shave" a few ounces off a marimba and then put it back... )

This is true. However... it is possible to weight the keys to take the pitch down from 442 to 440 by applying golfer's tape or chewing gum.

TubaTinker wrote:

windshieldbug wrote:Percussion is tuned to 442 to give an "edge" when a band is tuned to 440. (you don't "shave" a few ounces off a marimba and then put it back... )

This is true. However... it is possible to weight the keys to take the pitch down from 442 to 440 by applying golfer's tape or chewing gum.

Never thought of that!
Now I can give the "drummers" crap about something new!

TubaTinker wrote:All it takes is one sharp clarinet to ruin everything!

Just one to ruin everything? Dan we've got 12 clarinets in one of the community concert
bands I play in & they are ALL OUT OF TUNE!!! ALWAYS!!!
Sometimes I wonder why the rest of us, who actually care about pitch, even bother
to tune at all.

TubaMusikMann wrote:we've got 12 clarinets in one of the community concert
bands I play in & they are ALL OUT OF TUNE!!!

Give them all violas. Carefully selected, the inherit out-of-tuneness could offset...

Thanks for all of the input. It seems that 442 is much more common than I had thought. Sounds like should be prepared for anything between 440 and 443 with some wiggle room on both sides, Thanks again, Phil

Phil Dawson wrote:Thanks for all of the input. It seems that 442 is much more common than I had thought. Sounds like should be prepared for anything between 440 and 443 with some wiggle room on both sides, Thanks again, Phil

Here in Europe you have to be prepared for anything from 440 to 445 and in some instances outside this range too.

There was a common agreement that the broadcasting companies should use 440, at least when I started to work. Other orchestras did tune as they wanted. So when I freelanced much and played with many different orchestras I soon learned which orchestra should have the tuning slide in what position, all different. However, that 440 is no more I think. One interesting situation was when we toured the US many years ago. We constantly tuned to about 444 and had to play with the grand pianos, that were tuned to 440, at some of the US concert halls. Very interesting tuning phenomena did appear as soon as the piano played, both with and without the orchestra... So it seems that it is not as easy as to put the tuning slide in one position and then forget it. To be able to play your horn as best as possible together with others you should also practice at different tunings because the horns does change some internally when you move the main tuning slide.

DP wrote:

TubaMusikMann wrote:Dan we've got 12 clarinets in one of the community concert
bands I play in & they are ALL OUT OF TUNE!!! ALWAYS!!!
Sometimes I wonder why the rest of us, who actually care about pitch, even bother
to tune at all.

pfft consider yourself lucky its not twelve saxophones

now on a POSitive note, imagine trying to play in tune, in section, with 12 tubas....

Hell, it'd be an accomplishment to just play the same note.