Bobo 'n' 'fones

[ArnoldGottlieb]

Arnold wrote:
And, don't be fooled by the Yamaha on the cover, his endorsment status changed but some of us have the old records with the pictures of the mirafone.

Arnold, the link you posted opens to the Bobissimo CD. I was aware that he used the miraphones on many orchestral recordings, but I had always assumed (due to the cover, I suppose) that the solo recordings on the Bobossimo CD were made using the 621F.

I am no expert on Mr. Bobo's equipment, I just used the same logic that you used, and quite frankly, I thought that everybody had. I do remember him endorsing 3 different companys over his career, and I'm sure there is stuff recorded on the Yamaha, His equipment link is here, http://www.rogerbobo.com/instruments/index.shtml and I'm happily reminded to go get the CD out and listen to it before work.
Peace.
ASG

edit--Having done a tiny bit of work, I found this link, http://yamaha.com/yamahavgn/CDA/Content ... TE,00.html doesn't prove that it was all mirafone in 1978, but it proves what it wasn't--click and scroll
Also, his equipment page provides at least 1 (surprising to me) answer

[Gravid]

To fully appreciate Mr. Bobo's unprecedented (and IMO, yet unmatched) contribution to tubadom, you have to consider not only his incredibly clear and vocal-like tone quality, previously unmatched technique/range, and of course, the conviction with which he approached everything that he ever played, but also the years during which he accomplished all of this. If I'm not mistaken, he played the first tuba recital in carnegie hall in 1963. Think back to that year and what was going on tuba-wise. Aside from a handful of outstanding orchestral tubists, a poorly reviewed English concerto that had been premiered some 9 years earlier, and for all intents, a virtually dismal market for professional quality instruments, not much. He not only set a new precedent for the rest of us on many levels, but more importantly, he turned the ear of non-tubists onto the sonic possibilities of our instrument. He has been called the Heifetz of the tuba, but I think "Liszt" is a more appropriate analogy. And as Bloke pointed out, he did all of this on instruments that current thinking would likely label as limiting. Maybe it's just that times have changed, as well as our concepts of what sounds good. On the other hand, maybe it's time to revamp our thinking . . .