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Orchestral Sound Concept -- Mouthpiece Question

I'm an amateur who plays with two community bands and two community orchestras. My question is specifically related to mouthpiece selection as related to orchestral sound concept. The most comfortable piece which permits maximum dexterity for me is the Roger Bobo Symphonic. For such a shallow piece the low range is amazingly accessible, but the sound is somewhat brighter than I would like which I attribute to either the lack of depth or maybe the bowl shape. Interestingly enough, my largest and deepest piece, a G&W Bayamo Euro shank, is also quite bright as well. The G&W Old Style Bayamo American Shank is much more warm and buttery sounding. Intonation, as you all know, on the larger pieces is more challenging overall. Aside from the huge low range of the Bayamos, none of my other pieces (Baer, Blokepiece Symphony, even PT 50 and 88) for me offer the ease of low range nor the quickness of low range response of the Bobo. My concern is that the brightness that comes with the Bobo (and perhaps even the brightness and woofiness of the Bayamo Euro) may be considered undesirable in the American orchestra setting, although no one has said as much. I've read that many players use shallower pieces like the Sellmansberger Solo on their larger horns so maybe the Bobo and it's relative clarity and brightness is acceptable? I play a Wisemann 900. Can those with experience please comment?

In my experience, much of the broad, dark or deep sound comes more from how you adjust your jaw/oral cavity. Having a more open, lower or dropped jaw (in the Oh like position) changes the sound more than any mouthpiece ever has for me.

Mouthpieces for me change mostly the response in different registers.

tuben wrote:
I believe we as tubists are far more concerned with our tonal color than other musicians. It's also fair to say we as player are the WORST judge of what tonal color we are making. Between being under the bell and inner-oral resonance, we don't hear what others hear in the audience.

+1 Yup.

First priority is to play the part, in tune, as written and as directed.
Second is to add interpretation and color.

Play what you feel supports you best in accomplishing the first.
If you feel you are lacking in number two, consider changing equipment.

Although we rarely talk about concept of sound here, I would rather the tuba be heard distinctively as a voice, rather than mostly felt.
I use a 5/4 large bore horn with a Miraphone Rose Solo (TU27) mouthpiece.
I have been complimented on my sound during rehearsal by both my Music Director and guest conductors, so something is working in my favor...

Play with what makes you comfortable, and unless the person behind the conductor's stand is telling you otherwise, relax.

Thanks to all for the input so far. What I'm getting out of this is to relax but stay focused. Chill with an eye on quality playing and intonation and enjoy it all. Physical relaxation does help breathing mechanics as well as assist in darkening the sound and makes the whole experience more enjoyable -- note to self to remember this. It's easy to get neurotic about things like clean exposed entrances on the correct partial after prolonged rest, etc but that counters the relaxation that's required to make it happen.

To further ease your mind you might have someone with quality equipment record your sound out in the hall. The highs in the sound drop off first, and you might be surprised at how a bright sound becomes a mellow sound and how a less bright sound becomes a muddy sound, out in the hall.

MaryAnn wrote: The highs in the sound drop off first, and you might be surprised at how a bright sound becomes a mellow sound and how a less bright sound becomes a muddy sound, out in the hall.

Thanks very much this insight. I learn something every day here. Thanks to all for the willingness to share and for the candor in many threads that puts an entertaining spin on it all