I'm not sure that combining a 3-valve comp with a non-comp 4th was posited save for tearing down the idea... and it wouldn't work, it's true (I've seen an F tuba like this). However, mathematically and in the normal working range, a 3 valve comp is "theoretically" perfect, save for 123 which should only be very, very slightly too short. The same can't be said for 3+1 compensating, which is essentially a duplex instrument with two out-of-tune 3 valve instruments joined together.
As for the OP question, Rick hit it exactly on the head. Perfect description.
J.c.S.
Instructor of Tuba & Euphonium, Cleveland State University
Principal Tuba, Firelands Symphony Orchestra
President, Variations in Brass http://www.jcsherman.net
There is something I want to add to the discussion.
(No, it's not trying to refute Klaus. I was channeling Fred Young, and as Tolkein wrote it is dangerous to use tools made with an art beyond what you possess.)
In the radio world, if an antenna is not tuned to resonate with the transmitter, some energy will be reflected back instead of radiated. The signal quality that is radiated might still be sufficient, or even pretty good with respect to the signal quality requirements. But not all the transmitter's power will be radiated.
So, it seems to me likely that a note will become stuffy, which I have always defined as backing up in the instrument, if the bugle is not tuned to the buzz. Rather than reinforcing the next pulse, the return pulse will come a bit too soon or too late to fully reinforce it, and the amount of sound the player can produce will be diminished.
I know that when I play in the center of the resonance, I can make a bigger sound. That is separate from the tone issue, unless you define tone as including both volume as well as color.
This makes sense to me Rick. You're seeking a VSWR of 1:1... not really achievable, but seeking it with having zero reflected power.
Miraphone 5050 - Warburton BJ/RF mpc YEP-641S(recently sold), DE mpc (102 rim; I-cup; I-9 shank) Symphonic Band of the Palm Beaches: "Always play with a good tone, never louder than lovely, never softer than supported." - author unknown.
Exactly the duplex nature of the compensating euphonium eliminates the worst weaknesses of the Bb side, namely the accumulated shortness of tubing in the fingerings 13 and 123, as these notes are played on the F side.
The 3P Blaikley compensating system addresses, amongst other problems, a problem, which in my opinion isn't really a problem very often: the theoretical sharpness of notes fingered 23. I have many instruments. So many that I havent played them all in real life music, but among those several ones used for real, I only experienced one having a sharp 23 combination. It was so surprising to me, that I still remember the situation in March or April of 1989 when I found out about it and when I solved the problem.
I had played for a few years on my Hoyer single Bb horn with 5 valves. It is remarkably well in tune also on a few notes often causing problems in many horns. Only I found the bore on the restricting (narrow) side. So when the then Conn importer in Denmark cleared his stock, I bought a Conn 28D double with a huge sound, but also with some odd pitch problems in the midrange of the Bb side. So I play it on the F side up to the 9th partial. One of the first tasks on the Conn 28D was playing 2nd in Brahms' 2nd symphony, which opens with an important two-horns' entry. The 2nd horn plays a descending D major triad down to the leading note C# (all note references in concert pitch). The D major triad is easy: just press 3rd valve. But the C# was sickening sharp already in my own first read-through in the practice room. I suspected the 3rd slide being too long. But the real problem was an anomaly with the 2nd slide on the F side. Normally 2nd slides are a shade too long to allow for better pitches in combined fingerings, but this 2nd slide is on the short side. No problem when played alone. And I always used 3 for 12, so I hadn't noticed that shortness during my then short acquaintance with that 28D. I pulled the 2nd slide to normal slight flatness: Problem solved.
As I hear it, a stuffy sound is about lack of overtones. It occurs, when there is no correct physical resonance for a given buzz. Player's intended pitch doesn't match available resonances in the actual instrument. But there are some strong players, which are so powerful in their air supply and in managing their inner body resonances, that they can make good sounds: they can force the overtones to sound. Sometimes the result sounds exactly a bit forced, but it is in pitch and it matches the dynamic context. I could mention at least one TubeNet'ter with this capacity, but I wont (isn't myself). I have heard Denis Wick in vito doing amazing things in the gap of a non-valved 0.547" trombone. And I have a strong suspicion that the late William Bell also had that capacity. Anyway other tubists were not always impressed with the instruments on which Mr. Bell had done amazing performances and recordings.
Feeling really stupid right now... unable to follow the meaning of bloke's posts.
Instructor of Tuba & Euphonium, Cleveland State University
Principal Tuba, Firelands Symphony Orchestra
President, Variations in Brass http://www.jcsherman.net
