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What do you guys feel is the more versatile horn? In what circumstances does an F thrive versus a CC? Which would you recommend for a college student on a budget?

The best answer of course is both. If both isn't an option, start with CC.

Always go with the Cash Register...

The CC will be a lot more versatile and you will get a lot more bang for your buck. An F is great, and there are plenty of situations where I have been thankful that I have an F, but I could have done just fine with a CC. I can't really say that I'd feel the same if the roles were reversed. I have played pieces where an F just wouldn't cut it because of how low the parts went (you wouldn't want to be hounding out pedal Cs at fortissimo at the back of a band with an F--it could be done, but I wouldn't want to).

So, buy a quality CC (I gave you a number of options in your WTB post in the For Sale section) and, if you have the money left over, get a cheap F. I would spend the bulk of my budget, if I were you, getting a quality CC that can work in all situations (as close to that as can actually be done) and then only look into an F if it makes sense with your budget, rep, and if your teacher/conductor (if you don't/won't study, cause I don't know what your plans are) thinks it a worth-while endeavor.

A lot of music can be made on a miraclone.2000 new/1500 ish used

The concept of a "cheap F" is pretty misleading, in my opinion. People look for a "cheap F" because they will use it less and don't want to make the investment in something they use less. The result is often a not-very-good F tuba, and one that will be a chore to use or play in tune... especially if you don't use it very often.

bort wrote:The concept of a "cheap F" is pretty misleading, in my opinion. People look for a "cheap F" because they will use it less and don't want to make the investment in something they use less. The result is often a not-very-good F tuba, and one that will be a chore to use or play in tune... especially if you don't use it very often.

I agree, so I should clarify... I mean a "cheap F" in the sense of a Chinese clone or an older horn that isn't all shiny. I bought my current F (a G60 prototype) for less than $3,000 and it is my favorite F out of all of the ones that I have owned/played.

So, invest in a quality C and then, if the funds allow, shop for an F that won't break the bank and that will play well.

Basically a CC can do nearly everything in normal repertoire, just not as 'focused' (is that the right term?) in the upper end as an F. (nothing wrong with BBb either) A pretty basic 4/4 such as a Miraphone 186 can do a lot. I'm a strong advocate for the F, but realistically not as one's only and 'every day' tuba. I kind of feel you probably are leaning that way as well but would appreciate some feedback from others with experience.

A good 4/4 CC is probably the most versatile tuba imo, something like a bill bell or 186, 188, or gronitz pcm. To me one of those would be a great do-everything horn, rather than a big F, if a do it all horn is what you're looking for.

Or go for an Eb tuba - which can be used for band, orchestra, solos, quintet, etc

4/4 CC tuba.

It's also cheaper to switch mouthpieces than tubas (Arnold Jacobs)

Neptune wrote:Or go for an Eb tuba - which can be used for band, orchestra, solos, quintet, etc

Yeah that works too

Kayla wrote:4/4 CC tuba.

It's also cheaper to switch mouthpieces than tubas (Arnold Jacobs)

+1.

I also agree about the comments on Eb being quite versatile, but the OP asked about F vs. CC.

F tubas are for more 'specialized' playing; not as good for "all-around-playing" as are CC tubas

*

Eb for a one horn to rule them all.
CC if it's your intention to prepare yourself for a glorious orchestra career.

Neptune wrote:Or go for an Eb tuba - which can be used for band, orchestra, solos, quintet, etc

A good Eb compensating can do anything... as long as the player can

For 10 years I worked with The Salvation Army and had use of a wonderful Besson Sovereign EEb. I thought is as close to a perfect horn as could be, acoustically that is. Intonation was incredibly easy to control, sound could be enormous when needed and very focused. We had a traditional sextette and it was perfect in chamber brass, and I even used it in a large orchestral setting and it had plenty of sound left that I did not really even need. Plus the orchestral bass trombonist loved how it just melded into his sound and completed the section. It also had a certain resistance to it. Perhaps a combination of rather heavy metal and the compensating circuit of tubing. My feeling was that this resistance was an asset as having something to blow against gave the sound somewhat of a sturdy and formidable sound. However, I basically learned the EEb in treble clef and was fine in the brass band setting, but never felt that comfortable in bass clef, particularly in those orchestra settings. I have since returned to the F and CC instruments and occasionally the BBb to which I feel very much at home. The CC is my everyday horn. In practicing, I do most of the gymnastic type of tuba drills on the CC. Then the artsy stuff on the F and also the F cimbasso.

EMC wrote:A good 4/4 CC is probably the most versatile tuba imo, something like a bill bell or 186, 188, or gronitz pcm. To me one of those would be a great do-everything horn, rather than a big F, if a do it all horn is what you're looking for.

I wholeheartedly agree!

For someone studying to be a professional, facility on all pitches will eventually be required.

Using F for everything requires lots of valves to play the low register reliably in tune, for ensemble music where the tuba's purpose is to be low. That's why German orchestral F tubas have six valves. But those Germans still bring a big Bb tuba when they need to move earth.

Using C for everything requires learning to play with clarity and accuracy in the upper register in order to cover the solo literature.

So, is it harder to move earth with a F, especially in the low register with many valves in play, or is it harder to play with clarity and accuracy in the upper register using a bigger C tuba? I've heard better examples of the second than the first.

Rick "start with the C" Denney