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Question for fellow EEb enthusiasts:

Would you consider, for consistency's sake a small EEb(St Pete206, Cerveny641/651, Besson 984 etc for solo/quintet, small orchestra) AND a large eeb(BMB, Kanstul66s, Besson 981/2/e, MW 2040/2141,Miraphone Ambassador, Wessex, Willson 3400) for Wind Band, Brass Ensemble, large Orchestra?

CC/F purists please spare us the trash talk. Thanks.

My colleague and I both use large EEb 's (MW 2141, Besson 981) for about 99% of the work we do in the U.S Army TRADOC Band. We use the large EEb's in our quintets and we both usually use the large EEb tubas for most concert band works. Occasionally, such as for works like 1812 Overture, one of us will use a large CC or BBb, but most of the time, the Big tuba isnt needed for our situation. As far as solo playing goes, I don't perform regularly as a soloist, but Im sure having a smaller EEb might give you a more characteristic sound for fulfilling the role as a soloist. I guess if I had the money, I would have a small EEb, a large EEb, a large 6/4 BBb and CC tuba

I think you might be able to achieve what you want with two mouthpieces instead of two tubas.
I have used a DW 1L for band and a DW 2SL or DW3SL for when I wanted a different sound.

eupho wrote:Question for fellow EEb enthusiasts:

Would you consider, for consistency's sake a small EEb(St Pete206, Cerveny641/651, Besson 984 etc for solo/quintet, small orchestra) AND a large eeb(BMB, Kanstul66s, Besson 981/2/e, MW 2040/2141,Miraphone Ambassador, Wessex, Willson 3400) for Wind Band, Brass Ensemble, large Orchestra?

CC/F purists please spare us the trash talk. Thanks.

the answer is no, and I play in all those settings too. What I would consider though, is the approach I take to playing in those different ensembles, and that goes on in the mind, not in the instrument I play. Being sympathetic to the music and the other players is way more important than the instrument being played.

eupho wrote:Question for fellow EEb enthusiasts:

Would you consider, for consistency's sake a small EEb(St Pete206, Cerveny641/651, Besson 984 etc for solo/quintet, small orchestra) AND a large eeb(BMB, Kanstul66s, Besson 981/2/e, MW 2040/2141,Miraphone Ambassador, Wessex, Willson 3400) for Wind Band, Brass Ensemble, large Orchestra?

This is exactly what I do, the only difference is I use 2 different Eb tubas (one bigger, one smaller) for whatever bass tuba playing I need to cover with the orchestras I play with. My Willson is a really great horn for most stuff but the really light things I sometimes do may require a much lighter touch. My Cerveny Eb fits that bill just right.

peter birch wrote:Being sympathetic to the music and the other players is way more important than the instrument being played.

+1 Agree

You can use a larger EEb (such as 3+1 19" bell compensator) for everything. With the correct mouthpiece and playing, it can sound like a CC, or in substitute for F for solo work, or brass quintet

I agree with most posts. You really only need one really good Eb. It can do it all if you pay attention to the music, the group, and the venue. A good 4/4 or larger, like the Kanstul, is all you need.

Neptune wrote:

peter birch wrote:Being sympathetic to the music and the other players is way more important than the instrument being played.

+1 Agree

You can use a larger EEb (such as 3+1 19" bell compensator) for everything. With the correct mouthpiece and playing, it can sound like a CC, or in substitute for F for solo work, or brass quintet

+1 Agree

I use a Besson 981 for almost everything. The Besson 981 is a really versatile tuba. I have also used JB 700 for a year and it worked very well. The mouthpiece can help in certain situations. I have found that a Sidey SSH works well for me most of the time. However, I also have a Sidey Solo MB that works well for some situations. Before I had the Sidey mouthpieces and the 981, I used a Kelly 24AW on the JB 700 and it worked well.

Do you have any video of the 66T in a quintet?

Unless you have an unlimited supply of cash, I'd say stick to one EEb.

I've been more than happy with my EEb. I've used it in about all situations and haven't found the horn to be the issue.(My own limitations are more of a hinderance than the horn itself)

I don't think there is enough of a difference between a small EEb and a Large EEb to justify having both horns. If I wanted a second horn, seeing that I now own and EEb I would go to a very large BBb (ie. conn 2XJ or Holton 345).

YMMV...

No reason why you shouldn't have more than one Eb but I'd say you'd need to be an almost full-time soloist to say you NEED a small Eb and a bigger one. Pat Sheridan uses the chunky Besson 983 and now the 'Jupiteresson' and seems to do a pretty danged good job.
Thinking about it, maybe Orchestra is the place you sometimes really don't want a tubby sound so there, a tight little Eb would be cool. As others have said though, a reasonable amount can be done through mouthpiece choice, but not nearly as much as switching tubas.

I did that for a while- a "medium"(/tiny) King Eb with a tweener mp and a Conn Giant Eb with a Bach 18. It's a fun combo IF both horns are up to par. Nowadays I'd just go with a big budget Bb and whatever small bass tuba; it's just easier.