Can I be a two CC guy?

[jeopardymaster]

So much of what I might have said already appears in the posts above. Here are 3 semi-new inputs:

1) There really isn't that much difference between a 184 and a good-sized Eb, say a 981 or 983. They are pretty much interchangeable - a bit more resistance on the Mirafone but more facile low register and slightly heavier sound. Having both is self-indulgence, but I can't bear parting with either.

2) It makes sense to have a decent BBb on hand, just in case. If you ever get a call to play treble clef parts in a brass band, it's a snap to play the Eb book on a CC, but transposing a Bb part is not fun unless you do it a whole bunch. Better just to dust off the BBb. Also (and I may get heat for this, but it's true), a good 4/4 BBb plays bigger than a 4/4 CC of similar heft and configuration, so maybe you can get by with a decent (cheaper) BBb in lieu of a really big (and big bucks) CC.

3) If you have more than one horn, with each increment it's geometrically more important that they be "plug and play." To Doc's earlier comment, if a horn has a bunch of intonation or response quirks, you'll need a refresher course every time you pick it up, and if you're not careful you might suck. Who has the time for that?

[MaryAnn]

If you have useable high range chops on a CC, the 184 CC will ring your chimes for quintet.

I just got mine back from the local orchestral pro, who used it for a few months in the symphony quintet. He loved it, they loved it, he has to go buy his own now. He plays a 2145 MW in the larger venues.

MA

[RyanSchultz]

Why not?

If it sounds good and you don't have to deal with auditions, I doubt anyone will care/notice.

[Mark E. Chachich]

I used my Meinl Weston 32 CC for a lot of my quintet playing,
my Alex 163 CC for most everything else and my E flat when
needed (not often).

point 1: some quintets like the CC (or BB flat) sound
point 2: use what you like and works best for you
point 3: I actually find the high range on a contrabass
tubas eaiser for me then the F or E flat tubas
point 4: when you get to tell the rest of the quintet which instruments to play and in what keys...(ok, end of soapbox for point 4)
however: take suggestions from the others seriously, but unless you were hired to play a specific tuba it is usually your call.

best,
Mark

Also (added remark):I agree with Doc on the 184, these are fine tubas.

Mark

[Wyvern]

The B&S PT-3 has not been mentioned here.

Would that not also make an alternative small CC? From the dimensions it does not look any bigger than an Eb.

[Chuck(G)]

After reading the above posts, I'll reiterate:

184 CC is the great compromise here, and for many tubists, it is the default answer to your question. It may not, however, be for you. Only you can discover that. Does anyone make a 1/2 size CC besides Miraphone? (Yeah, I'd call it more of a 1/2 size than a 3/4 size.)

Well, the Weril/ J680Yamaha 621 CC tubas are pretty darned small. I wonder if the 184 seems smaller because the bell is tall enough to move the sound a bit further from your ears when compared with the 621. I think Kanstul also has a smal CC. And there's always that Joseph Lidl small CC.

I sort of wonder sometimes if the right tuba for quintet might be a 3/4 CC recording bass...

[jeopardymaster]

The 184 bell section has much less flare and "throat" to it than the 621. As I recall the bore at valve section for the 621 is around .689, so the 184 is marginally larger there. Hence the 184 can be said to be more cylindrical than the Yamaha (duh). A student of mine had a 621, and that particular instrument was terrific - almost as good as my 184 and quite a bit less expensive at the time. I understand however that the quality of the 621 fleet has not been very consistent.

Another model worth considering is the Mirafone 185, if you can find one. A very well-balanced horn for quintet.