I didn't see much, but I do want to thank anyone who stopped by the Cimarron booth to say hello and check out (possibly purchase) some of our music. I now have many faces to put with the posts I read everyday. I am sorry to say that the people I met also have my face in their memory!
Thanks again to everyone!!!
__
From a previous thread, we will be posting the special price for Ray Grim Tubameister Polka set later tonight or tomorrow. The special will run for a week and instead of the normal $120.00 for 15 charts, it will be $75.00.
Wishing all well,
How about TUSAB T&E Conference Round-up?
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BVD Press
- TubeNet Sponsor
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Bryan Doughty
http://www.cimarronmusic.com/
http://www.cimarronmusic.com/
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sungfw
- 3 valves
- Posts: 275
- Joined: Wed Oct 03, 2007 1:21 pm
- Location: RTP, nc
I went to the conference with the intention of buying a new horn to replace my 32 year old Besson New Standard.
I think I played every comp euph on display, both new and used, at least twice, and some as many as a dozen times. With the exception of the Kanstul and the Chinese-made euphs, every horn I tried was much easier to play and much more responsive than my New Standard.
The two that stood out as the best fit for me were the B&S PT37 and the Sterling Virtuoso.
B&S PT37 - despite preferring the "British" sound, I came very close to buying this horn. Extremely open and free blowing across the entire range; very precise slotting; outstanding control and responsiveness at all volume levels. This horn sang. Has an adjustable lefthand handrest/brace which I found very helpful for supporting the horn.
[/b]Sterling Virtuoso[/b] - WOW! (I'm so impressed, I'll say it backwards: !WOW
)
This horn exceeded my already high expectations. Even new, the valves were quick and smooth. (To my mind, the best valves of all the horns I tried.) Classic, dark "British" sound. Flexibility, slotting, intonation: all outstanding. The consistency across all three display horns was amazing.
Various people have commented regarding this or that horn that one only had to think a note and there it was. That was my experience with the Virtuoso. On the top end, I tried—and was able to hit—notes in the upper register that I've never been able to reach before, at both pp and ff (I normally top out a C (concert) an octave above the staff (BC); I was consistently able to hit the C#, D, and Eb above that with good tone, and even hit one E nat); the F below the staff down to the pedals was solid and completely open. High-to-low and low-to-high register jumps have always been a nemesis; I could toss them off on the Virtuoso with very little effort. Sat. morning, before the exhibits officially open, I went to the Sterling stand, grabbed a Virtuoso, and, without warming up (yeah, I know, not smart), played a second line Bb, pedal Bb, and immediately nailed a solid Bb an octave above the staff.
Visually, the Virtuoso "pops." The gold trim appears significantly more saturated than the trim on the 842, PT37, and Prestige.
Ultimately, the dealbreaker for me was my budget; and even then, it was all I could do to keep from pulling out my credit card. The upshot of my testing is that I'm postponing purchasing a new euph for a year (unless I win the lottery first) in order to buy a Virtuoso.
Other models:
Besson 2051/2052 - quite frankly, I came away disappointed by the Prestiges. After all I had read and heard about the new valves, I was taken aback by the sluggishness of the valve action: I played every one of the Prestiges on display at the Besson and the other vendors' stands at least four or five times over the course of the two days, and consistently found the valves were still on the return stroke when I was playing the next note. (I did not experience the same sluggishness with the 967s or 968s, though.) This may have been because the valves were not bedded in yet, or because the horns were not fully prepped, but it was still something of a disappointment.
To my ears, the sound was classic Besson: dark, focused, lyrical; very much what I expected. (Some people have commented that the sound of the new Bessons is brighter than in the past, but I did not notice this, though that may have been due to the ambient noise level in the exhibition hall.)
The top end and the pedals were both very open and very easy, but I found the Prestige a bit more work and less easy for me to center in the upper register than the Sterling Virtuoso, York Eminence, and B&S PT37.
Besson 967/968 - some inconsistency in my experience here. I found the 967s at the Besson stand to be more open in the pedals and to sing better throughout the range than the 968s, but at the WWBW and Dillon stands, the 968s were more open and better than the 967s.
The valve action was noticably better across all horns than on the Prestiges.
Sound as as expected. Interestingly, I could literally feel the entire horn vibrate when playing the second line Bb (BC). (Several others I talked to mentioned this as well.)
York Eminence - could be the exact same comments as for the Prestige, except without the valve problems and slightly less work on the top end. Nothing really stood out to distinguish it from the Prestige, except the smoke/black trim, which I found visually underwhelming.
Willson 2900 [with the caveat that the only large shank 2900 on display was a used horn] - much more open and free blowing than the Euro-shanks that were on display. I had read comments on other boards that the large shank 2900 is a different horn than the Euro-shank; based on my experience, I agree completely. Focused, very open pedals and very easy top end. I understand why Charley Brighton calls the large shank 2900 the "Rolls Royce" of euphs. Noticably brighter than the Bessons.
Hirsbrunner HBS 378 - bright sound; very easy to play, but nothing stood out that made me want to go back and play it again.
Kanstul CEU 975 (silverplated with detachable lacquered bronze bell) - quite a looker, but very hard to play compared to others, possibly because bronze is less resonant or harder to initiate resonance in than brass; high resistance, possibly owing to smaller bore (.570/.593); solid, dark tone; significant intonation issues. I didn't try it with a tuner, but the third and sixth partials were glaringly out of tune.
Miraphone M5000 - didn't work for me.
Meinl-Weston 451 - can't comment because third valve consistently stuck in the down position.
Meinl-Weston 551 - stuffiest of the euphs I tried from F below staff (BC) to pedal Bb; didn't work me.
Yamaha 842 - very consistent sound and intonation from pedals to top end; not as easy on top end as competition; brightest of all premium horns I tried.
Dillon Music comp euph (satin silver with bright silver bows and trim) - Like the Kanstul, quite a looker. I saw at least 9 sponsored players trying it out over the two days. As you would expect from a stencil horn, it's Chinese-made. Tone, flexibility and intonation were acceptable, but slotting was very spotty in the upper register: overall, very similar to the Tuba Exchange comp euphs I've played. The horn was light for a comp euph (I thought it felt a little less substantial than the Tuba Exchange comp euphs). Fit appeared to be ok, but some parts, especially the bows, wire guards and the mpc brace, appeared unfinished (squared edges rather than rounded; the mpc brace reminded my of a wooden ice cream spoon bent in half). Ok for the price ($2495), but probably not much resale value down the road.
The Real Surprise of the week was being approached by a sponsored player on Sat morning while trying out a horn from a different manufacturer and being told I was a good player! (Especially since I never made it past district level in high school and until last Sept, I hadn't played a lick in almost 28 years!)
I think I played every comp euph on display, both new and used, at least twice, and some as many as a dozen times. With the exception of the Kanstul and the Chinese-made euphs, every horn I tried was much easier to play and much more responsive than my New Standard.
The two that stood out as the best fit for me were the B&S PT37 and the Sterling Virtuoso.
B&S PT37 - despite preferring the "British" sound, I came very close to buying this horn. Extremely open and free blowing across the entire range; very precise slotting; outstanding control and responsiveness at all volume levels. This horn sang. Has an adjustable lefthand handrest/brace which I found very helpful for supporting the horn.
[/b]Sterling Virtuoso[/b] - WOW! (I'm so impressed, I'll say it backwards: !WOW
)This horn exceeded my already high expectations. Even new, the valves were quick and smooth. (To my mind, the best valves of all the horns I tried.) Classic, dark "British" sound. Flexibility, slotting, intonation: all outstanding. The consistency across all three display horns was amazing.
Various people have commented regarding this or that horn that one only had to think a note and there it was. That was my experience with the Virtuoso. On the top end, I tried—and was able to hit—notes in the upper register that I've never been able to reach before, at both pp and ff (I normally top out a C (concert) an octave above the staff (BC); I was consistently able to hit the C#, D, and Eb above that with good tone, and even hit one E nat); the F below the staff down to the pedals was solid and completely open. High-to-low and low-to-high register jumps have always been a nemesis; I could toss them off on the Virtuoso with very little effort. Sat. morning, before the exhibits officially open, I went to the Sterling stand, grabbed a Virtuoso, and, without warming up (yeah, I know, not smart), played a second line Bb, pedal Bb, and immediately nailed a solid Bb an octave above the staff.
Visually, the Virtuoso "pops." The gold trim appears significantly more saturated than the trim on the 842, PT37, and Prestige.
Ultimately, the dealbreaker for me was my budget; and even then, it was all I could do to keep from pulling out my credit card. The upshot of my testing is that I'm postponing purchasing a new euph for a year (unless I win the lottery first) in order to buy a Virtuoso.
Other models:
Besson 2051/2052 - quite frankly, I came away disappointed by the Prestiges. After all I had read and heard about the new valves, I was taken aback by the sluggishness of the valve action: I played every one of the Prestiges on display at the Besson and the other vendors' stands at least four or five times over the course of the two days, and consistently found the valves were still on the return stroke when I was playing the next note. (I did not experience the same sluggishness with the 967s or 968s, though.) This may have been because the valves were not bedded in yet, or because the horns were not fully prepped, but it was still something of a disappointment.
To my ears, the sound was classic Besson: dark, focused, lyrical; very much what I expected. (Some people have commented that the sound of the new Bessons is brighter than in the past, but I did not notice this, though that may have been due to the ambient noise level in the exhibition hall.)
The top end and the pedals were both very open and very easy, but I found the Prestige a bit more work and less easy for me to center in the upper register than the Sterling Virtuoso, York Eminence, and B&S PT37.
Besson 967/968 - some inconsistency in my experience here. I found the 967s at the Besson stand to be more open in the pedals and to sing better throughout the range than the 968s, but at the WWBW and Dillon stands, the 968s were more open and better than the 967s.
The valve action was noticably better across all horns than on the Prestiges.
Sound as as expected. Interestingly, I could literally feel the entire horn vibrate when playing the second line Bb (BC). (Several others I talked to mentioned this as well.)
York Eminence - could be the exact same comments as for the Prestige, except without the valve problems and slightly less work on the top end. Nothing really stood out to distinguish it from the Prestige, except the smoke/black trim, which I found visually underwhelming.
Willson 2900 [with the caveat that the only large shank 2900 on display was a used horn] - much more open and free blowing than the Euro-shanks that were on display. I had read comments on other boards that the large shank 2900 is a different horn than the Euro-shank; based on my experience, I agree completely. Focused, very open pedals and very easy top end. I understand why Charley Brighton calls the large shank 2900 the "Rolls Royce" of euphs. Noticably brighter than the Bessons.
Hirsbrunner HBS 378 - bright sound; very easy to play, but nothing stood out that made me want to go back and play it again.
Kanstul CEU 975 (silverplated with detachable lacquered bronze bell) - quite a looker, but very hard to play compared to others, possibly because bronze is less resonant or harder to initiate resonance in than brass; high resistance, possibly owing to smaller bore (.570/.593); solid, dark tone; significant intonation issues. I didn't try it with a tuner, but the third and sixth partials were glaringly out of tune.
Miraphone M5000 - didn't work for me.
Meinl-Weston 451 - can't comment because third valve consistently stuck in the down position.
Meinl-Weston 551 - stuffiest of the euphs I tried from F below staff (BC) to pedal Bb; didn't work me.
Yamaha 842 - very consistent sound and intonation from pedals to top end; not as easy on top end as competition; brightest of all premium horns I tried.
Dillon Music comp euph (satin silver with bright silver bows and trim) - Like the Kanstul, quite a looker. I saw at least 9 sponsored players trying it out over the two days. As you would expect from a stencil horn, it's Chinese-made. Tone, flexibility and intonation were acceptable, but slotting was very spotty in the upper register: overall, very similar to the Tuba Exchange comp euphs I've played. The horn was light for a comp euph (I thought it felt a little less substantial than the Tuba Exchange comp euphs). Fit appeared to be ok, but some parts, especially the bows, wire guards and the mpc brace, appeared unfinished (squared edges rather than rounded; the mpc brace reminded my of a wooden ice cream spoon bent in half). Ok for the price ($2495), but probably not much resale value down the road.
The Real Surprise of the week was being approached by a sponsored player on Sat morning while trying out a horn from a different manufacturer and being told I was a good player! (Especially since I never made it past district level in high school and until last Sept, I hadn't played a lick in almost 28 years!)
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oldbandnerd
- 5 valves
- Posts: 1031
- Joined: Wed Dec 22, 2004 8:43 pm
- Location: No matter where you go... there you are .
- Contact:
Pictures !!!
BRUCKER HALL
TUBAS !!
TUBAS !!!!
SAM PILIFIAN LOOKING AT TUBAS !!
WILLSON EUPHONIUMS !!!
TUBA ROW
MARTY ERICKSSON,CHARLEY BRIGHTON(WILLSON EUPHONIUM PERFORMING ARTIST,U.K.), DAN SURBER (GETZEN REP)
CHARLEY BRIGHTON PLAYING A CIVILWAR ERA TUBA
CHARLEY BRIGHTON AND MARK JENKINS
MIKE FINN SELLING HIS MOUTHPIECES
UNKNOW TUBIST TRYING OUT A HORN
ME PLAYING A WILLSON 2950 EUPHONIUM
BRUCKER HALL
TUBAS !!
TUBAS !!!!
SAM PILIFIAN LOOKING AT TUBAS !!
WILLSON EUPHONIUMS !!!
TUBA ROW
MARTY ERICKSSON,CHARLEY BRIGHTON(WILLSON EUPHONIUM PERFORMING ARTIST,U.K.), DAN SURBER (GETZEN REP)
CHARLEY BRIGHTON PLAYING A CIVILWAR ERA TUBA
CHARLEY BRIGHTON AND MARK JENKINS
MIKE FINN SELLING HIS MOUTHPIECES
UNKNOW TUBIST TRYING OUT A HORN
ME PLAYING A WILLSON 2950 EUPHONIUM
Last edited by oldbandnerd on Mon Feb 04, 2008 5:36 pm, edited 3 times in total.
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tubasinfonian
- bugler
- Posts: 66
- Joined: Sun Oct 14, 2007 5:21 pm
I would just like to say that the Inter-Service 85 piece tuba and euphonium ensemble was absolutely stunning. To any of you who were in it, I would like to thank you for your hard work in our nation's armed services, and I commend you on an outstanding performance!
NOTHING tops 85 tubas and euphoniums playing the opening theme to Star Wars. NOTHING!!
NOTHING tops 85 tubas and euphoniums playing the opening theme to Star Wars. NOTHING!!
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kingrob76
- 3 valves
- Posts: 413
- Joined: Tue Jun 01, 2004 10:45 pm
- Location: Reston, VA
My highlight was when Tom Holtz (current member of the Marine Band) gave Pat Sheridan (former member of the Marine Band) a 4-page handout on the benefits of a career with the Marine Band. The look on Pat's face was priceless (methinks he doesn't miss the evening Parade in July and August, or the boneyard in January). 
My runner-up highlight was when just before that I gave said handout to Tom Holtz, just in case after 16 years he wasn't sure about the 30 days of paid leave or the tuition assistance program offered by the USMC.
My runner-up highlight was when just before that I gave said handout to Tom Holtz, just in case after 16 years he wasn't sure about the 30 days of paid leave or the tuition assistance program offered by the USMC.
Rob. Just Rob.
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ASTuba
- pro musician
- Posts: 672
- Joined: Thu May 11, 2006 9:24 am
- Location: Las Vegas, NV
- Contact:
It was good to see everyone there, I had a fantastic time seeing all my old friends, and making new ones.
The highlight of the conference for me was to hear Steve Dumaine's playing again. What a fantastic player, and what a dynamic individual. He played flawlessly, and decided to take a major risk with the last piece he performed, and didn't really give anyone a chance to agree/disagree. That takes a lot of confidence and courage.
The surprise of the conference is the new Jupiter CC tuba. What a great tuba this is. Is it as good as the Baer? No, but for $6,000, it plays better than many tubas out there with higher pricetags.
The new York Eb was very good, had a lot of nice qualities even though I suck at Eb tuba. As always, there were many great tubas that we all know.
Thanks again, and I hope to see all of you again next year!
The highlight of the conference for me was to hear Steve Dumaine's playing again. What a fantastic player, and what a dynamic individual. He played flawlessly, and decided to take a major risk with the last piece he performed, and didn't really give anyone a chance to agree/disagree. That takes a lot of confidence and courage.
The surprise of the conference is the new Jupiter CC tuba. What a great tuba this is. Is it as good as the Baer? No, but for $6,000, it plays better than many tubas out there with higher pricetags.
The new York Eb was very good, had a lot of nice qualities even though I suck at Eb tuba. As always, there were many great tubas that we all know.
Thanks again, and I hope to see all of you again next year!
Andy Smith, DMA
http://www.asmithtuba.com
http://www.asmithtuba.com
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ASTuba
- pro musician
- Posts: 672
- Joined: Thu May 11, 2006 9:24 am
- Location: Las Vegas, NV
- Contact:
Hey, if you heard any of the Inter-service panel on Saturday morning, you got to hear some of my sucky tuba playing.greatk82 wrote:ASTuba wrote: The new York Eb was very good, had a lot of nice qualities even though I suck at...tuba.
Sorry, sometimes newspaper-style editing is fun.
I really want to thank MUC Andy Carlson, MSgt Brian Sands, MGySgt John Cradler, and SFC David Brown for giving me the opportunity to play for this panel. I've gotten a lot of great advice from these four men, and I really can't thank them enough!
Andy Smith, DMA
http://www.asmithtuba.com
http://www.asmithtuba.com
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Rick Denney
- Resident Genius
- Posts: 6650
- Joined: Mon Mar 22, 2004 1:18 am
- Contact:
I heard lotsa notes. Lotsa lotsa notes. My favorite new work was Neal Corwell's composition for tuba-euphonium quartet and orchestra.
Steve Dumaine probably created the most stir with his distortion box and amplifier (which goes to 11), playing a bass guitar solo from Metallica. It drove all the blue-hairs right out of the auditorium (by which I mean everyone older--slightly older--than me). They had been lulled into a false sense of security by his previous virtuosic playing of more conventional tuba fare.
Lee Stofer has a new mouthpiece out. It's the Stofer Geib, and it's an exact copy of an original Conn Geib mouthpiece. I'm trying one out. Ask me in six months if I like it better than the PT-48 I have been playing.
Roger Lewis couldn't come, but he sent his inventory, including a 6450 Baer BAT, a 5450 Thor, and a 6460 Kodiak. The 6450 is likely the best tuba I have ever put to my lips. I have never said that about Yorkbrunners, Nirschls, etc. The Thor was no less fun to play. The Kodiak is a seriously superb F tuba. All of them are fabulously expensive, and I felt guilty about leaving fingerprints on them. But I still played them.
Dave Fedderly brought Chuck Daellenbach's former CB-50, with a new silver-plated bell to replace the carbon fiber bell (the rest still has its gold plating). I've always liked those instruments, and this one was no exception. He also had a 2145 with his personal list of mods, including some reconfiguration of the tuning slides, etc. It was far more expansive in the way it played compared to my memory of 2145's I'd tried in the past. He tells me he will be getting them with those mods.
And for those of you who have been waiting for the Baltimore Brass tuba stand, the wait is nearly over. The new tops are on the way, and the one I saw looked like a winner and is MUCH lighter than the K&M top they have used in the past. The new top has a more conventional foam pad which I think will keep the instrument from perpetually working its way over at an angle the way it seems to with the K&M tops.
The M&M tubas are real tubas. They are not tuba-shaped sculptures as has sometimes been suggested. The 186-style rotary Bb is quite good for the money. I liked the 1291 imitation less so, but it's a real tuba worthy of consideration at its price point. The F, however, needs work. One does not want to have to use an alternate fingering to play F on an F tuba. I did not try the C, but reports from others were positive considering the price point.
Had Custom brought gold-plated mouthpieces, I'd have bought a PT-48. But they didn't. I would have also liked to try out a PT-8, to see if it restored some of the magic in the old Symphonie model F tubas that has been lost in the more recent desire to make them sound bigger. But they only brought the Fs with the bigger 1st and 5th bore, and the low C...well...what can I say? But they had a nice PT-1 and I'm glad an old friend of mine got it.
The Norwegian Star Miraphone 283, brought by the Brasswind, might have been the tuba to make me learn Eb fingerings. If you play Eb, and if spending thousands of dollars is something you need to avoid, then heed Mike Lynch's words offered to me while trying it out, "Nothing good can come of this." You have been warned.
Ditto Matt Walters's Martin-based CC creation.
Speaking of old friends, I met up with Dan Augustine for the first time in well over 20 years. You are seeing a fair sprinkling of his arrangements coming out through various publishers, and there will be much more to come as he makes positive use of his retirement from real work. And you'll be seeing more from Ray Grim, too, who I think has written some of the best stuff out there for quartets of mortal tuba players. Cimarron has asked for more from him and let's hope he obliges.
Kenmore Auditorium was a great place for the concerts, and it did indeed help with the schedule to avoid having to come back through security after dinner each night. The parking was a minor problem, and overflow parking was in a muddy field. I'm glad the Subie has all-wheel drive, but next year I'm bringing Wellington boots.
Finally, I did NOT buy a tuba...
...at the conference.
But my wife announced that a friend had seen a tuba at an antique shop, so before Ray and I spent the day playing duets on Sunday, we went to investigate. Yup, I now have another Conn 14K, sold by a junk-store dealer who didn't know what he had.
Rick "now restocked with Hetman's, too" Denney
Steve Dumaine probably created the most stir with his distortion box and amplifier (which goes to 11), playing a bass guitar solo from Metallica. It drove all the blue-hairs right out of the auditorium (by which I mean everyone older--slightly older--than me). They had been lulled into a false sense of security by his previous virtuosic playing of more conventional tuba fare.
Lee Stofer has a new mouthpiece out. It's the Stofer Geib, and it's an exact copy of an original Conn Geib mouthpiece. I'm trying one out. Ask me in six months if I like it better than the PT-48 I have been playing.
Roger Lewis couldn't come, but he sent his inventory, including a 6450 Baer BAT, a 5450 Thor, and a 6460 Kodiak. The 6450 is likely the best tuba I have ever put to my lips. I have never said that about Yorkbrunners, Nirschls, etc. The Thor was no less fun to play. The Kodiak is a seriously superb F tuba. All of them are fabulously expensive, and I felt guilty about leaving fingerprints on them. But I still played them.
Dave Fedderly brought Chuck Daellenbach's former CB-50, with a new silver-plated bell to replace the carbon fiber bell (the rest still has its gold plating). I've always liked those instruments, and this one was no exception. He also had a 2145 with his personal list of mods, including some reconfiguration of the tuning slides, etc. It was far more expansive in the way it played compared to my memory of 2145's I'd tried in the past. He tells me he will be getting them with those mods.
And for those of you who have been waiting for the Baltimore Brass tuba stand, the wait is nearly over. The new tops are on the way, and the one I saw looked like a winner and is MUCH lighter than the K&M top they have used in the past. The new top has a more conventional foam pad which I think will keep the instrument from perpetually working its way over at an angle the way it seems to with the K&M tops.
The M&M tubas are real tubas. They are not tuba-shaped sculptures as has sometimes been suggested. The 186-style rotary Bb is quite good for the money. I liked the 1291 imitation less so, but it's a real tuba worthy of consideration at its price point. The F, however, needs work. One does not want to have to use an alternate fingering to play F on an F tuba. I did not try the C, but reports from others were positive considering the price point.
Had Custom brought gold-plated mouthpieces, I'd have bought a PT-48. But they didn't. I would have also liked to try out a PT-8, to see if it restored some of the magic in the old Symphonie model F tubas that has been lost in the more recent desire to make them sound bigger. But they only brought the Fs with the bigger 1st and 5th bore, and the low C...well...what can I say? But they had a nice PT-1 and I'm glad an old friend of mine got it.
The Norwegian Star Miraphone 283, brought by the Brasswind, might have been the tuba to make me learn Eb fingerings. If you play Eb, and if spending thousands of dollars is something you need to avoid, then heed Mike Lynch's words offered to me while trying it out, "Nothing good can come of this." You have been warned.
Ditto Matt Walters's Martin-based CC creation.
Speaking of old friends, I met up with Dan Augustine for the first time in well over 20 years. You are seeing a fair sprinkling of his arrangements coming out through various publishers, and there will be much more to come as he makes positive use of his retirement from real work. And you'll be seeing more from Ray Grim, too, who I think has written some of the best stuff out there for quartets of mortal tuba players. Cimarron has asked for more from him and let's hope he obliges.
Kenmore Auditorium was a great place for the concerts, and it did indeed help with the schedule to avoid having to come back through security after dinner each night. The parking was a minor problem, and overflow parking was in a muddy field. I'm glad the Subie has all-wheel drive, but next year I'm bringing Wellington boots.
Finally, I did NOT buy a tuba...
...at the conference.
But my wife announced that a friend had seen a tuba at an antique shop, so before Ray and I spent the day playing duets on Sunday, we went to investigate. Yup, I now have another Conn 14K, sold by a junk-store dealer who didn't know what he had.
Rick "now restocked with Hetman's, too" Denney
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Dean E
- 5 valves
- Posts: 1019
- Joined: Fri Mar 19, 2004 10:36 am
- Location: Northern Virginia, USA
- Contact:
I had the great pleasure of performing with the "Armed Forces Tuba Euphonium Ensemble," comprising military musicians, active and reserve, from several nations, led by John Stevens.tubasinfonian wrote:I would just like to say that the Inter-Service 85 piece tuba and euphonium ensemble was absolutely stunning. To any of you who were in it, I would like to thank you for your hard work in our nation's armed services, and I commend you on an outstanding performance!
NOTHING tops 85 tubas and euphoniums playing the opening theme to Star Wars. NOTHING!!
I agree with you. Star Wars--Main Title--was arranged by Toshinobu Kinoshita. The sustained low C measures were a marvelous, bone-shaking, peak experience, coming from such a mass of energized brass.
[EDIT] Don Palmire ran the conference. [Thanks Sean]. Don's team did a marvelous, top notch, supremely professional job planning, coordinating, and executing a great program. David Brown and others were substantially involved. Next thing to do is watch for the performances to be archived at the web site.
Last edited by Dean E on Tue Feb 05, 2008 1:05 am, edited 1 time in total.
Dean E
[S]tudy politics and war, that our sons may have liberty to study mathematics and philosophy. Our sons ought to study mathematics and philosophy . . . in order to give their children a right to study painting, poetry [and] music. . . . John Adams (1780)
[S]tudy politics and war, that our sons may have liberty to study mathematics and philosophy. Our sons ought to study mathematics and philosophy . . . in order to give their children a right to study painting, poetry [and] music. . . . John Adams (1780)
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Art Hovey
- pro musician
- Posts: 1508
- Joined: Sun May 02, 2004 12:28 am
- Location: Connecticut
I was particularly impressed with Velvet Brown's recital. She did a wonderful rendition of "Retratos". (After John Manning played it a couple of years ago I ran over to the elephant room and bought a copy, and have been hacking away at it ever since.) Then she got into her tuba + drum stuff, and it just kept getting better and better.
I recorded a lot of fine music with my Edirol R-09, and am having a lot of fun with the editing. Most of it came out very well; recording conditions were ideal both in Brucker and in the Kenmore.
I hope someone videotaped the "Top Gun" tuba quartet on Thursday afternoon; that was priceless!
I recorded a lot of fine music with my Edirol R-09, and am having a lot of fun with the editing. Most of it came out very well; recording conditions were ideal both in Brucker and in the Kenmore.
I hope someone videotaped the "Top Gun" tuba quartet on Thursday afternoon; that was priceless!
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WoodSheddin
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greatk82
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[quote="kingrob76"]boneyard in January).
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"Boneyard"...really? I know that very respectable and respect worthy things often get degraded by "shop talk" and years of repitition create insensativity, but is this really appropriate in a public forum full of Veterans?
quote]
"Boneyard"...really? I know that very respectable and respect worthy things often get degraded by "shop talk" and years of repitition create insensativity, but is this really appropriate in a public forum full of Veterans?
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Rick Denney
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I didn't hear all of it, but the part I did hear proved your point. She went beyond the ultra-smooth approach I've heard from her in the past, and in this performance seemed more willing to produce a commanding sound rather than just a pretty sound. I should have mentioned it in my summary, and I wish I'd heard more of it.Art Hovey wrote:I was particularly impressed with Velvet Brown's recital.
Rick "several times in the wrong place at the wrong time" Denney
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WoodSheddin
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Yeah, the Boneyard. That is a VERY common term for Arlington National Cemetery. There is no reason to get all hyped up about it. Your interpretation of the word is not at all the same as ours.greatk82 wrote:
"Boneyard"...really? I know that very respectable and respect worthy things often get degraded by "shop talk" and years of repitition create insensativity, but is this really appropriate in a public forum full of Veterans?
sean chisham
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greatk82
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You're the boss!WoodSheddin wrote:Yeah, the Boneyard. That is a VERY common term for Arlington National Cemetery. There is no reason to get all hyped up about it. Your interpretation of the word is not at all the same as ours.greatk82 wrote:
"Boneyard"...really? I know that very respectable and respect worthy things often get degraded by "shop talk" and years of repitition create insensativity, but is this really appropriate in a public forum full of Veterans?
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Lew
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I was only able to make it for the day on Friday. My favorite performance's were the Marine band tuba euph quartet and the 1983 original conference performance. I thought Velvet did a great job with the material, but I am a little bit more of a traditionalist in my musical tastes. Sam and Pat are amazing and it was great to see them perform again, but most of what they did just didn't do it for me, even if the things they can do with tubas are still amazing.
It was good to see some of the TubeNet folks and to check out some of the new horns. I tried a new version of the BBb Miraphone 1291, and still find it the best BBb that I have tried, but at over $8k at current exchange rates I think I will stick with my King for now. I agree that the Miraphone 283 is a great Eb and I still like the PT22, but not enough to make me give up the Besson 983.
I got away cheap this year, only buying the 25th anniversary conference T-Shirt one CD and some Hetmans. The CD I bought was the Brass Band of Battle Creek, and if you haven't listened to them before you need to. The clarity and musicality of their performances is breathtaking to me. Marty mentioned that Kelloggs just funded them with $100 grand a year for 10 years, so they should be around for a while.
Maybe next year I will be able to stay for more than one day. In any case, even one day at this conference is a great experience, especially for the price.
It was good to see some of the TubeNet folks and to check out some of the new horns. I tried a new version of the BBb Miraphone 1291, and still find it the best BBb that I have tried, but at over $8k at current exchange rates I think I will stick with my King for now. I agree that the Miraphone 283 is a great Eb and I still like the PT22, but not enough to make me give up the Besson 983.
I got away cheap this year, only buying the 25th anniversary conference T-Shirt one CD and some Hetmans. The CD I bought was the Brass Band of Battle Creek, and if you haven't listened to them before you need to. The clarity and musicality of their performances is breathtaking to me. Marty mentioned that Kelloggs just funded them with $100 grand a year for 10 years, so they should be around for a while.
Maybe next year I will be able to stay for more than one day. In any case, even one day at this conference is a great experience, especially for the price.
Last edited by Lew on Tue Feb 05, 2008 10:20 pm, edited 1 time in total.
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bort
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Did anyone try out the tubas brought by WWBW this year?
Maybe it was just me, but the 3 CC's I tried (Miraphone 188, Miraphone 1291, and MW 2155) all felt and sounded like there was a something stuck in the bell. I'm sure being in the elephant room doesn't help very much, but it was a bit surprising to me.
Maybe it was just me, but the 3 CC's I tried (Miraphone 188, Miraphone 1291, and MW 2155) all felt and sounded like there was a something stuck in the bell. I'm sure being in the elephant room doesn't help very much, but it was a bit surprising to me.
