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Is a big sound more of a concept that can be achieved on a smaller tuba, or does one have to have a tuba that is of larger size to get the big sound? I own a 4/4 size tuba that seems to be a copy of a Meinl Weston Ursus with the valveset of a B&S PT6P, and it feels big enough to me.

A "Big Sound" is a concept of sound you can achieve on every type and size of horn. At least everyone should try... But in some orchestral or band settings some horns may be not "big" (loud, prominent...) enough to be in balance with the rest. Than you have to change equipment. And you have to develope he same "Big Sound" on a bigger horn...
It is easier to block a lane creeping along in a Porsche than driving a 34HP VW Beetle really fast, but how many people own Porsches and have no idea how to drive it properly?

I can get a big sound on my (French) horn. Way big. Because I have enough air and know how to use it. It is MUCH harder for me to get a big sound on any size tuba because I run out of air really quickly. So I (was) great on oom pah parts and could keep the whole brass band together, but string a lot of notes together and the need to breathe upset the musicality.

I can achieve a nice round sound on any size horn. Mouthpiece selection can change that. But the bottom line is that you must balance air, buzz and sound together in the horn you are playing.

This is a question you'll get a lot of answers to, and a lot of it really depends on the player, and of course, the instrument. You always hear about how an instrument "plays" and how it "feels". The ideal seems to be a smaller instrument that "plays" big, or a bigger instrument that "feels" smaller.

That said, if you really want that huge organ-like tone that seems to permeate the entire airspace, I don't know if anything but a BAT will do.

What you need to ask yourself first is "what type of big sound do you want"?

Did Roger Bobo have a big sound?
Arnold Jacobs?
Warren Deck?
(Insert your favorite tuba player here)?

Each tuba player has a unique sound concept that is very much a type of "tuba identity". Frankly, the best players sound pretty much the same no matter what equipment they play on. The equipment can help you achieve a tonal concept that you want, but it really is up to you to produce that sound. Some instruments can/will help steer you toward a certain sound.

The equipment doesn't create the sound, you do.

Brendan Bohnhorst wrote:What you need to ask yourself first is "what type of big sound do you want"?

Did Roger Bobo have a big sound?
Arnold Jacobs?
Warren Deck?
(Insert your favorite tuba player here)?

Each tuba player has a unique sound concept that is very much a type of "tuba identity". Frankly, the best players sound pretty much the same no matter what equipment they play on. The equipment can help you achieve a tonal concept that you want, but it really is up to you to produce that sound. Some instruments can/will help steer you toward a certain sound.

The equipment doesn't create the sound, you do.

I've started studying with Will Druiett - what he's told me is that Rex Martin has a MASSIVE sound - but Chris Olka's sound is what I like a lot. He sounds like him on any tuba he plays, and he can get that cut on his tubas.

http://www.chisham.com/sounds/aj1.mp3" target="_blank

This is the link to the first part of the Arnold Jacobs lecture at the first T.U.B.A. symposium in 1973. In it, he discusses the three variables when playing and their impact on tone production. They are the player, the instrument, and the mouthpiece. Most important, obviously, is the player, who develops a concept of sound and works to achieve that when they play. Since many players might not be able to own multiple instruments to facilitate changing their sound, he demonstrates how changing mouthpieces can influence your sound without changing tubas.

But like most excellent musicians, Jake always sounded like Jake, no matter what instrument he used, whether it was the York, or the six valve f tuba Reiner found and asked him to use for the Tchaikovsky 6 recording.

happyroman wrote:http://www.chisham.com/sounds/aj1.mp3" target="_blank

This is the link to the first part of the Arnold Jacobs lecture at the first T.U.B.A. symposium in 1973. In it, he discusses the three variables when playing and their impact on tone production. They are the player, the instrument, and the mouthpiece. Most important, obviously, is the player, who develops a concept of sound and works to achieve that when they play. Since many players might not be able to own multiple instruments to facilitate changing their sound, he demonstrates how changing mouthpieces can influence your sound without changing tubas.

But like most excellent musicians, Jake always sounded like Jake, no matter what instrument he used, whether it was the York, or the six valve f tuba Reiner found and asked him to use for the Tchaikovsky 6 recording.

Will Druiett always sounds like Will Druiett. I do think that German and American slightly change the sound, but most of it is up to the player.