Miraphone 188 Tuning Bits?

[Billy M.]

Ok folks,

I've really been enjoying my Miraphone 188 that I purchased from Lee Stofer back in February. I've gotten into a regular playing routine again but have noticed an issue with intonation.

It appears that I naturally play this horn sharp. After quite a few hours (spending a long time on long tones during my sessions) this issue causes me to have the main tuning slide pulled out in excess of 3.5 inches (which is not usual for any instrument I've ever played) and intonation of valved notes still require pulling for themselves too.

Has anyone else had to deal with this situation? Are there tuning bits or other options that anyone can recommend to resolve this?

Any and all constructive feedback is appreciated.

[Jay Bertolet]

I had this same problem on the RM-10 CC tuba I own. I had a pair of elongated ferrules installed on the main tuning slide. Fixed the problem right away. I would guess the ferrules added between 1-2 inches to the horn.

You also might want to check to make sure the mouthpiece you're using is big enough for that horn. I remember being told a story about Besson instruments where their playtester at the factory used a very small mouthpiece to check the horns so folks using larger mouthpieces had issues with their horns playing flat. This problem inspired the "Fletcher Cut" on their compensating Eb tuba. I suppose that process could also work in reverse. Just something to look into before making modifications to your horn. Good luck!

[swillafew]

One can develop a uniformly sharp sound by playing with others who play sharp. Playing outdoors will lead to the same problem if you do it too much. I played uniformly sharp on a new horn thinking I was making a "bright sound" on it until I fixed it. Put the horn away, play with your mouthpiece and a reference pitch (electronic keyboard, recording, whatever) for a couple of days and see what happens.

[Trevor Bjorklund]

I use a single Conn tuning bit on my 188, which has always played (for me) a too little sharp.
The most important thing was for me to make sure that I was using slow enough air - to make sure it was actually the horn that was sharp and not just how I was playing it ("trombone air," too fast for tuba, makes it play super sharp and, in my case, with crappy, colorless, pinched tone). This may not be a problem for people who start out on tuba but is an interesting shift for trombonists.

I suppose there is the danger that it might throw off the intonation a bit but my particular 188 is really, really in tune (except for a high F and low middle C).

The added bonus of using the tuning bit is that it gives me a little more flexibility how I hold the horn.

[now I'm curious and will have to check to see if my horn is an A=443... I suspect it is just me, though]

[Billy M.]

How much is not that much, bloke?

[anotherjtm2]

How much is not that much, bloke?

This is a really late reply, but my local shop did one (for a 186) for about $150, including the Miraphone crook.

[anotherjtm2]

Are the timestamps off or is the second 7 year bump in a day on a post?

helloooo?

I’ll take the blame for this thread resurrection.

I was searching specifically on advice about either tubas being sharp or players being sharp. When I had one tuba with the tuning slide out to its limit, I thought it a quirk of the tuba. Now that I have two that way, I think it might be me. Not sure how to tell.... I’m starting lessons next week, so an expert can take a look (via skype).

[MikeMason]

So Billy, how did you solve that 188 sharpness?

[anotherjtm2]

Please don't say, "I took some lessons, and learned how to blow 'slower air'."

Beginners and the typical bad community band tubist tend to play sharp. By lipping up they create the resistance that gives them a strong "slot" to the pitch center. ... Most really good players play flatter and relax down onto the pitch and can feel that subtle "slot". That is why the pros always look like they aren't trying very hard whereas the hacks look like they are smelling something bad.

I'm a solidly mediocre community band player, rather than "typical bad" -- I can at least hear what's in tune and adjust appropriately -- but I figured I should give this a try, since my German CC tuba is usually at the limit of its main tuning slide.

And ... I'm not seeing it. The slots are not subtle. If I relax, the pitch sags but it sounds crappy and then drops to the next harmonic. A little lipping up and down shows that I'm pretty much in the middle unless the pitch needs adjustment, and deviating too much from the middle sounds bad. Lipping up enough jumps to the next harmonic (duh), rather than creating "resistance that gives ... a strong 'slot'".

So, either I completely misunderstand, or I really could use a slightly longer tuning slide. Proper tuba tone production isn't really that radically different from euphonium or trombone, is it?

[MartyNeilan]

I am really surprised at the direction this took. His 188 most likely has the Euro higher pitch tuning slide. Especially if played in a warm room or outdoors in the summer, it may be difficult if not impossible to get it down to A=440 pitch.
He just needs the American tuning slide or the existing slide modified as Bloke earlier suggested. Common problem with a common solution that doesn't require beating up on the player.

[anotherjtm2]

I've always had the opposite problem. With embouchure and air, it is hard for me to raise the pitch adequately, much as it is difficult for some to lower the pitch adequately. I've often had to cut slides, cut bows (ask Bloke about that "fun" adventure), and in a couple cases get the 443 version, etc. ....

So... if different people get a different natural resonant pitch from the same instrument, that implies ... the oral cavity is (or isn't) a meaningful part of the total resonant length, and that the lips don't (or do) form one end of the tube?