How many of you blow a big horn?

[Dan Schultz]

I like large horns. But... the real 'key' here is how efficient they are.

I can generally get a 'small' sound out of a big horn. But... I seem to have to work waaaay too hard getting a 'big' sound out of most small horns.

[Euphtub]

- .... .- - .----. ... / .-- .... .- - / ... .... . / ... .- .. -.. .-.-.-

Lol

The band directors at one of the schools I teach for just say, "DING". In 5 years the kids have not caught on.

[David Richoux]

Hi Ron,
Go down to Harlem and find Bob Stuart. Nobody will make a better case for using a small Yamaha horn then Bob.
Mr. Exeley knows him if you don't already. He's a way nice guy and will probably let you honk on his a bit if you want.

It does make a big difference if you have a mic or not. I asked Bob about that after a Tuba Tuba concert a few years ago, got a semi-answer.

I use my CC/BBb 621 when it makes the most sense, but I bring my big old Conn Sousaphone or Kalison DS BBb if it is an outdoor or big hall gig.

[Donn]

Kalison DS BBb

Say what? Are there more of these around?

[eupher61]

I find it incredibly hard to play on the York-esque CC tubas for some reason. Anything in that 6/4 CC range, including the Rudy 5/4, and even other 5/4 tubas I just can't do it. But, the BBbs of that size range feel a lot better to me. As long as I lusted after a Martin, I'm lucky and thrilled that it works for me, even better than I hoped.

[Steve Marcus]

I've always preferred blowing a mid size horn just because they're easier to blow.

TubaTinker wrote:

I like large horns. But... the real 'key' here is how efficient they are.

Snuffle, I don't think that a blanket statement about ALL big horns is valid. As TubaTinker referred to them, some are wonderful "amplifiers." You referred to age in your inquiry; Arnold Jacobs labeled some large tubas such as the venerable CSO York(s) as an "old man's horn."

There are some 6/4 tubas, such as the Neptune that I have on loan, which play every part of the range with no more need for air support than a smaller horn. In fact, both the low Db (all 5 valves) and the notes above the staff speak very easily. There are other factors besides air requirements that make playing the Neptune a challenge (intonation on certain notes, slurring on a rotary specimen), but those are separate issues.

OTOH, there are some big horns that require a completely different approach when supplying them with air. The huge 6/4 Rudy Meinl BBb will not respond if you attempt to "force" sound from it. You must use slow, thick, warm air. Now that's a horn that has some fascinating positive attributes, but nimbleness is generally not the first adjective that I'd use to describe that monster.

To answer your question directly, I really enjoy playing the 6/4 Neptune in orchestra. Its broad, stage-filling (not just with volume, but with "presence"), orchestra-blanketing/supporting (NOT "destroying") sound is the epitome of what a 6/4 contrabass tuba should do for music written after 1870 or so (as opposed to parts originally written for ophicleide or serpent for which one would use the original instrument or a bass tuba).

OTOH, I brought the Neptune to rehearsal of my 11-piece brass choir. While it is possible to play that big horn softly, its overall tone quality did not blend as well in what is still essentially a chamber setting as my 4/4 Nirschl CC. Now I use the 4/4 CC in the brass choir for most pieces and my 983 Eb tuba for lighter, higher pieces.

[Ken Herrick]

Slight correction, Steve, It was Chester who referred to Jake's York as "an old man's horn".