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Re: Eb vs F

Postby tuben » Sun Mar 19, 2017 9:47 am

barry grrr-ero wrote:Shorter version: if the 3 + 1 style compensating Eb interests you, I wouldn't worry about stuffy low notes unless you need to belt out loud low E naturals all day long.


This is totally right. There is a performance of the Vaughan-Wiliams: Dona Nobis Pacem in a few weeks, and for the first few rehearsals with orchestra was using my 15" bell Besson Eb. Those times helped me find a respect for that tuba I didn't previous have. There was no problem with power, and the low G's rattled nicely. Colleagues in the brass section loved the 'punchy', dense color, and I loved the quickness of response in all ranges. But the m.d. preferred the big horn, so it's the Alex for the show.
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Re: Eb vs F

Postby bloke » Sun Mar 19, 2017 10:18 am

The low range on a GOOD comp-Eb with WELL-ALIGNED pistons that are NOT leaky offers a decent (good) low range. If you try to blow into a comp Eb or rotary F tuba (or bass trombone, or valve trombone, or oboe, etc...) the same way you blow into a sousaphone, you probably won't like the results. They are all different instruments.

The low E is going to be particularly "stuffy" on a comp-Eb because the compensating system completely "runs out of gas" at that point; the low E is horribly sharp. Much of the experienced "stuffiness" is (in reality, simply) "not enough tubing".

Here's my personal solution:

- The compensating side (slides on the back) on a comp-Eb tuba features a .728" bore.
- The FRONT side slides on a comp-BBb tuba are .728" bore.
- I've taken the FRONT #2 slide from a junked-out same-brand BBb (either no-comp, 3-comp, or 4-comp) and used it as the COMP #3 slide (back side) on my comp-Eb.
- It's MUCH longer. Instead of low F and low E (on the comp-Eb) both being sharp, the substitute slide makes the low Gb (let's face it: needed less often) somewhat flat, the low F (more valuable of the three pitches) right in tune, and the low E only slightly flat. I define this as "improvement".
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Re: Eb vs F

Postby marccromme » Sun Mar 19, 2017 3:47 pm

bloke wrote:The low E is going to be particularly "stuffy" on a comp-Eb because the compensating system completely "runs out of gas" at that point; the low E is horribly sharp. Much of the experienced "stuffiness" is (in reality, simply) "not enough tubing"..


Here is m solution: I play a 5v FA Eb (all valves right hand) tuba where I easily can manipulate the 4th slide trigger with my left hand.
Pulling the right amount between 0 and 8 cm brings every valve combination in the contra octave into tune, right down to the pedals.

Bb (4) - A (235)- Ab (45) - G (234) - Gb (345- F (2345)- E (12345) and (pedal) Eb all fine in tune. Off course, resistance increases down to E and decreases on shift to pedal Eb, going from maximal tubing length to minimal length, but that is expected.

And I don't loose a perfectly in-tune E with 235 (or 24 plus 3cm pull), or F (4 no pull).
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Re: Eb vs F

Postby bloke » Sun Mar 19, 2017 6:43 pm

C♭ minor just about as difficult on an Eb tuba as C♯ minor is on a C tuba...

...particularly is the player isn't familiar with those keys.
:wink:
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Re: Eb vs F

Postby barry grrr-ero » Mon Mar 20, 2017 2:45 am

Bloke, that's brilliant. I'll remember that if I ever go back to a compensating eefer. I had a throw rod for the main slide, so I would push all the way out for those bottom notes. As a result, the F was pretty good and the E still somewhat sharp. I played with the third valve slide pulled out a good distance.
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Re: Eb vs F

Postby Patrase » Mon Mar 20, 2017 4:23 am

I second (or third) getting a smaller than 19 inch bell Eb tuba. If you buy an old Besson one budget for a valve rebuild and put rubber dampers and Yamaha springs in it. Also experiment with alternate fingering in the upper register. The PT84 mouthpiece works well Bessons and fits older Bessons if you order the XS shank. Wessex have a solo model and Yamaha had one as well. Bloke had a Willson one too at some point. Don't get a non compensated 4 valve Eb.

The piston 5 valve Eb tubas are awesome. Super easy low range and much easier to jump between registers. But they are harder to find second hand. Also harder to play than 3+1 Eb if join a brass band.

I would only consider F if you are going to play solos or orchestral parts
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Re: Eb vs F

Postby Phil Dawson » Mon Mar 20, 2017 12:30 pm

I have a Miraphone 1293 CC, a Connn 3J CC, and a Besson 983 E flat all in silver. I play all of them regularly and love them all - just in different ways. the easiest to play is probably the 1293. Phil
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Re: Eb vs F

Postby BrooklynBass » Mon Mar 20, 2017 2:54 pm

Patrase wrote:Also harder to play than 3+1 Eb if join a brass band.

I would only consider F if you are going to play solos or orchestral parts


????????? - to both points quoted above.
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Re: Eb vs F

Postby Patrase » Mon Mar 20, 2017 3:25 pm

Re the above:

I have owned/played 3+1 Eb, 5 valve Eb and 5 valve F.

In brass band music, particularly the higher level pieces, the parts are so technical that 3+1 makes the fast technical passages that much easier to play.

Regarding F tuba I found that, compared to Eb, the well known bass tuba orchestral excerpts (eg Symphonie Fantastique) and solos (Vaughn Williams, Penderecki Capriccio), to name but a few, seemed easier on F.
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Re: Eb vs F

Postby PaulMaybery » Tue Mar 21, 2017 3:38 am

I believe that in listening to a great Eb player, say like John Fletcher in all of those PJBE recordings and his recording of the VW will demonstrate, rather convincingly, that the Eb Besson with the large bell works just fine. I used one for about 10 years when I served as Divisional Music Director for The Salvation Army. Mine had a larger lead pipe and thus tended to sound a bit darker than John's, but it got around remarkably well and with a gorgeous buttery sound. I did play it mostly in treble clef, and while I did use it in several orchestra performances and standard quintet gigs, I never quite felt that I mastered the fingerings. So I eventually went back to my tubas of 40 years, the good ol' F and CC. Sometimes I think had I first learned the Eb tuba, life may have been a bit better as I believe that accoustically it is perhaps the most perfect of all the keys for a tuba. But like most Americans, I began on BBb, switched to CC in grad school and then the F when I eventually became a professional free lancer. Funny, even after having put the BBb down around 40 years ago, when I do pick it up, it instinctively feels the most natural in my hands. But I have lost the touch on it so, I'm not going back. I never found the compensation system "stuffy". Yes there seemed to be a bit more resistance to a Besson, but much of that I attribute to the heavier gauge of the metal. Besson makes a non compensation series of low brasses, and we had several in the SA. Other than not being compensating, they still had that characteristic Besson feel to them. I rather enjoyed that resistant timber. For me it tended to improve the focus of the notes and made it more dificult to distort the sound when playing in extremely loud passages.
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Re: Eb vs F

Postby hup_d_dup » Tue Mar 21, 2017 9:39 am

3 days ago I played the Blazhevich No. 5 as an audition piece, on a Besson compensating Eb. On this horn, the study goes down to a 4 valve low E.

I had the option to play this audition on a Bb, and admittedly, my significantly larger Bb has a greater presence on the low E. But I chose to perform on the Eb for other reasons, and because the low E on the smaller horn is still a respectively solid note.

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Re: Eb vs F

Postby BrooklynBass » Tue Mar 28, 2017 9:21 am

I'm wondering if anyone can give me an apples to apples comparison of two similarly-priced and spec'd offerings from Wessex: Berg (F) vs Danube (Eb)

Let's say "a friend of mine" was considering owning his first bass tuba and $3K was his hard budget (because his wife would undoubtedly make him fund this purchase by selling some of his more "aspirational" boutique electric bass gear). Goals/rational for this purchase include literature (VW, etc) and having a smaller horn to schlep across NYC for small ensemble meet-ups where the bigger horn can get a little unwieldy.

This friend also plays CC tuba and dabbled in F in college (forever ago), making the F seem like the more logical choice considering how mixing different fingerings tend to break his brain. But I—I mean he—is known to throw logic to the wind and has the crazy notion that Eb tubas are cool, mystical, versatile, and capable of channeling a certain Norwegian spirit animal.

All things considered, which of these two Wessex(s?) does the tubenet hive mind favor?
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Re: Eb vs F

Postby marccromme » Thu Mar 30, 2017 4:29 pm

BrooklynBass wrote:I'm wondering if anyone can give me an apples to apples comparison of two similarly-priced and spec'd offerings from Wessex: Berg (F) vs Danube (Eb)


I can't offer you a comparision, as I never played the Berg, but I find the Danube a fine 5v rotary Eb instrument with good value for the price, you can find my description and comments here on the tubenet.
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Re: Eb vs F

Postby Patrase » Fri Mar 31, 2017 2:07 am

I'm wondering if anyone can give me an apples to apples comparison of two similarly-priced and spec'd offerings from Wessex: Berg (F) vs Danube (Eb)


I am a reseller of Wessex in Australia and have played both back to back. I prefer the ergonomics of the Danube. Sound wise they are quite similar in sound. A tuba player will notice a very slight difference in that the Berg seems slightly smaller than the Danube - but I doubt a listener would notice. I have found the intonation on the Berg better than the Danube, based on the ones I have tried. Having read enough of Bloke's posts I now place intonation as the highest priority when evaluating a new instrument. Then 'sound.'

If you like piston valves and can afford the higher price I would also suggest the Gnagey. They play very well. Mr Gnagey can be proud of that one.
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Re: Eb vs F

Postby iiipopes » Fri Mar 31, 2017 9:46 am

And what is wrong with the CC in ensemble? The few times I played quintet, I played my 186 and just lightened my approach.
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