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Hi everyone, just had a question for ya'll:

Would you rather 1 good CC tuba, or 2 decent tubas (a CC, and an Eb/F)?

As an undergrad I've always done decently well with a TE-410 CC for all of my playing... but now as I'm looking at graduate schools/post-undergrad playing I'm debating whether or not to upgrade my CC or just get an Eb/F that I know I will definitely need at some point ASAP, especially for grad. schools. My situation is a little unique in that I haven't had time playing on an Eb/F but I am fairly confident that picking it up won't be too big a problem. I also have an opportunity to upgrade to a CC1292 Miraphone that plays 999999x better than the TE and so I'm really tempted to upgrade to that. Also, if it means anything, I'm much more devoted to ensemble playing than solo repertoire so I don't really care to get any fancy Eb/F horn...

What do you guys think? Just tryin to get some opinions before I decide to do anything. Thanks!!

I would always pick one great tuba over two okay ones. Quality, not quantity.

I totally agree: play every day with an inner smile towards the one GREAT horn that You´re proud of rather than having a little devil sitting on Your shoulder telling You what You may be missing.

I guess there´s plenty of time getting a GREAT small horn to enhance Your GREAT big one further along the way.

I am not sure it matters unless there is a financial reason. Here is my logic:

- A skilled player can play just about anything on one horn, even accounting for solo vs. ensemble rep, blend issues, etc.
- A skilled player can make a decent horn sound like a good horn.

So to answer your question I would say: go practice.

Enough horn(s) of enough type(s) to enable YOU play confidently whatever may be required
(1,2,3 or more)

Maybe, but I notice the best players have the right equipment for the job.

chronolith wrote:I am not sure it matters unless there is a financial reason. Here is my logic:

- A skilled player can play just about anything on one horn, even accounting for solo vs. ensemble rep, blend issues, etc.
- A skilled player can make a decent horn sound like a good horn.

So to answer your question I would say: go practice.

there is definitely a financial reason... but I can see how you figure. I definitely think that a skilled player can make a decent horn sound good... but I'm at a point where I think the horn's mediocre construction and parts are leading me to develop weird habits in my playing. Plus, trying out that cc1292 even for 5 minutes makes me want to never touch my TE ever again, ugh. Once you taste honey it's hard to go back to water I guess...

thanks for the input though guys, I am definitely looking to sell my TE and a kidney now for that miraphone!!

Stryk wrote:No one NEEDS more than one.

One Boosey&Co for British brass music
one Cerveny for polka, etc.
one Conn Sousaphone for Dixie
one small F Tuba for ensemble
etc. etc. etc.

Sounds like you are making your own decision here. I applaud that. If you have identified a horn that turns the ignition for you, then count yourself lucky and go git 'er. Not a few of us have wandered from horn to horn trying to find a ringer.

I am curious about the construction problems you mentioned. Regardless of the logo on the bell, these problems are generally solvable with a good repair person and responsible ownership by you. And as you mentioned if money is an issue, resolving technical problems can also save you money. You will have to balance that with longer term resale value of course. You may need to address those problems anyway if you hope to sell it for decent money.

Without knowing a thing about you and little about your circumstance, or your plans after graduation, I think tracking down a 129x will serve you well.

The only reason (personally) I would seek out an Eb would be for a brass band. I have an F simply because I can afford one and like to use it for quintet most of the time. I certainly don't NEED it though. Were I in your situation I would be looking at a similar horn to the one you mentioned.

You might check out the 1293. Many people think that it plays better than the 1293. Just a thought, Phil

chronolith wrote:Sounds like you are making your own decision here. I applaud that. If you have identified a horn that turns the ignition for you, then count yourself lucky and go git 'er. Not a few of us have wandered from horn to horn trying to find a ringer.

I am curious about the construction problems you mentioned. Regardless of the logo on the bell, these problems are generally solvable with a good repair person and responsible ownership by you. And as you mentioned if money is an issue, resolving technical problems can also save you money. You will have to balance that with longer term resale value of course. You may need to address those problems anyway if you hope to sell it for decent money.

Without knowing a thing about you and little about your circumstance, or your plans after graduation, I think tracking down a 129x will serve you well.

The only reason (personally) I would seek out an Eb would be for a brass band. I have an F simply because I can afford one and like to use it for quintet most of the time. I certainly don't NEED it though. Were I in your situation I would be looking at a similar horn to the one you mentioned.

The guy that I had look at my TE for a chemical bath and valve re-alignment was telling me how I would want to upgrade soon... because the material and manufacturing of the tubing was low quality and it would be best to get something better than constantly mess with the metal of the TE. I definitely feel the effects of the valve alignment problems in my playing too (though of course there are problems to be fixed with my playing as well). Not sure of the specifics but that's what I was told.

This guy doesn't happen to sell horns does he?

All kidding aside, he may have a point. I am not a repair tech so I cannot speak to the quality issues with the clones. I owned one for a short period of time and had no complaints about the quality. I also babied it like I do my other horns.

Was it the tubing itself he didn't like or the joining of the parts? If the valves are not lining up due to the quality of the metal then things would have to be scary. Mine had silicon bumpers on it which were pretty bad for alignment but easily replaced.

As I have mentioned in another post, I too have recently had my eyes opened by a much more expensive instrument, and likewise my main horn is also a Jinbao 410 CC (though I have a couple of others: a Kanstul 3/4 CC and a B&S BBb.)

My 410 is only 1 1/2 years old, and is from Mack Brass, not TE. So those things may make a difference. But I can say as I've played other 4/4 & 5/4 CC tubas, basically trying to get "close enough" to the model I really want for less money, there are quite a few expensive tubas from makers people don't hate that are not as satisfactory to me as the 410.

I agree that the right tech can probably work out the alignment issue. I don't believe the occasional vague bellyaching one still hears about "metal" is anything more than a holdover from Walmart trumpets.

So basically I get wanting the Miraphone. I want a Hirsbrunner and will keep looking for the one I want. But meanwhile unless you got one with unusually bad problems this model is or can be made to be better than a great many tubas on the market if we don't let the imperfect fit and finish become overly annoying.

I had a Mack 410 cc as my only horn for over a year.worked fine.i never liked low a/a flat,but everything else was fine.i would like to pick a used one up for a quintet horn in the 1k range in the future as the fleet ages...