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Hey guys, I've been debating here for a while, I don't think there is exactly a wrong answer, but if you had your choice would you use an Eb (4P1R) or CC (4P1R) as your only horn? Which key (and model if inclined) would you choose and why?

I've played Wilson, Kanstul and Pt Eb's in a lot of settings and found I can't support the med to large ensemble. Currently I'm playing a 3/4 CC and it is also lacking that support. I've an Eastman 632 but have not played in a med to large group but, for me it seems it would be the smallest horn to "Do All".

I've used my Gnagey Tuba (4/4 CC, 4+1) in several settings (BQ, Wind Ensemble, Orchestra, to name a few) and for me, it is the perfect "Do it all" tuba.

I would say a large-bell compensating Eb is the true do-most-things tuba. For me, it’s the Eastman 853. Easy low-range with fewer buttons to mash than a 5 valve (great pedals too), broad mid range, and sweet high register. It’s also my favorite horn in a jazz setting.

It depends. Your playing opportunities,why you play, budget, time to keep skills up on 2 or more horns,type of rep,space to keep horns in, on and on. For me, 2 horns is the right number, but everyone’s situation is different. I wouldn’t mind owning an Eastman 832, but it wouldn’t get that much action. That would probably get my current vote for a 1 horn stable.

MikeMason wrote:It depends. Your playing opportunities,why you play, budget, time to keep skills up on 2 or more horns,type of rep,space to keep horns in, on and on. For me, 2 horns is the right number, but everyone’s situation is different. I wouldn’t mind owning an Eastman 832, but it wouldn’t get that much action. That would probably get my current vote for a 1 horn stable.

If i could afford a second horn I would add a Large CC, but budget does not allow... yet.

Ltrain wrote:I would say a large-bell compensating Eb is the true do-most-things tuba.

I second that. I used my Besson 981 in different settings for many years, and only a few times felt the need to borrow a contrabass tuba. It is still the horn I bring for most gigs even though I have had a B flat tuba for over a decade.

Best Do-It-All-horn ?
Depends on what, why and where "It" shall be, I guess.

No repair shop within 2000 miles and cyrillic text on sheet music: St.Pete BBb.
No room in stage pit: Yamaha 621 F.
World-famous quintet: smallish gold-plated CC.
Band-nerd: 5/4 BBb.
Professional Czech Polka band: 3/4 BBb.

In most other cases two very different horns (such as smallish F and large-ish BBb) will go a long way...

Hi Douglas,

I just realized that one of the horns I was going to recommend is already in your signature line!

I think you can do just about anything with a good large Eb. The MW you have, the PT-22, and the big Wilson come to mind as contrabass tuba camouflage. I played a PT-22 for several years and had no issues holding down an orchestra on it. I remember doing Carmina Burana and Petruschka with it. I also covered the lowest part on a couple of tunes in the tuba ensemble in college with most everyone else playing CC tubas. That horn had an amazing low range and huge sound, but I was having some hand issues, which I tend to with the MW “big-valves.” Also, once I added an F-tuba, it tended to be the second best option for everything... never the worst option for anything and certainly adequate, but with a bigger contrabass and a smaller bass, I started specializing more. I ended up selling my 822 F for the same reason. Both great horns that I definitely miss sometimes!

Long story short, if I were to only play one tuba, it would probably be a large Eb. With the luxury of multiple tubas, I found my large Eb being played less and less. As always, YMMV.

-T. J.

What are your ensembles and repertoire? What is your relative faculty with fingerings in the various key signatures on each instrument? Orchestra, concert band, small ensemble? For example, I am a community band player, occasional small ensemble/church/etc. gig. My BBb Bessophone serves me well as my only concert tuba. Yes, I have a Miraphone Eb, a couple of euphs, a souzy; but the Bessophone is the concert instrument when I have to support an ensemble, and I don't have to play in extreme number of sharps keys that often.

iiipopes wrote:What are your ensembles and repertoire? What is your relative faculty with fingerings in the various key signatures on each instrument? Orchestra, concert band, small ensemble? For example, I am a community band player, occasional small ensemble/church/etc. gig. My BBb Bessophone serves me well as my only concert tuba. Yes, I have a Miraphone Eb, a couple of euphs, a souzy; but the Bessophone is the concert instrument when I have to support an ensemble, and I don't have to play in extreme number of sharps keys that often.

Mostly community or chamber group playing. As far as the keys on various instruments, I switched from BBb to CC tuba at 14, F at 19 and Eb at 23. Key signature vs. Tuba key doesn't bother me, it's just remembering which horn I'm on.

Mostly community and chamber playing? I did that for almost two decades with a Boosey Eb and only occasionally wished for a bigger horn. I added a King 1241 to the stable, and enjoy the King when I need a lot of bottom; but if I only need a few low notes I can get by with a PT88 on the Eb. Easier to haul two mouthpieces to a gig than two tubas! The Eb will be your friend for high chamber music or stuff scored for “French tuba” aka bass saxhorn.

Ltrain wrote:I would say a large-bell compensating Eb is the true do-most-things tuba...

A large E-flat is my do-it-all horn. I have a 19-inch bell non-comp Holton E-flat and it was my only tuba for 8 years. I run a PT-62 on it for high range and finesse playing, and a Holton (Bach copy) 7 or 12 for low-range and large-ensemble playing. It isn't always easy or fun, but I can always get exactly what I need from the Holton.

I do have a 3/4 BB-flat on hand now; once I get the valves rebuilt on the Holton and a have some pitch adjustments made, the BB-flat will be sold. I won't miss it.

If you need to do a lot of standard orchestral work then the 'bread and butter' work will include a lot of 4th valve work on an Eb. These notes however acceptable on an EEb do really sing out on a CC. Also, you can easily underplay and be extremely delicate on a CC when necessary. The world seems to prefer the massive organ-like sound. Yes, of course you can manage on an Eb but it is harder work.

In all other contexts an Eb is great in my opinion.