56J mpc for darkest sound?

[Steve Inman]

I tend to have an edgy sound when playing my 56J. A well-known, respected tuba "advisor" in South Bend has informed me that this is related to me and not the horn or mpc per se. However, whilst trying to work on this, what mpc choice(s) would y'all recommend to try to darken / smooth out my sound on this horn?

Having recently tried a 1295 5/4 CC (very dark, smooth, mellow sound) next to my 56J in a room with a high, "reflective" ceiling, the difference was obvious. With my present horn, what mpc(s) might move me in the direction of the 1295? I assume I want a funnel, deeper than my Helleberg (which I was playing when I noticed this difference.) How about stainless steel?

Etc.

TIA,

[dwaskew]

Steve,

you mike take a look at either the Loud 3 (LM3) or the Mike Finn 3 or 3H.
I lean towards the Louds, ymmv.

[iiipopes]

I know for sure of at least two instances, and probably more if I think about it, both student and professional, that use a Schilke Helleberg II for the exact reason you post.

[tubaguy9]

Sounds to me like you might be better off with a different horn.

Maybe, but money could be an issue.

It's FAR easier to scrounge up a few for a bit of a fix, than a few thousand.

[kingconn]

try a Bach 18 or 7

[CTAYLOR]

PT-88+

[Yosef: Tubist]

Obviously it isn't entirely your fault that the tuba you play isn't as dark as a 1295, because you said you played a 1295 and it was darker. No mouthpiece or change in your playing is going to make you sound like you're playing a 1295 (I didn't say you couldn't get it darker, just that it'll never be AS dark as a 1295, it is in fact an American CC tuba, see York vs. Miraphone & The Tuba Sound. There are also other things to take into account here (ie: 5/4 vs 4/4)) I think the only thing that "move you in the direction" of a 1295 in an impactful way is to buy something more like a 1295.

That comment aside,


I'd go with an LM 3

[Steve Inman]

Sounds to me like you might be better off with a different horn.

Bob astutely points out my preferred solution, which would be a Miraphone 1292. And while I am idly considering this option, it would require selling BOTH my Conn 56J AND my Yamaha YEB-381 Eb tubas, in order to get anywhere near to the "old" price of this horn. Before considering this, I would like to see if there is a cheaper option out there!

Now if someone sends me a PM with a very generous offer for my 5V Eb (5th modified for long whole step AND for right hand thumb actuation), then I might have to think harder about this! [Bob? ]

Thanks for the recommendations -- keep 'em coming!

[Yosef: Tubist]

But I would have to say that I think you can improve this yourself without any mods of your gear.

I also like this approach

[Ace]

Steve,

I bought a used Conn 52J last year. It came with a Bach 7 mouthpiece. My thought at the time was, "Is the previous owner crazy for using the Bach 7 on this horn?" Big surprise------the 7 worked very well on the 52J. Maybe it would work well for you on your 56J (?)

[46K]

Hi,
Wick 1XL, (with a preference for the old model)
I have switched to this from a Bach 7 for this exact reason.

But,
NOTHING will beat practice....
What worked VERY well for ME was using a practice mute for about an hour a day (I had to, when playing at home late at night after work) (I actually used a straight mute with cloth wrapped around the small end to seal it off)
One tends to exagerate the "broadness"(?) of the sound, to compensate for the thin sound comming trough the mute. When after about an hour you pull out the mute you will sound MUCH darker/bigger for a short time. (record yourself if possible to verify this!) Doing this regularly over time will enable you to change the darkness/broadness of you sound at will, within the limits of the used horn of course.
Good luck,
Mark

[J.c. Sherman]

I settled on a Kelly 18 with a large tone intensifier ring for my 52J. I thought it worked very well. I would look into a Helleburg (my current fave) or the Faxx Helleburg. All are relatively inexpensive...

But I did have to learn to control the blat factor to get mor power out of the instrument - flat chin is the best summary I can give but it's not very helpful, I'm sure...

J.c.

[iiipopes]

A Kelly 18 was designed for one purpose: projection outdoors. So yes, it does have a blat factor. But it is still a deep enough cup (personally observed as deeper than either a current manufacture Bach 18 or a Blessing 18) that it can work. As to the blat factor, I tamed mine with golfer's lead tape the same way you used the collar.

In addition to the Schilke H II, Because of the smaller primary bore and taper of leadpipe, a Wick 1L (not XL, just L) might also do well, although it is so deep you not only get a huge broad tone, but depending on your physicality, it could get a little less defined in the lowest register.

[Normal]

Anyone have experience with a SSH II on a 56J?

[BriceT]

You might want to look at Monette. They are very high quality and produce a pretty dark sound. However, I really love the Alan Baer Giddings & Webster mouthpieces. The stainless steel feels great and they produce a GREAT sound. But never forget that a good sound is not from the equipment but the player.

[danzfat]

I play a 56j with a Schilke HII and absolutely love it. Try that or a loud Lm-6 or 7 supposed to be close to Schilke mouthpiece. Both would be great choices.
Daniel Rathert

[Steve Inman]

Thanks to all for the suggestions. I haven't tried stainless steel yet, so I may give the LM7 a try. I do have a Bach 18, 12, 7 and a Wick 1L in my collection. I usually use the standard Conn Helleberg or PT44.

Cheers,