3+1 EEb in Orchestra?

[elihellsten]

I'm a regular E flat-player but I don't like bringing my Besson to orchestral gigs. I use it all the time for brass band work but I simply don't like the way it sounds in a full size orchestra. I prefer to bring a bigger horn or even my Miraphone Eb (front action). It's something about the way it blends (or in my experience, won't blend!) with the trombone section. This makes me experience all sorts of trouble, mostly intonation wise. I find it hard to "lock it in" with the rest of brass section, probably because of the naturally rounder and fluffier sound I make on the 3+1 tuba.

Just my two cents. I have never had any problems with conductors complaining.

[Wyvern]

but probably it's best place isn't "playing Tchaik 4".

I rather think a number of British players would disagree

Jonathan "who played Tchaik 6 on Wessex EEb only last week"

[finnbogi]

the round/fluffy/(lovely) comp-Eb certainly has it's place...but probably it's best place isn't "playing Tchaik 4".

I actually find my compensating E flat perfect for Tchaikovsky, whether it is the symphonies, ballets, overtures or operas...

[Untersatz]

but probably it's best place isn't "playing Tchaik 4".

Jonathan "who played Tchaik 6 on Wessex EEb only last week"

Comparing Tchaikovsky 6 to Tchaikovsky 4 in this context would be like comparing apples to oranges

[Antontuba]

Played Tchaik 1 on my Besson 981, DW 5L this afternoon, many compliments.

[barry grrr-ero]

Let's just clear one thing up. Whether you agree with him or not, 'Fletch' did not believe in using a 3+1 eefer on everything. He felt that doing so was, quote, "bone idleness", unquote (his words, not mine). He did not share some of cohorts belief that you could simply show up to any and all gigs with a 3+1 eefer. In fact, all efforts to enlarge the B&H Eb tuba were directly due to John Fletcher. As many of you will know, he quite often used a Holton 345 CC in the LSO that Arnold Jacobs had found for him. He expressed to me his concern that the Holton might, in fact, sound too big for the LSO and RFH. But at that time, there wasn't the abundance of good 5/4 CC tubas that you have now. Regardless, he sounded great no matter what tuba was in his lap.

At the time I was over there (early '80s), the guy in the LPO was using a B&H 3+1 compensating CC tuba. My understanding is that it's almost impossible to find one of those that will play even reasonably well in tune. I tried one and it was awful - I sent it back. FYI.

Barry 'make me a really good 3+1 CC tuba and I'll buy it' Guerrero

[cjk]

If I had an Eb and a BBb that I felt I could part out, I'd like to mix and match those parts into a CC. Maybe even build a bell front/bell up set up like the bloke Eb.

ahh yes...the "orchestral model".

The bows on the BBb are so long and so gently tapered, I suspect (??) that is all the parts that might be needed.

lol. the valves are 6 inches higher than the receiver. how could that be remotely comfortable??

[Three Valves]

It's simply the "ape hanger" version!!

[imperialbari]

It is the low cut for the bell ferrules that causes the downward bend of the leadpipe.

My straight bell version has a horizontal leadpipe. As I hold the tuba vertically on its K&M stand, my right hand doesn’t always like its high position. Sometimes it goes numb.

As for the bell front version the visuals as well a the ergonomics very much dictate the tuba to be held almost horizontally.

Klaus