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I've noticed a lot of people selling their B&S PT-6's recently. Are people going more towards the non-German made horns now?

My guess... After time, it gets to be too much. Either financially wishing to have money i stead of fancy tuba, or it is a bigger tuba than they need. With only a handful of tuba jobs per year, and educations that demand pro level instruments, this seems bound to happen.

PS, I think the PT6 is a very fine tuba.

mwlorrison893 wrote:I've noticed a lot of people selling their B&S PT-6's recently. Are people going more towards the non-German made horns now?

Oh really? How many is a lot? How many PT-6's are in circulation? After answering those questions in your head, what percentage of PT-6 owners are selling their PT-6's? Does this minuscule percentage represent a trend away from German made horns?

kmorgancraw wrote:

mwlorrison893 wrote:I've noticed a lot of people selling their B&S PT-6's recently. Are people going more towards the non-German made horns now?

Oh really? How many is a lot? How many PT-6's are in circulation? After answering those questions in your head, what percentage of PT-6 owners are selling their PT-6's? Does this minuscule percentage represent a trend away from German made horns?

It was a question not needing a scientific response. More of a general conversation than needing to break out your calculator and surveys.

Like the MW 197, Joe?

Alexander von Puttkamer sounds awesome on his 197, and clearly, i will not in my lifetime have his playing abilities. Would like to have that sound, though!

Joe, do you think the piston and rotary Fafner are more same than different? (sorry, not THAT question again, but kind of ... Sorry... )

Here we have fine instruments. These were one of the few new tubas designed and developed after 1985 from the ground up. That is, not using available parts. I was in charge of this, a project that is documented elsewhere. Just two remarks:

1/Instruments with serial numbers 275500 or lower had many hand-made parts. Early production instruments were entirely hand-made. These have special tonal qualities.

2/The MR-P CC-tuba is based on the same concept as the PT-6 but is bigger. Both are very fine CC-tubas.

Bob Tucci

bloke wrote:If there is such a thing as an "audition tuba" (because they SOUND BETTER to audition committees), I tend to wonder how the "sounds better" connection seems to be (once the "committee" obstacle has been jumped) lost with some players/users.

For some people, one of the positives about the PT-6 is that it is small enough to be a good audition tuba and big enough to be a good concert tuba. Remember the PT-7?

...shave the bore size down a bit...??

You will be getting around to considering a GR51 (aka PT-605) by doing that. I have a very nice one if you want to go that way, listed for sale on this site.

I got PT-6 as a small C tuba now as I bought this B&F Bb tuba copy of Nirschl. It's obviously one of handmade sheet-metal tubas mr. Bloke mentioned.

Sound on this big tuba is damn good even on me and I'm hoping to get some video done maybe this year when I have got used to the new tuning and free air. Couple times I've started laughing while playing since it feels so easy already.

I'm still on a bit of a mouthpiece quest tho. Saw someone recommend Klier 1-AA on different thread so might give it a shot.

And back to original question, pt-6 is very good tuba but I never liked mine as it was quite difficult to play and I have tried couple of them. And from pt6 I wanted to go bigger sound as I got an f-tuba already. Next tuba I might want/need would be small piston c or b. Was C before but I've noticed I have bit of a struggle with playing C and Bb back to back because of the fingerings.