What a difference a big horn makes!

[MileMarkerZero]

I just purchased Marty's Kalison 2001.

Wow.

I have always loved these horns since they first hit the market and i was able to play several of the first ones. Just like I remembered.

I haven't been able to get that much sound without breaking in a long time. And it's a BIG sound, not just loud. It's certainly a different blow than my 56j was. It's almost as if you have to keep your foot off of the throttle. You can't try to power your way around it like the Conn, it takes a little more finesse; this horn doesn't react well to brute force. A friend asked me the real difference, and (since he's a gearhead - not you, Sean) I compared it as going from a small-block Chevy to a Chrysler hemi. Horsepower to burn, but you better watch your speed and if you aren't careful you can get on it too hard and just sit there spinning your wheels. This thing will blow the popcorn off of the ceiling. Man, it is a wonderful thing to be able to actually back off of the air I had to use to get the same volume out of the Conn. I can't wait to get this thing into ensemble tomorrow night!

If you ever do business with Marty Neiland, you won't be disappointed. He told me exactly what to expect, and that's exactly what I got. I couldn't be happier with my purchase!

Marty, you're right about this horn! I love it! You were also right about the Elliot bucket not working well with it, though it's as much (or more) me as the horn. The Elliot has a great sound, but I just don't have the embouchure to hold it like I used to when I was playing 20-30 hours a week, and this horn isn't nearly as forgiving along those lines as my Conn was. Even the PT-44 is a tad too big right now. The PT-34 works well, but I might be mouthpiece shopping in a couple of months, after I've gotten a little more face time with it.

Thanks again for your patience.

[Wyvern]

I just purchased Marty's Kalison 2001. ...It's almost as if you have to keep your foot off of the throttle.

Congratulations on your new tuba! You are quite right that a big tuba requires a different playing technique. You do not need to push - just sit back, enjoy that power and let the horn do the work. Once you play in a large space, you will find that also makes a LOT of difference to the sound. BATs really need a large playing space to sound their best.

[TubaTodd]

I just purchased Marty's Kalison 2001. ...It's almost as if you have to keep your foot off of the throttle.

Congratulations on your new tuba! You are quite right that a big tuba requires a different playing technique. You do not need to push - just sit back, enjoy that power and let the horn do the work. Once you play in a large space, you will find that also makes a LOT of difference to the sound. BATs really need a large playing space to sound their best.

What he said!!!! I went from a 56J back to a 2165 a few months ago. You are absolutely right. You MUST ease off the gas for the proper resonance. My college professor, Dave Unland, used a car analogy as well. He said to be successful with such a horn you use less RPM (speed of air). With the 56J you can bury the needle on the RPM's. The big horns don't respond well to that. In the recent words of my colleague, Ken Sloan...

"It's not a bass trombone."

If you are thinking Charlie Vernon when you play a 6/4 horn, then you will end up fighting yourself.

[imperialbari]

Please watch your trunk!

[UTSAtuba]

Do most Kalisons respond with the "take it easy" way of playing? I feel that way with my DS.

Joseph

[MartyNeilan]

Glad you like it, Steve. I couldn't think of a better guy to deserve that horn. Once you get locked into it, I think the director of the ETCB will be surprised at how different the whole ensemble sounds. Also, tell Joe Baker I said hi if you ever see him around again.

In a small room, it will sound 90% the same as another horn. The "presence of sound" seems to increase exponentially depending on the room size. I could easily fill the auditorium of a megachurch in Brentwood with that horn.

All things work out, though. I am doing more quintet playing now, my current church is of more modest size, and a solid 4/4 horn is perfectly adequate to balance the string section at Trevecca. Also, now when I show up somewhere not knowing what to expect, I only have to bring one do-all horn instead of a big and a small. Plus, there is no way I could reach around the girth of that beast to be able to play it with my left hand only! (For anyone who has not seen a 2001, it is a BIG tuba, noticably bigger than even the Pro2000.) If you ever decide you don't want it though, you remember where I live

Best wishes with it Steve. Remember, it's all in the Blokewashers®

[Bob Kolada]

Although several stages away from that example , I am starting to find out the same thing with my tiny Eb and my BA-Eb.

My little King has a very bright, powerful sound, and the more I hear the sound the more I want to push it! There have been times in brass choir and quintet where I have a hard time playing the music because I feel the need to back off so much so I don't sound like a "lead tuba." I've only had my Giant a few days and have not played it in a group, but I don't think I will have the same experience with it.

[MileMarkerZero]

Glad you like it, Steve. I couldn't think of a better guy to deserve that horn. Once you get locked into it, I think the director of the ETCB will be surprised at how different the whole ensemble sounds. Also, tell Joe Baker I said hi if you ever see him around again.

In a small room, it will sound 90% the same as another horn. The "presence of sound" seems to increase exponentially depending on the room size. I could easily fill the auditorium of a megachurch in Brentwood with that horn.

All things work out, though. I am doing more quintet playing now, my current church is of more modest size, and a solid 4/4 horn is perfectly adequate to balance the string section at Trevecca. Also, now when I show up somewhere not knowing what to expect, I only have to bring one do-all horn instead of a big and a small. Plus, there is no way I could reach around the girth of that beast to be able to play it with my left hand only! (For anyone who has not seen a 2001, it is a BIG tuba, noticably bigger than even the Pro2000.) If you ever decide you don't want it though, you remember where I live

Best wishes with it Steve. Remember, it's all in the Blokewashers®

Just during the warm-up chorale, Ric looked back at me with as big a grin as I've ever seen out of him. He already loves the sound.

As for me, I am fully smitten. We ran the Schumann Konzertstucke this evening, and it was amazing how little work I had to put into the horn for a really big return. Something I didn't expect (but was fully pleased at) was how beautifully the horn can blend with low reeds, and then turn right around and run with the brasses. It has such an incredible tool box of color and timbre possibilities. I am SO going to have fun with this horn!

I haven't seen Joe in several years. Last I heard, he had set aside the tuba and was concentrating on bone. i think when Ric came in as ETCB director, he wanted to play the very best in WE and CB literature, and I don't think Joe really wanted to work that hard for a recreational artistic outlet. We've had a similar response from several other erstwhile members.

[gionvil]

like the OP I have played a 56J for few years, and since I bought a Rusk-cut big Holton the Conn mostly sits unused... The thing is that once you get used to the sound of a BAT like the 2001 or the Holton is very hard to get back. It seems that when sitting beside other tubas or with trombone section the Holton does not stand or emerge, but the other low brass sounds kind of blend into the Holton's.. Even most of the directors and listeners like that a lot, and so the old question of why there are not so many BAT produced, and not even one real "American" BAT at all, is still without answer to me... ( btw, I am 100% european and I play an american tuba just because I like the way it sounds when I blow, not just because its american!)

[Wyvern]

why there are not so many BAT produced

Well production is to meet demand, so the question I have pondered is 'Why are not more BAT played?"

However for the answer, you only need to read the posts on TubeNet where players considering choice of tuba are repeatability advised 'get an all purpose 4/4 like a Miraphone 186'. I think the thing is most players today are not happy to just play Bass in a concert band, but want to play solos/concertos/small ensemble music as well which really need something more nimble than a BAT - so the 'all-around' tuba has emerged as the preferred choice.

However to provide bass to a larger concert band (or play tuba in a symphony orchestra for the majority of the repertoire), nothing else can equal the enveloping tone provided by a 6/4!

[mammoth2ba]

to provide bass to a larger concert band (or play tuba in a symphony orchestra for the majority of the repertoire), nothing else can equal the enveloping tone provided by a 6/4!

Amen!

[MartyNeilan]

As for me, I am fully smitten. We ran the Schumann Konzertstucke this evening, and it was amazing how little work I had to put into the horn for a really big return. Something I didn't expect (but was fully pleased at) was how beautifully the horn can blend with low reeds, and then turn right around and run with the brasses. It has such an incredible tool box of color and timbre possibilities. I am SO going to have fun with this horn!