bloke wrote:Commenting on Holton 345 BBb concert tubas: I've found that some/many of the BBb versions play considerably better in tune than the CC (factory and/or hacksaw) versions. The lower F is useable on many of the 345 BBb tubas, but the best I've ever encountered on these is c. 10-15 c. flat on the lower F/E (again: just within what could be considered "useable" limits). Fortunately the pitch is flexible enough that (at least at mf and above) the 3rd partial F/E on many BB-345 tubas can be pushed up where it belongs. These tubas also seem to mostly play the "upper" (6th partial) F/E about the same amount sharp. I believe that a main slide thumb trigger (rather than an un-needed 5th valve) would be of great benefit on the BBb Holton 345.
This is good stuff.
The D on the staff runs the same amount flat on my Holton as it does on the Miraphone 186. I also struggle a little with a flat fourth-partial Bb, but I have that problem on all my tubas and I think I just hear that note wrong for some reason. It's fine if I run the main slide home, when it normally sits out about 3/4" or a bit less. Tuning stick would solve that problem completely, but I don't find it to get in the way in practice. And it should be said that the group I'm tends sharp, like all community groups.
But I'm right there with you on the 6-8th partials. They seem quite sharp on my 345. I am very rarely asked to play anything up there, but I've used some interesting alternative fingerings. For example, I routinely play the eighth-partial F#/Gb using the first valve on the seventh partial. That partial is theoretically very flat, but it's right on for me on that note. And I play the G using the second valve. That has made it dramatically easier to avoid clamming those notes. I hit them every time in the practice room, but with the group I'm trying to match pitch and then clam the note when using the conventional fingerings. The F doesn't usually pose a problem, but there are lots of alternate fingerings for that one.
Again, though, I have exactly the same tendency on the York Master on the same notes, so I hesitate to blame the tuba.
I usually play the fifth partial using the normal fingerings and have no trouble being in tune. But when I sit in front of a tuner, they come out flat. Ditto for the 186, though on the 186 I'll push in the first valve slide for the C.
With a first valve shortened about 1.5 inches (easy) and a tuning stick for the main slide similar to the one on the plastic Martin (also easy), these quirks would be even easier to manage. But I'm managing them just fine with the alternate fingerings. The 20J had major pitch problems right in the middle of the band register which proved to be too much of a hassle.
But I need to do a valve job on the Holton before making any real modifications.
I'm not worried about this lessening the value of my Holton. It's not for sale. But those are pretty minor adjustments in the scheme of things--less than what I faced with the York Master and a little more to deal with than the 186. And dead easy compared to remembering the differences in the low-register fingerings of my two F tubas. I expect it's normal-to-good intonation for big tubas, even compared with seriously expensive stuff.
And it has...THE SOUND.
Rick "still having too much fun playing it to give it up for the needed overhaul" Denney
