I am proposing to get it for orchestral playing for which I think it will be ideal (good as a substitute for F and CC tuba). I am finding it amazingly easy to get used to the rotary valves which have so far been trouble free.
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Very lyrical, plenty of power, great flexibility of tone, excellent in high and low register and to my supprise I can articulate better than I ever have on a traditional piston valve tuba. I am currently trialling one and really love it. If you want an EEb tuba with a real difference, then I would suggest trying the Meinl-Weston 2040/5 with 5 rotary valves sold by Mr.Tuba in South Wales. I may have just been unlucky, but found this a real pain so with regret let it go. However I found the valves had to be cleaned and oiled almost daily if I was not to have sticking problems.
#BRASS CONSTRUCTION HIRSBRUNNER TUBA FULL#
It played beautiful with good full register and nice sound. Apparently the valves take a lot of working in as well.Īnyway, enough of my witterings. Upon closer investigation with other tuba friends it appears that the Miraphone is 'hit or miss' situation you could get the best tuba you've ever played or you could get an absolute dog of an instrument. However the one I got on appro recently was awful,'stuffy' and out of tune with itself. On the subject of the Miraphone tubas I have tried these out twice now and the first one I had (a request to try from a European dealer friend) was fantastic. It is widely regarded that Meinl make the best tubas in the world so this may explain the quality of build. A little-known fact here, the Courtois and B&S tubas are almost identical and are both actually made by Meinl in Germany before being shipped to France and Germany respectively to be lacquered and badged. A real heavyweight monster of an instrument I have found it very easy-blowing throughout the entire range and in a very short space of time have managed to really improve my depth of sound. However, having said that,it was fantastic for smaller ensemble work and solos and I wish I could have afforded to keep it purely for that it just struggled at real 'symphonic' volumes for me.Īfter trying several tubas out (including the 'New' Maestro, Sovereign, Miraphones and Courtois) I have gone for the Courtois Symphonic 181. but I found that the sound just broke up in the band at anything substantially loud. To physically hold it is substantially lighter than a Sovereign etc. I have just replaced my Tuba having been playing on a Yamaha Maestro for the last 3 1/2 years.Īpologies to contradict everyone else but my reason for changing was that I found the Maestro too 'lightweight'.
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I had a blow, and the sound was a lot deeper. A lecturewr of bass in Hong Kong told me, he had his leadpipe knocked back around at the factory.
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The one thing I didn't like about Bessie was that the leadpipe was parallel witht he front of the instrument, meaning she was playing with her valves facing out like a trumpet/cornet. I'd love to, but I'd never get complete usage in rural Queensland. However, he doesn't like Sovereigns or brass bands, and told me I should switch to CC. Ted, I had a chat with Steve years ago, before buying Bessie, and he is indeed a clever bloke. My principal playing is either soloing, or filling a spot, or demonstrating\teaching tuba. Since I am the conductor, I don't play with a "Section" much, but were I to sit in with my basses, we're currently using old student model Yammies.
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I have it all around my range and the tonal quality is rather nice, although sometimes I feel it could be a bit darker. I get "one hell of a sound" from my Sovereign with a VB12 mouthpiece.