Most people seem to comment on how it feels to blow through them, the tone qualities they perceive from underneath the bells of their tubas, how comfortable they are to hold and play, how much they weigh, how far the mouthpiece goes into the receiver, and even how strong the springs are for the valves.
Mostly, I focus on intonation characteristics...
...so - based on the misguided way in which I judge the fitness and functionality of tubas -
what should I do to become better at ignoring intonation characteristics and better at focusing on those other things?
Descriptions of tubas' playing characteristics
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bloke
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Re: Descriptions of tubas' playing characteristics
For me all informations are relevant.
Intonation characteristics are great, especially when they are good, but I wouldn't play a horn for longer which has great intonation but is awkward to hold or only works with very heavy valve springs. So comfort matters somehow. And on some horns I just don't like the way I sound, that would prevent getting friends also
Intonation characteristics are great, especially when they are good, but I wouldn't play a horn for longer which has great intonation but is awkward to hold or only works with very heavy valve springs. So comfort matters somehow. And on some horns I just don't like the way I sound, that would prevent getting friends also
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gocsick
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Re: Descriptions of tubas' playing characteristics
I am putting a shopping guide together for my son who is looking for a "College Tuba"
1. Country of Origin
☐ Was it “Designed in Germany” but mysteriously shipped from a warehouse next to a vape distributor?
☐ Does the engraving font scream “European prestige” while the valve caps scream “container pricing”?
☐ Does the seller say “same factory as ___” with a knowing wink?
Bonus points:
☐ The brand name sounds like a law firm. (“Schmidt, Bauer & Liang.”)
2. Physical Size (Bigger = Obviously Better)
☐ Is it large enough to require its own zip code?
☐ Can you hide a euphonium inside the bell?
☐ When you sit down, does the tuba sit on you?
☐ Is it marketed as a “6/4” but also advertised at the perfect for quintet
Field test:
☐ Causes nearby bass trombonists to reconsider their life choices.
---
3. Finish (Tone = Shiny)
☐ Mirror-polished silver so reflective you can check your embouchure symmetry.
☐ Lacquer so thick it looks like it was dipped in epoxy.
☐ Has that “never actually been played outdoors” glow.
Warning sign:
☐ Seller says, “Only cosmetic scratches”
4. Valve Situation
☐ Rotariy valvesdescribed as “buttery” (.
☐ Pistons described as “fast”
☐ Linkage looks like it was engineered a lawnmower repair shop.
☐ Makes a noise when you press valves that could summon wildlife.
5. Bell Diameter
☐ 19” – Respectable.
☐ 20–21” – Assertive.
☐ < 19" deduct one point
Bonus points
☐ If placed bell-down, doubles as patio furniture.
6. Weight & Transport
☐ Case requires two adults and a waiver.
☐ Does not fit in your vehicle unless seats are removed.
7. Marketing Language
☐ “Professional model” (no further details provided).
☐ “Plays like instruments costing twice as much.”
☐ “Used by major symphonies in Europe.”
☐ “Hand-hammered."
8. Accessories Included
☐ Mouthpiece included (weight: 14 ounces).
☐ Gig bag with padding equivalent to a beach towel.
☐ White gloves so you can admire the shine without leaving fingerprints.
☐ A tuning slide that has never been moved.
---
9. Social Signaling
☐ Makes other tuba players ask, “What is that?”
☐ Has an engraving so elaborate it includes flora and fauna.
☐ When you get it out of the case people assume something important is about to happen.
10. Final Litmus Test
☐ You bought it because it was a “deal.”
☐ You bought it because it would impress your studio mates
If you check at least 6 boxes, congratulations:
You have purchased a tuba for all the right reasons.
1. Country of Origin
☐ Was it “Designed in Germany” but mysteriously shipped from a warehouse next to a vape distributor?
☐ Does the engraving font scream “European prestige” while the valve caps scream “container pricing”?
☐ Does the seller say “same factory as ___” with a knowing wink?
Bonus points:
☐ The brand name sounds like a law firm. (“Schmidt, Bauer & Liang.”)
2. Physical Size (Bigger = Obviously Better)
☐ Is it large enough to require its own zip code?
☐ Can you hide a euphonium inside the bell?
☐ When you sit down, does the tuba sit on you?
☐ Is it marketed as a “6/4” but also advertised at the perfect for quintet
Field test:
☐ Causes nearby bass trombonists to reconsider their life choices.
---
3. Finish (Tone = Shiny)
☐ Mirror-polished silver so reflective you can check your embouchure symmetry.
☐ Lacquer so thick it looks like it was dipped in epoxy.
☐ Has that “never actually been played outdoors” glow.
Warning sign:
☐ Seller says, “Only cosmetic scratches”
4. Valve Situation
☐ Rotariy valvesdescribed as “buttery” (.
☐ Pistons described as “fast”
☐ Linkage looks like it was engineered a lawnmower repair shop.
☐ Makes a noise when you press valves that could summon wildlife.
5. Bell Diameter
☐ 19” – Respectable.
☐ 20–21” – Assertive.
☐ < 19" deduct one point
Bonus points
☐ If placed bell-down, doubles as patio furniture.
6. Weight & Transport
☐ Case requires two adults and a waiver.
☐ Does not fit in your vehicle unless seats are removed.
7. Marketing Language
☐ “Professional model” (no further details provided).
☐ “Plays like instruments costing twice as much.”
☐ “Used by major symphonies in Europe.”
☐ “Hand-hammered."
8. Accessories Included
☐ Mouthpiece included (weight: 14 ounces).
☐ Gig bag with padding equivalent to a beach towel.
☐ White gloves so you can admire the shine without leaving fingerprints.
☐ A tuning slide that has never been moved.
---
9. Social Signaling
☐ Makes other tuba players ask, “What is that?”
☐ Has an engraving so elaborate it includes flora and fauna.
☐ When you get it out of the case people assume something important is about to happen.
10. Final Litmus Test
☐ You bought it because it was a “deal.”
☐ You bought it because it would impress your studio mates
If you check at least 6 boxes, congratulations:
You have purchased a tuba for all the right reasons.
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- Three Valves (Sun Feb 22, 2026 6:51 pm) • prodigal (Mon Feb 23, 2026 12:06 pm) • prairieboy1 (Wed Feb 25, 2026 5:48 am)
As amateur as they come...I know just enough to be dangerous.
Meinl-Weston 20
Holton Medium Eb 3+1
Holton Collegiate Sousas in Eb and BBb
Conn 20J
and whole bunch of other "Stuff"
Meinl-Weston 20
Holton Medium Eb 3+1
Holton Collegiate Sousas in Eb and BBb
Conn 20J
and whole bunch of other "Stuff"
Re: Descriptions of tubas' playing characteristics
Literally all I care about when evaluating.bloke wrote: Sun Feb 22, 2026 1:11 pm Most people seem to comment on how it feels to blow through them, the tone qualities they perceive from underneath the bells of their tubas, how comfortable they are to hold and play, how much they weigh, how far the mouthpiece goes into the receiver, and even how strong the springs are for the valves.
Mostly, I focus on intonation characteristics...
...so - based on the misguided way in which I judge the fitness and functionality of tubas -
what should I do to become better at ignoring intonation characteristics and better at focusing on those other things?
Intonation. Ergonomics. Is it fun to play?
When I was younger I cared more about how the low register blew… but I’ve let go/ sold more out tune “open feeling” tubas than ones that take more time to learn how to finesse your air (most cases slower and warmer rather than pointed and faster.) Those particular tubas HAVE made me a better player in terms of tone and air efficiency.
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Three Valves
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Re: Descriptions of tubas' playing characteristics
☐ Can you hide a euphonium inside the bell?
I would have said 1/4 keg but still getting the picture!
I would have said 1/4 keg but still getting the picture!
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- gocsick (Sun Feb 22, 2026 7:39 pm) • prodigal (Mon Feb 23, 2026 12:06 pm)
Thought Criminal
Mack Brass Artiste
TU422L with TU25
1964 Conn 36k with CB Arnold Jacobs
Accent (By B&S) 952R with Bach12
The Fourth Estate is the Fifth Column
Mack Brass Artiste
TU422L with TU25
1964 Conn 36k with CB Arnold Jacobs
Accent (By B&S) 952R with Bach12
The Fourth Estate is the Fifth Column
Re: Descriptions of tubas' playing characteristics
I mostly eval tbones, having owned dozens. but I admit I wouldn't know a good valved horn from a really good one, although I could probably spot a bad one by playing it. When I eval a tbone, I'm looking at:
- sound as I hear it (sometimes I recruit a set of ears to help)
- how it feels to blow it
- ergo issues - grip/balance
- mechanical stuff like valves and slides
- intonation and consistency of feel through partials
- how many repairs has this instrument had and how many does it need
- how does it compare against my favorite instruments
- does it fill a gap in my current set of horns
I generally prefer used instruments over new ones because the used ones have had all the kinks worked out, and the new ones you have to pay for the privilege of working them out yourself. Also, I'd really hate to be the guy to put a dent in a brand new horn, but used horns don't give me that worry.
I really like an instrument that I can feel resonate in my hands, and on tbones, I'm looking for mostly that vintage Conn vibe which includes a combination of sound and feel. If the whole package isn't there, I'm not gonna want to play it. I'm not just black and white about one factor, but one factor can spoil the whole thing. I've sold or passed over horns for every factor: sound, ergo issues, damage, balance, overall weight, slide condition or some combination that renders a horn simply not worth the effort or expense.
One time I sold a really fantastic Courtois small bore because the intonation between partials didn't match the pattern of my other horns, and I would have to essentially relearn how to play in tune just for this one instrument. A trombone is never really out of tune unless you play it that way, but the relative intonation between partials can be different. I sold it and got something just as nice but where the intonation of partials lined up more like the rest of my horns. It took probably half a dozen different models to find that ideal.
You do see a lot of students judge horns based on the amount of lacquer or if it seems old, without even playing it.
I recently bought a tuba. I don't have a lot of experience with tubas, and had to rely on what it seems is called the "freak jury" here for that. Fortunately, y'all didn't steer me wrong. I got the Olds O-99. It's old, made by a long-out-of-business builder, has some dents, no lacquer, only 3 valves, some cosmetic issues, no case, but it feels great to play. For where I am right now on tuba, something that keeps me playing tuba is the best option. Maybe later I'll become sophisticated enough to need more power, more valves, more lacquer, or something with a more formidable reputation, but for now I just love the way that thing reverberates in my hands. That will keep me playing it until I can play it in public without too much embarrassment.
The more experience you get, the more nuanced your evaluation gets. My experience on tbone only helps to a certain extent with the tuba.
- sound as I hear it (sometimes I recruit a set of ears to help)
- how it feels to blow it
- ergo issues - grip/balance
- mechanical stuff like valves and slides
- intonation and consistency of feel through partials
- how many repairs has this instrument had and how many does it need
- how does it compare against my favorite instruments
- does it fill a gap in my current set of horns
I generally prefer used instruments over new ones because the used ones have had all the kinks worked out, and the new ones you have to pay for the privilege of working them out yourself. Also, I'd really hate to be the guy to put a dent in a brand new horn, but used horns don't give me that worry.
I really like an instrument that I can feel resonate in my hands, and on tbones, I'm looking for mostly that vintage Conn vibe which includes a combination of sound and feel. If the whole package isn't there, I'm not gonna want to play it. I'm not just black and white about one factor, but one factor can spoil the whole thing. I've sold or passed over horns for every factor: sound, ergo issues, damage, balance, overall weight, slide condition or some combination that renders a horn simply not worth the effort or expense.
One time I sold a really fantastic Courtois small bore because the intonation between partials didn't match the pattern of my other horns, and I would have to essentially relearn how to play in tune just for this one instrument. A trombone is never really out of tune unless you play it that way, but the relative intonation between partials can be different. I sold it and got something just as nice but where the intonation of partials lined up more like the rest of my horns. It took probably half a dozen different models to find that ideal.
You do see a lot of students judge horns based on the amount of lacquer or if it seems old, without even playing it.
I recently bought a tuba. I don't have a lot of experience with tubas, and had to rely on what it seems is called the "freak jury" here for that. Fortunately, y'all didn't steer me wrong. I got the Olds O-99. It's old, made by a long-out-of-business builder, has some dents, no lacquer, only 3 valves, some cosmetic issues, no case, but it feels great to play. For where I am right now on tuba, something that keeps me playing tuba is the best option. Maybe later I'll become sophisticated enough to need more power, more valves, more lacquer, or something with a more formidable reputation, but for now I just love the way that thing reverberates in my hands. That will keep me playing it until I can play it in public without too much embarrassment.
The more experience you get, the more nuanced your evaluation gets. My experience on tbone only helps to a certain extent with the tuba.
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bloke
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Re: Descriptions of tubas' playing characteristics
...as long as it's silver.
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- Three Valves (Wed Feb 25, 2026 7:47 pm)
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PlayTheTuba
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Re: Descriptions of tubas' playing characteristics
uh yeah? Of course I am going to post my thoughts later.
I haven't taken the time and practiced enough ear training to be able to tell immediately for a horn is in or out of tune. I suppose if I take a really, really, long time and compare how the octaves sound/feel from each other... or I can just use a tuner. The tuner tells me faster than my brain can process what is happening.
Does a horn that is in tune play better? For the most part, yes. But, if I don't like how it sounds and I don't like how it plays, when given the choice, I am not going to bother or care if it plays in tune. Now a school/venue etc. they got what they got, and if I do not have a choice, then intonation is more important. Since there is not much else that is redeeming about it (outside of aesthetics/uniqueness/historical significance).
Yes, yes, what I have wrote is not well written. But I am sure everyone would be able to understand what I am saying.
@Bassboner Now that is a nice and extensive list!
Well excuuuuuuse me tubist!bloke wrote: Sun Feb 22, 2026 1:11 pm ...
Mostly, I focus on intonation characteristics...
...so - based on the misguided way in which I judge the fitness and functionality of tubas -
what should I do to become better at ignoring intonation characteristics and better at focusing on those other things?
I haven't taken the time and practiced enough ear training to be able to tell immediately for a horn is in or out of tune. I suppose if I take a really, really, long time and compare how the octaves sound/feel from each other... or I can just use a tuner. The tuner tells me faster than my brain can process what is happening.
Does a horn that is in tune play better? For the most part, yes. But, if I don't like how it sounds and I don't like how it plays, when given the choice, I am not going to bother or care if it plays in tune. Now a school/venue etc. they got what they got, and if I do not have a choice, then intonation is more important. Since there is not much else that is redeeming about it (outside of aesthetics/uniqueness/historical significance).
Yes, yes, what I have wrote is not well written. But I am sure everyone would be able to understand what I am saying.
@Bassboner Now that is a nice and extensive list!
Why don't we have a few platinum or rhodium plated (outside of cost) tubas? Those materials seem to be more resistant to stuff (like acids), according to fountain pen makers/enthusiasts.
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bloke
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Re: Descriptions of tubas' playing characteristics
There's a model or a series of models that comes to mind that are built in C and are also built in Germany.
All the Cs line up pretty well, but the Gs and the E are quite flat to the Cs... Then what happens when you start adding cylindrical tubing?
I've noticed that mostly students own those.
All the Cs line up pretty well, but the Gs and the E are quite flat to the Cs... Then what happens when you start adding cylindrical tubing?
I've noticed that mostly students own those.
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PlayTheTuba
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Re: Descriptions of tubas' playing characteristics
Well, on my horn the G's are fine. E in the staff and above are better with 12. Although, I have to be careful with E in the staff because it can get sharp with 12. C below the staff is flat. C above the staff is sharp. Based on a chromatic tuner of course.bloke wrote: Sun Feb 22, 2026 11:09 pm There's a model or a series of models that comes to mind that are built in C and are also built in Germany.
All the Cs line up pretty well, but the Gs and the E are quite flat to the Cs... Then what happens when you start adding cylindrical tubing?
I've noticed that mostly students own those.
I personally need to see if can get a shorter main slide made. It has a flat nature. Or I can't give the horn the amount of air it wants, or my breath isn't
https://parklore.com/wp-content/uploads ... no01-1.jpg
enough
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Casca Grossa
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Re: Descriptions of tubas' playing characteristics
@bloke I personally look for wide slots and a world class core to the sound. The other characteristics I seek are authoritative projection with vociferous low end sub tones, a traditional open wrap design that keeps air flowing smoothly all the way down to the subsonic registers, and anything that helps me reclaim the American tuba heritage.
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- bloke (Tue Feb 24, 2026 6:36 pm) • prairieboy1 (Thu Feb 26, 2026 12:16 am)
Mirafone 184 CC
Blokepiece Imperial
Soon to be 5 valve Lignatone/Amati Eb
Blokepiece Solo
Blokepiece Imperial
Soon to be 5 valve Lignatone/Amati Eb
Blokepiece Solo
Re: Descriptions of tubas' playing characteristics
I own one of these. With a Bloke Solo, the Gs are in tune, the Es still ask for 1/2 but after playing a 186 for years, I do that anyhow. With the deep and wide mouthpieces, it does exactly what you say.bloke wrote: Sun Feb 22, 2026 11:09 pm There's a model or a series of models that comes to mind that are built in C and are also built in Germany.
All the Cs line up pretty well, but the Gs and the E are quite flat to the Cs... Then what happens when you start adding cylindrical tubing?
I've noticed that mostly students own those.
Terry Stryker
Mirafone 186C, 186BBb, 184C, 186C clone
Gebr. Alexander New 163C, Vintage 163C, Vintage 163BBb
Amati 481C
Lyon & Healy 6/4
Kane Stealth tuba
A plethora of others....
Mirafone 186C, 186BBb, 184C, 186C clone
Gebr. Alexander New 163C, Vintage 163C, Vintage 163BBb
Amati 481C
Lyon & Healy 6/4
Kane Stealth tuba
A plethora of others....
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bloke
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Re: Descriptions of tubas' playing characteristics
That's not the model I was thinking of but whatever.
Good for you.
Good for you.
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bloke
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Re: Descriptions of tubas' playing characteristics
Today's winner of the internetCasca Grossa wrote: Tue Feb 24, 2026 5:43 pm @bloke I personally look for wide slots and a world class core to the sound. The other characteristics I seek are authoritative projection with vociferous low end sub tones, a traditional open wrap design that keeps air flowing smoothly all the way down to the subsonic registers, and anything that helps me reclaim the American tuba heritage.
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Rick Denney
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Re: Descriptions of tubas' playing characteristics
Which is more important: Intonation? Sound (both tone and volume) out front? Ease of play?
Rick "yes" Denney
Rick "yes" Denney
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Rick Denney
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Re: Descriptions of tubas' playing characteristics
An old friend reminded me of the "blossom" versus "column" words we have used to distinguish tall-bell German designs from wide-bell American designs.
Several of us were fooling around with the tubas in my living room after the Saturday concert at the Army workshop. For the first time in that room, I got to hear someone else play the Hirsbrunner, which is the ultimate practical tall-bell Bb German-style kaiser in my view. (I'm biased.) Where he was sitting, the instrument was pointed up at the ceiling, and where I was sitting, there was a first reflection point from that sloped ceiling that pointed right to my head. I'd say that vast majority of the sound I was hearing was coming from that first reflection point. Hearing that, I started listening more carefully the next afternoon when playing various instruments in the same room. I think the wide-bell instruments from the same listening spot would have been much more of a mix of sound directly from the instrument and from that reflection point.
(This reinforces the very first impression I had of the Hirsbrunner, when playing a single low Bb came back at me from the tall ceiling in the Elephant Room at the Army workshop in ways I'd never experienced.)
So, "tall bell" means more directional sound, which I think is at least part of what we think of as projection. "Wide bell" radiates more in all directions, and projects less but in a resonant space will be more omnipresent. That absolutely correlates to my now-ancient experience of listening to Mike Sanders play his Alex and, on the same stage, his Yorkbrunner.
Hence, "column" and "blossom."
I have also found that the instruments that provide perfect intonation for Joe don't necessarily for me, and vice versa. I'm sure his ears are much better in that regard than mine, especially when playing instruments solo.
Given that we don't play equally tempered scales with actual ensembles, I suspect there is no such thing as "perfect" intonation in any case. The job is to make chords as an ensemble that resonate, and that won't result from equal temperament. It will also change with key. There are instruments with notes that don't fit anything that have to be corrected for everything, of course, and those are just a pain in the rear to play. But it suggests to me that a little flexibility in pitch is a feature, not a bug, for players who are using their ears.
I think we are dealing with attributes that are either qualifying or disqualifying. An instrument that makes it too difficult to make a nice sound: disqualifying. An instrument with intonation that causes endless battles (either with the instrument or with one's ensemble mates): disqualifying. An instrument that is so hard to hold that it makes my hands or back hurt: disqualifying (For me, the Willson 3100 definitely fell into this camp.) An instrument I can't carry, or hold at the gig in question: disqualifying (at least for that gig). An instrument that can't get its sound off the stage without me blowing my brains out: disqualifying (at least for that stage). An instrument that gives me so little feedback about what it is doing that I can't control it: disqualifying. Each of these attributes is necessary but not sufficient.
Rick "great tubas are good at all these things" Denney
Several of us were fooling around with the tubas in my living room after the Saturday concert at the Army workshop. For the first time in that room, I got to hear someone else play the Hirsbrunner, which is the ultimate practical tall-bell Bb German-style kaiser in my view. (I'm biased.) Where he was sitting, the instrument was pointed up at the ceiling, and where I was sitting, there was a first reflection point from that sloped ceiling that pointed right to my head. I'd say that vast majority of the sound I was hearing was coming from that first reflection point. Hearing that, I started listening more carefully the next afternoon when playing various instruments in the same room. I think the wide-bell instruments from the same listening spot would have been much more of a mix of sound directly from the instrument and from that reflection point.
(This reinforces the very first impression I had of the Hirsbrunner, when playing a single low Bb came back at me from the tall ceiling in the Elephant Room at the Army workshop in ways I'd never experienced.)
So, "tall bell" means more directional sound, which I think is at least part of what we think of as projection. "Wide bell" radiates more in all directions, and projects less but in a resonant space will be more omnipresent. That absolutely correlates to my now-ancient experience of listening to Mike Sanders play his Alex and, on the same stage, his Yorkbrunner.
Hence, "column" and "blossom."
I have also found that the instruments that provide perfect intonation for Joe don't necessarily for me, and vice versa. I'm sure his ears are much better in that regard than mine, especially when playing instruments solo.
Given that we don't play equally tempered scales with actual ensembles, I suspect there is no such thing as "perfect" intonation in any case. The job is to make chords as an ensemble that resonate, and that won't result from equal temperament. It will also change with key. There are instruments with notes that don't fit anything that have to be corrected for everything, of course, and those are just a pain in the rear to play. But it suggests to me that a little flexibility in pitch is a feature, not a bug, for players who are using their ears.
I think we are dealing with attributes that are either qualifying or disqualifying. An instrument that makes it too difficult to make a nice sound: disqualifying. An instrument with intonation that causes endless battles (either with the instrument or with one's ensemble mates): disqualifying. An instrument that is so hard to hold that it makes my hands or back hurt: disqualifying (For me, the Willson 3100 definitely fell into this camp.) An instrument I can't carry, or hold at the gig in question: disqualifying (at least for that gig). An instrument that can't get its sound off the stage without me blowing my brains out: disqualifying (at least for that stage). An instrument that gives me so little feedback about what it is doing that I can't control it: disqualifying. Each of these attributes is necessary but not sufficient.
Rick "great tubas are good at all these things" Denney
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York-aholic
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Re: Descriptions of tubas' playing characteristics
☐ When you get it out of the case people assume something important is about to happen.
This is why, for the most part, I play instruments that sort of resemble "rat rods" of the car world.
If no one really expects much, I can't really disappoint them....
This is why, for the most part, I play instruments that sort of resemble "rat rods" of the car world.
If no one really expects much, I can't really disappoint them....
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- Grumpikins (Wed Feb 25, 2026 3:03 pm) • prairieboy1 (Thu Feb 26, 2026 12:18 am)
Some old Yorks, Martins, and perhaps a King rotary valved CC
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Rick Denney
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Re: Descriptions of tubas' playing characteristics
That is a problem with the Hirsbrunner. It's just too damn pretty, even for non-tuba people.York-aholic wrote: Wed Feb 25, 2026 2:17 pm ☐ When you get it out of the case people assume something important is about to happen.
This is why, for the most part, I play instruments that sort of resemble "rat rods" of the car world.
If no one really expects much, I can't really disappoint them....
Rick "may take the new-old scarred up 186 to the next quintet gig, and that will NOT be a problem" Denney
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- York-aholic (Wed Feb 25, 2026 2:50 pm)
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catgrowlB
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Re: Descriptions of tubas' playing characteristics
I have had differing experiences with intonation and playing characteristics (sound, response, etc) on some tubas/sousas to others on here. I agree with bloke on some stuff, but not when it comes to some/many horns. And that's fine 
I just can't get into Miraphone 186 (or most 18X models for that matter), or B&S F tubas, or PT-6 tubas, even though I know they are good tubas. Just not crazy about they way they play/sound, no matter who plays them...
Conversely, I enjoy some tubas and sousas that may have a few pitch quibbles for some - OR- may come off as 'vanilla' to some. I can deal with a few pitch oddities if they are workable/correctable. I really enjoy some quirky old US tubas, some Meinls, and Yamahas that aren't always popular
Build quality is pretty up there for me, too.
I just can't get into Miraphone 186 (or most 18X models for that matter), or B&S F tubas, or PT-6 tubas, even though I know they are good tubas. Just not crazy about they way they play/sound, no matter who plays them...
Conversely, I enjoy some tubas and sousas that may have a few pitch quibbles for some - OR- may come off as 'vanilla' to some. I can deal with a few pitch oddities if they are workable/correctable. I really enjoy some quirky old US tubas, some Meinls, and Yamahas that aren't always popular
Build quality is pretty up there for me, too.
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tubaing
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Re: Descriptions of tubas' playing characteristics
I don't have the greatest ear for intonation... but I got a lot better starting around 2019 when I got a class set of ukuleles and tuned them several times a day... and now reach beginning orchestra classes has only helped more. So I probably notice and care about intonation issues a lot more now.
But I really care about solid slotting and quick response. I think Im pretty spoiled with my Besson 983 and Holton BB-345 on all fronts. My Kanstul 3/4 F tuba fit the bill as well, but it bothered me how it could be a little too bright (could possibly be mistaken for a euphonium... the Besson can't).
But I really care about solid slotting and quick response. I think Im pretty spoiled with my Besson 983 and Holton BB-345 on all fronts. My Kanstul 3/4 F tuba fit the bill as well, but it bothered me how it could be a little too bright (could possibly be mistaken for a euphonium... the Besson can't).