TubeNet

https://www.youtube.com/watch?v=C9ZzSPOMNcU" target="_blank" target="_blank" target="_blank
https://www.youtube.com/watch?v=EF--c5lmf4k" target="_blank" target="_blank" target="_blank
https://www.youtube.com/watch?v=mOmUcCQNVJU" target="_blank" target="_blank" target="_blank
https://www.youtube.com/watch?v=ARClTwLzmK4" target="_blank" target="_blank" target="_blank

This is not me, just someone I found on YouTube I thought we should hear

Wonderful post. Hands down, it's CC tuba for orchestral work. IMHO, that is.

Ace

Which one? It depends!

What I can say is that it's impressive (and a bit annoying!) how easily he switches between the different-keyed tubas without any difficulty in fingerings, style, musicality, etc. I suck enough playing a tuba in just one key!

Fun videos, but he isn't comparing CC and BBb tubas. He's comparing two completely different tubas that wouldn't sound the same if they were in the same key...

My takeaway from the videos is that, despite the differences in the tubas, he plays very well and has developed his sound concept to the point that I imagine we would sound like "himself" regardless of what key contrabass tuba he plays. If there's conjecture that these instruments are too different for this to be a fair comparison, go to the Wessex both at the next conference. I feel the Chicago Presence and Grand BBb play pretty differently. Or visit Buffet and play the Tuono and GR55. These two might play closer in line with each other. I know I'll still sound like "me".

Doc wrote:.........IMHO, this comparison is..... more about an exponential tuba (think: loud speaker) vs. a bi-radial tuba.

Doc, could you please be more specific here, for the benefit of us mere mortals who have no clue which is which and why they're called that?

One of the early exponents of the exponential nomenclature goes by "Rick Denney". Here's a page on his site, with examples. York vs. Miraphone - Is There A Difference Between German-Style and American-Style Tubas?

Just got a chance to listen with headphones. What a great player. Beautiful on both, just different flavor. C definitely has more clarity. Context with orchestra makes such a huge difference though. For those in the know, is this the level of excerpt that advances in an audition? I’m not in that world,but curious. I bet if you’re a European pro and could sound like that on both key contrabass, you could work a ton. In response to the video Joe posted, I was there. His Baer was on the way to the next concert venue. He was playing on the 4/4,I assume the Ursus. Sounded fantastic,as expected. My biggest takeaway was how beautiful these guys played on the trombone quartet repertoire they did. A purity of sound that I must admit, I’m not sure I’ve heard tuba quartets achieve. Just stunning.

I bet those tuba parts would sound even more clear on an F tuba.

In the age of electronics our definition of clarity certainly getting it's run for the money.
Until now I've noticed that sound engineers almost always (hands down) choose for an F tuba.
For clarity. Low, high, slow or fast. Large group. Small group.They prefer the F.

bloke wrote:Am I the only person that is hearing

Can you single out a particular spot where this would show up?

I'll tell you the truth, I'm surprised by the chorus of "both great." My immediate reaction was more like "well, obviously he likes the Nirschl, so why not just play that and not make such a production out of proving it?" I find the overtones he gets from the 197 gratingly unmusical. To pick out an example, a held note on the third video, first at :30 and then 1:54. Some of the videos put the 197 in a little better light, but this goes on throughout too. I know that playing in a large ensemble might not necessarily call for the sweetest sounds you can make with a tuba, and it has occurred to me that this surprises me only because I have no idea what orchestra players do, but if you're just looking for a better sound there in the room ... there it is. I'm sure it would be a different story with another player. Not only could he play rings around me, but I expect everyone who has commented so far could, too, so take it for what it's worth, but I can remain silent no longer!

bloke wrote: The pitch to which you are referring is B.

Cripes, I knew I should have checked that. I thought maybe I had covered myself by mentioning that these effects turn up through the excerpts, but you know what, I see they're often associated with that B. So ... there you go, band tuba.

Donn wrote:One of the early exponents of the exponential nomenclature goes by "Rick Denney". Here's a page on his site, with examples. York vs. Miraphone - Is There A Difference Between German-Style and American-Style Tubas?

Got it now, thanks. I had noticed the difference before but didn't know what to call it. Based on that, my own stable has three bi-radials (20/21J, Mahillon, Marzan) and two exponentials (Alex, Sonora) and the helicon is probably exponential as well, given its intended function.

Some years ago, I had the pleasure of listening to an excellent brass quintet, whose tubist was playing a Getzen G50 CC, a.k.a. Canadian Brass CB50 (which would be bi-radial). That was the first time I'd ever heard a tuba sound that seemed to be coming at me from all directions, essentially flooding the area with contrabass, and my first thought was "if I ever grow up, I want to sound like that". I realized that up to then I'd only played what I now know as exponential designs, and that this was a different enough design that I should probably look for one. Fortunately my wife is a fairly good sport as regards my musical pursuits

The YouTuba recordings in question have a definite soundstage, and the Nirschl York completely fills it up. The 197, however, is definitely louder to the right than to the left. Rick's article does a great job of explaining why.

And jtuba- well played!

For the sake of full disclosure, this is not me playing. I may post my own BBb vs CC videos in a bit. They may not be as impressive