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Re: Miraphone 188 discussion

Postby Donn » Sun Oct 08, 2017 6:09 pm

anonymous4 wrote:So, if "smaller" tubas with more clarity are better, why are the big 6/4 tubas so widespread?


I was doing my thing this afternoon that most closely resembles "practice", and I snaked out my King 1240, for a 4/4 example to compare with the 6/4 I'd been playing (Holton short stroke, kind of like a 105 with weird valves.) The King is easier to play, and it may be a superior bass in normal band music thanks to its more compact sound; the low end is thinner, but easier to spit out in a passage. It has a warm, pleasant, likable sound. But the Holton sounds more like a tuba - I mean, not that the King sounds like anything else, but the Holton is almost a caricature of the tuba. Far from being a tuba that's best used to sound like something else, I'd say it's for when you really crave the sound of a tuba enough to put up with the issues. I suppose technically I'm referring a tonal signature of partials that's characteristic of the conical brass - euphonium, tuba, flugelhorn each in their own way.

Just an idea about why 6/4, that doesn't depend on anyone being morally or intellectually defective.
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Re: Miraphone 188 discussion

Postby Douglas » Mon Oct 09, 2017 5:59 pm

Casca Grossa wrote:
joh_tuba wrote:https://www.youtube.com/watch?v=TE6Nt5FXK-g

Is this a 188?


I believe it's a 186. Ask Tom at Mack Brass. It's his student.

That’s my brother, Eric, and it’s an old 186 CC.
Doug Black, D.M.A.
B&S Tuba Artist/Clinician
Tuba/Euphonium Faculty, Winthrop U, UNC Charlotte, U of SC
Principal Tuba, Rock Hill Symphony Orchestra
Acting Principal Tuba, Fayetteville Symphony Orchestra
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Re: Miraphone 188 discussion

Postby Casca Grossa » Mon Oct 16, 2017 2:48 pm

Maybe instead of a BAT and an F tuba, the future is a 188 and a 3 valve Sousaphone...https://www.youtube.com/watch?v=iB5d70Qy_3Y
Mack-a-clone 186 "Chairman Mao"
Blokepiece Imperial #2 Fair Dinkum Profundo Rim
Lignatone Eb "Charlene"
Blokepiece Solo
Why have 3 valves when you can have 6 and a main tuning slide kicker???
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Re: Miraphone 188 discussion

Postby anonymous4 » Sun Dec 03, 2017 4:53 pm

Hey, so I know this thread is so last October, but I only now got around to listening to the Prokofiev recording that has been discussed in this thread. (End of football season means time to catch up on listening!)

I never PM'ed to ask for the recording, but through process of elimination I have figured out who Bloke was talking about and what the recording is. I have some questions/observations:

1. That guy reads Tubenet!!?? I didn't think anyone that "tuba famous" would care what us unwashed repairmen, band directors, students, and wannabes were saying here.

2. The recording is indeed excellent. However, I can't help but think about the people surrounding him on the stage as well. There were some in that brass section, that even then, had "different" opinions about how to play. If I recall, there is a rather famous (infamous?) solo recording by the bass trombonist from that orchestra that many today reference as an example of how NOT to play. If you plucked up this tuba player, and Mirafone 188, out of 1987, and threw them into a 2017 version of this orchestra, would the sound still fit in the same perfect way as it does on the recording? We aren't on an island. The equipment, and the way others play, inform our own decisions on equipment and how to play.

3. In the conversation the player says he laments switching. However, I don't recall this person ever using anything other than a Miraphone 188 during their career. Is this more a commentary by this player on the tuba players "in general" switching to bigger horns?

Enjoyed catching up on the parts of this discussion I missed. Thanks!
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Re: Miraphone 188 discussion

Postby J.c. Sherman » Mon Dec 04, 2017 12:03 am

bloke wrote:A very prominent player with an extremely prominent job (large well-paid high-profile full-time orchestra - an orchestra known for being capable of a very robust sound...and who, typically of top-job types of tuba players, doesn't enjoy bragging on himself on TubeNet) JUST NOW sent me a link to a professionally released (cd) recording of two Prokofiev works.

He's very proud indeed (as well he should be) of the sound he put on that recording (nearly three decades ago) with a sheet metal 188, and (like others here) wonders why he ever switched to other tubas.

most models of 6/4 tubas...??
OK ...I guess... to play once a tuba playing *job in an orchestra is acquired, but I would never use one for an audition (where a person's playing is more exposed and more scrutinized than any other time during their career).
YCB-826...?? probably an exception, but (again) not as large as some of the others and a tuba that offers a great deal of clarity (along with workable intonation) with its breadth of sound.
--------------------------------------------------
*as I've suggested here many times, arguably about the most difficult job in an orchestra to acquire, but also about the easiest one to keep

<sidebar>

The "ideal" C tuba...
One model approached perfection, and is currently mothballed.
It is the model 2000/2155 (same instrument...possibly sheet metal bows vs. manufactured tubing bows). The intonation is no-slide-pulling amazing, and the low range is superior to that of the 188. HOWEVER, the mouthpipe tube is (opinion of bloke) too d@mn big, which defines a "dull" sound. I have put 45SL-P 'pipes on two of them, the resonance (a large 4/4 tuba, rather than a wannabe 5/4) opened up (beautiful 12th partial bouquet of sound), and they were (again) probably the world's finest-ever production large-4/4 C tubas. I owned neither of them. I did acquire one a couple of years ago, but was offered too much for it to afford to keep it, and the finish was in too close to mint condition to be tearing off the factory mouthpipe tube. I STILL may (??) end up with one of these someday...if it's ugly enough and cheap enough. I still have not finished those (extraordinarily promising) 4/4 1920's Buescher projects... :roll:

<sidebar>


My current go-to contrabass is my 2000... for those reasons. If you ditch the receiver with the weird "venturi," it is a stellar performer and can put a bottom on any orchestral situation. And you can play quintet if you must.

It's exceptional, efficient, and plenty.

J.c.S.
Instructor of Tuba & Euphonium, Cleveland State University
Principal Tuba, Firelands Symphony Orchestra
President, Variations in Brass
http://www.jcsherman.net
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Re: Miraphone 188 discussion

Postby Raul I. Rodriguez » Thu Dec 14, 2017 2:27 pm

Yellow Brass

Stock

Since 1983
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