I'm not entirely sure whether this should go here, or in the TubeNet section... but...
I made this multitrack- the Yoshi's Island Athletic Theme. I had an idea, and I mixed the whole track twice... once using my BBb tuba on the bass, and once with my EEb, to compare how both horns perform and sound in this kind of setting. I figured that maybe some fellow Tubenetters may also be curious.
BBb: https://youtu.be/Hb0t-nBi2N0
EEb: https://youtu.be/pqoETHsR6uw
My EEb is a 1933 H.N.White King 1235 Symphony with permanent forward bell (left).
My BBb is a 1957 Besson Brevete model 221 with removable Recording bell (right).
The rest of the instruments in the videos are just accompaniment.
These tubas are just about the same size, by the way:
BBb vs. EEb (on bass lines)
- KingBassTrombone
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BBb vs. EEb (on bass lines)
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- 5 valves
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Re: BBb vs. EEb (on bass lines)
Great post! Good playing and fun music. I prefer the BBb tuba in this context, but the Eb sounds good, also.
Ace
Ace
- KingBassTrombone
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Re: BBb vs. EEb (on bass lines)
Thank you!bloke wrote:Bb notes are longer, due to "big tuba after-ring".
I've learned these things from recording (as I lucked into some recording engagements beginning in my late teens...possibly due to "neutral" feelings towards me, and possibly "somewhat animus" feelings towards someone else) :
- Overplaying does not sound good on recordings (and no, you did none of that...congrats!)
- Since overplaying does not sound good on recordings, it probably doesn't sound good "live".
- Good playing is going to sound good on a tuba that can be played in tune and that is in good working order.
- Yes, wildly-different-looking tubas do tend to sound a bit different...and bigger tubas sound a bit different, but far less different than "different players playing them" sound.
- I'm looking forward to getting my Besson BBb recording bass (same bell/bows/mouthpipe tube as yours) in working order.
I enjoyed your audio tracks.
I learned very quickly about the big tuba ring, and the delayed response of bigger tubas... learning that I need to articulate the note some time before the actual beat to sound correct was an adventure I still haven't mastered. Going from the BBb to the EEb feels like driving a dump truck, then hopping in a sports car because the response and clarity is miles apart. If I articulate the EEb in the same place I need to on the BBb, I end up playing almost a quarter of a beat (a 16th note value) ahead!
I've read on the forum little snippets about that Besson project you're planning, I can't wait to see it in its final form! I'd convert mine to 4v compensating in a heartbeat and get it refinished if I had the valve section, time, and money to spare.
- GC
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Re: BBb vs. EEb (on bass lines)
It depends on whether you favor booty or clarity. BBb has the bottom and resonance, the Eb is clearer and more focused.
JP/Sterling 377 compensating Eb; Warburton "The Grail" T.G.4, RM-9 7.8, Yamaha 66D4; for sale > 1914 Conn Monster Eb (my avatar), ca. 1905 Fillmore Bros 1/4-size Eb, Bach 42B trombone
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Re: BBb vs. EEb (on bass lines)
Your playing was nice on both, but I preferred the BBb in this context. I think you overall “ensemble” sound is very blended and round, so that “ring” complimented the mix very nicely. If you were looking to more precisely duplicate the original track, a more pointed articulation concept, along with the Eb, would be just the trick. I like the sound you have as a group, though. Thanks for sharing!
Chris Fenner
1918 Keefer Eb
191? Keefer BBb Helicon
1918 Keefer Eb
191? Keefer BBb Helicon