WTB Miraphone CC Silver 1291, 1292, 1293

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mstyrnaaa
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WTB Miraphone CC Silver 1291, 1292, 1293

Post by mstyrnaaa »

Hey everyone,

I have been on a long hunt for a Miraphone 1290 series 5/4 tuba, and if anyone is interested in selling i will be negotiable for price. I prefer silver plated horns, and a 1292 would be ideal, but I’m willing to take anything i can get.

Thanks!

Matt
eric1tuba
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Re: WTB Miraphone CC Silver 1291, 1292, 1293

Post by eric1tuba »

Matt

I hope you are still in search of a horn. I have a silver 1291 that I am trying to find a new home for. I am only selling, because as an Army bandsmen I have access to government instruments of similar size and quality. Also, I am in search of a PT-6P, PCK, or a similar large(r) orchestral tuba to add to my private collection. I'd give almost anything to keep this horn, while adding a larger tuba to the line up, but my bank account (and wife) would greatly object.

As previously noted, I've grown VERY fond of this horn. I used it to complete my undergraduate, win an audition for my current unit, and to earn my spot in the Washington Symphony Orchestra (PA). I frequently play in a quintet with some local orchestral players and the 1291 (when compared to my BMB F and the government owned Miraphone 188 I've been recently trying to get acquainted with) is their favorite. Even when I play in a New Orleans style brass band, my colleagues prefer the 1291 as opposed to a sousaphone.

I tend to push and pull tuning slides with all of my horns. It's just a matter of how I was taught to play. So I myself am very particular about the placement of the 1st valve tuning slide. I press the slide most of the way in for the D in the middle of the clef, pull it out slightly more for Bb's and F's, and a little further more for A's and E's. The only other "on the fly" slide manipulation I usually do is the pulling of the 4th valve tuning slide for 2-4 C#'s/Db's and Gb's/F#'s (though I sometimes just opt for the 5-23 combination depending on the context), as well as the usual pulling of low D's and Db's (5-234 and 5-134.) Note that these are really common accommodations. At least in my experience, all horns require similar accommodations so that you may play through the "center" of the horn while also playing in tune. I believe players like Chris Olka will agree. However, players that choose to "lip" things into tune will notice that the intonation on these horns aren't hard to control.

I've heard of great modifications for this horn. I've heard of people replacing the lead pipe with a 1292 lead pipe and it arguably makes it just as good if not better than the 1292. I've replaced the piston valve springs with ones of a much lighter action. If you were to do a lead pipe swap and invest in some MAW valves, you'd have a horn way better than a stock 1292/1293 (arguably, of course.)

I'm rambling now. It's too easy for me talk about the things I love about this horn, but if I continue typing about it too much, I may get cold feet and decide to keep it, against my better judgement. Haha. I'm located in the Northern Panhandle of WV. About 45 mins from Pittsburgh, PA. If you are interested in more info (price, condition, pictures, and etc.) email me at: embyard(at)westliberty(dot)edu and ask for my phone # and we can discuss the horn.
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