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Leto Cruise wrote:

Steve Marcus wrote:What might make for a complete study is a comparison of the instruments of choice for North American positions vs. auditions for European tuba positions, especially now with big BBb's creeping [back] into North American orchestras (for occasional use, if not the primary use as they are

This is a wise suggestion. All we have on European orchestras so far is Alessandro Fossi as a finalist for Berlin. Anyone know of other European ones?

I'm pretty sure that Alexander von Puttkamer won the Berliner on Melton 197/2 BBb and/or Melton PT10 F. (these are his main instruments, so I suppose he used these)

Stryk wrote:Were all of the Alex 163s pitched in C?

I'm not certain if they were all in C, although we tend to not assume BBb unless specifically mentioned, but it wouldn't hurt to find out if anyone notices an error.

oedipoes wrote:I'm pretty sure that Alexander von Puttkamer won the Berliner on Melton 197/2 BBb and/or Melton PT10 F. (these are his main instruments, so I suppose he used these)

Added to the list, thanks.

I am transferring a post from another thread that Randy Harrison wrote directed towards this list. I found it to be very inspirational as it exemplifies some of my personal beliefs on equipment - written in a much more eloquent and concise fashion that I could ever hope for with solid advice for the young aspiring musician.

hbcrandy wrote:
Gentlemen:

I think that this thread is an interesting bit of knowledge. It does show how the Amreican tuba sound has evolved over the years. I am not going out and change tubas as a result of the outcome of this poll.

As I said on a previous thread that may have been an insipration for this current one, "Tubas don't win auditions. Musicians do." Every tuba player has his or her own voice as the instrument is concerned. Some are capable of adapting to several different voices as the music dictates. When I first went to Philadelphia, many of my friends asked me, "How does Paul Krzywicki sound?" My answer to them was, "However he has to sound to best serve the music he is performing that week." Paul owned a variety of tubas and used them all as he saw fit to best match the composition or composer. I, personally, have tried many 5/4 York copies over the years. They have never worked for me. I, therefore, stick to tubas that best suit me and allow me to serve the music I am tasked to perform.

I got a bit off track. So, Joe and Leto, let us agree to repectfully disagree and move on. Both of you offer much to this discussion forum. I look forward to your contributions in the future.

I think a timeline graph is a cool idea. . . but I'm too lazy to make one

Very cool!

Perhaps if I was more technologically savvy or knew how to decently move around Excel this would manifest easier. Something to think about. Any takers?

In May of 1993, I won the position with the Oklahoma City Philharmonic with my Alexander 163 and my PT-10. I played nearly the entire 92 - 93 season for someone who was having chop problems. This coming season will be my 23rd season with the orchestra and I'm still playing my Alex, plus two more. Three years ago I bought another 163 that once belonged to Mike Thornton. Two years ago I sold my PT-15 for a circa 1960 Alex F. Heads turned the first time I brought the F in for a rehearsal.

There are many things to consider in regards to equipment. The size of the hall and acoustics, the orchestra itself and of course the Music Director. We're not always playing the big repertoire. Often, I have a microphone in my bell and we play a bit of ballet. Yes, at times, I would like something a bit different, but that happens rarely. So many great players used an Alex as their main instrument. Chester, Ron Bishop, Mike Thornton, Dave Kirk, Mike Sanders, Lee Hipp, and many more. I had the great fortune to study with Michael Lind, and who makes a better F tuba sound than Michael on an Alex? It's interesting that these days an Alex F is considered to be a small horn, but the bore size is exactly the same as a Rudy 3/4. They will crank out some sound when asked to do so.

Our choice of instruments can be so personal. We are the artists, creators of sound, so we must find what creates the sound we as artists wish to make. They are only the tools of our trade, similar to the paint brush of an artist. What you put on the canvas is all that matters. For me, the colors my Alex's create are unique to anything else I've ever played.
Ted

Thanks, Ted. I've added it to the list. Terrific posting comparing equipment selection to that of a painting artist. Exquisite.

Ted Cox wrote:Our choice of instruments can be so personal. We are the artists, creators of sound, so we must find what creates the sound we as artists wish to make. They are only the tools of our trade, similar to the paint brush of an artist. What you put on the canvas is all that matters. For me, the colors my Alex's create are unique to anything else I've ever played.
Ted

Bravo, Ted! My sentiments, exactly!!!!

If it is of interest to anyone:

-I won my current full-time position in the Royal Hawaiian Band in 2012 playing a Nirschl York 6/4 CC and a YFB-821 "Bobo" F tuba.

-I was a runner-up for the Air Force Band of Mid-America in 2011 playing a Nirschl York 6/4 and a modified 5-valve YEB-321 Eb. A couple of side-notes here: 1) I was ultimately offered this position (several months later), but had to turn it down, as it was offered literally three days after I moved to Hawaii. I absolutely would have accepted the position if I had been able to win it at the audition. 2) The finalists for this job were me, the grad-assistant from CCM, the grad-assistant from Michigan, and a person who already held a full-time position, but was worried that it would get cut. The take away? Everyone is gunning for everything with the economy and job market as they have been recently. Show up ready.

-I won the Springfield (Ohio) Symphony audition in 2009 playing a Nirschl York, a 5-valve Yamaha Eb, and a pre-numbers, GDR-made B&S "Perantucci Model" F-tuba (not sure if it is more similar to a PT-10 or a Symfonie). I left the position in 2012 and, according to this list, it was won by Tyler Schwirian on a PCK.

-Not sure how/if anyone wants to count it, but I played three seasons as principal tubist of the Lebanon (Ohio) Symphony Orchestra. I was appointed to the position by the music director after playing "An American in Paris" with the orchestra, based on the recommendation of the principal trumpeter. This was in 2000 and I left the position when I moved out-of-state for grad school. I played a Rusk-cut Holton 6/4 on the "American in Paris" concert and continued to play it as my contrabass for the whole run with that orchestra.

-As for teaching, I played solos on a 5-valve Yamaha Eb when I was appointed to teach at Nazareth College in 2011.
-solos live on a YFB-821 and a submitted CD of past performances (on several horns) when I was appointed to my current positions teaching at Punahou School and University of Hawaii.

I hope this information is interesting to someone! For whatever it is worth, I also lost out on more than a dozen (probably dozens of) auditions and teaching interviews during this time, as I assume everyone who ultimately gets a job does.

A couple of additions to the list:
-Mike Thornton played a PT-10 with Cincinnati and I *think* he played the Vaughn-Williams on it to win the position, but I wasn't alive at that time, so I'm not certain.

-Sam Green was Mike's predecessor in the CSO and he won (and played) the position on his Sander-Wolfstein CC. I don't know the date, but would assume around 1950 or so. Tom Coffee or Tim Olt, who studied with Sam longer and earlier than I did, might know if they want to chime in. Actually, I think Tim won the Lima Symphony position on a PT-4 sometime in the mid-nineties...

-John Elliott won the Principal position with the Honolulu Symphony ~2008 on the Nirschl-York prototype and a silver PT-10. He won the South Bend Symphony audition earlier that year or the year before on the same two horns, plus a 4/4 CC PT-20P.

As always, I think this is all correct, but am open to people who know/remember better than I...
--T. J.

Thanks, T.J. I'll make certain to add these to the list.

For those of you wondering where the list is, the list is on the first page - all the edits I make are to the first post.

Meinl Weston 2000

Daryl Johnson - Louisville Orchestra, 2001

Added Daryl and T.J. to the list.

bloke wrote:my response: "Oh. ...well that's good, then. I actually just made that up. What a coincidence."

For those of you unaware, bloke is the Tubenet oracle who can gaze into different dimensions!

Joe, is your info for Jacksonville correct - 1995? I think I have the 5450 one correct.

I'll take that as a "Yes, Leto, all the info given is correct."

I played the US Army Field Band and US Army Band auditions on an Alexander 163. I miss that tuba.

DZ

Thanks for the contribution, David. Is there a year for when you won these positions?

If possible, could you also verify if the list's posting of the Philly finalists is correct?

The Field Band audition was in 1986. The Army Band audition in 1990. Come to think of it, I played an HB2P for the Pershing's Own audition.

Last three standing in Philadelphia in '06 were Carol, Myself and Steve Campbell. Just so the PT15 column doesn't feel so lonely, I used that tuba in this audition.

Interesting project. Thanks for being so thorough.

D

Thanks, David. I've added it to the list. Interesting to see all finalists in that audition played PT-6P's.

This topic strongly suggests the horn used by Bernie Guzik for the Tulsa Philharmonic (now defunct and replaced by the Tulsa Signature Symphony).
viewtopic.php?f=4&t=23531

This is the horn.
http://t-recs.net/pics/tubenet/meinl_001.jpg

Edit: change the image link to url link so poor folk in Tennessee on slow Internet can load the page.

Did he win the audition on that horn?

Did he win the audition on that horn?

I'm not 100% positive. But the description in the sale listing says this is the horn he used in the orchestras he mentioned. He also says he went from this horn to the HB, and I'm about 98% sure he acquired the HB later. He's still around town here playing with the Signature Symphony and as adjunct at the local universities and community college. I see no reason why he would not answer email. I can try asking.