found/withdrawn

[arpthark]

*

[bort2.0]

[jtm]

They seem quite different. Just out of curiosity (I’m not ready to give up my 188), what’s got you interested in a 188?

Separately, are recent 188’s still made with sheet metal bottom bows, like the Eastman advertises?

[Ace]

Add me to the list of dumb ass players who sold their Miraphone 188. Gawd, I wish I had one again.

Ace

[arpthark]

They seem quite different. Just out of curiosity (I’m not ready to give up my 188), what’s got you interested in a 188?

Separately, are recent 188’s still made with sheet metal bottom bows, like the Eastman advertises?

For me, the most important similarities between a good 188 and my Eastman are "large-ish 4/4 CC tuba with good intonation." I just happen to prefer rotors a bit more.

I'm in no rush to do a trade, and will be happy if one doesn't materialize, because my Eastman is awesome. But the 188 is also awesome. I know there are stinkers, of course, so a play test is required.

I'm not sure about the newer 188s, but the Eastman is very light.

[arpthark]

This pic is before the extra water keys were added.



Here it is on the left with my Yamaclone.

[jtm]

Bump. Things scroll off the front page a whole lot faster here than at the old place.

[bloke]

Just out of curiosity (I’m not ready to give up my 188), what’s got you interested in a 188?

ooh...ooh...Call on me !!!

- an inimitable type of resonance
- very minimal intonation issues
- European workmanship

Immediately after playing the behemoth Miraphone B-flat to which I've grown accustomed, an 88 sort of feels funny to play, but after ten minutes it doesn't.

[arpthark]

Thanks. There is actually a fellow on the other forum from Memphis who would be interested in this trade. We are tentatively thinking something between now and spring 2024. Depending on the availability of a certain bloke, I might make a stop at his shop, as well. I'm sure I could find something around here to pay him to work on.

[bloke]

A model 88 is one of those tubas that I really like but do not need. Another would be a really fine example of a M-W model 2155 with an aftermarket smaller mouthpipe tube. Yet another would be that Buescher (C) helicon that I sold a few years ago. Even another would be one of two 1960s model 86 5 valve C tubas that I restored - one after the other, and ended up selling both, with my favorite of the pair being the one that Bill decided to take. As I type this, I'm seeing a pattern here. The pattern really isn't that they are all C instruments, but they are all 4/4 contrabass instruments. My current 4/4 contrabass is the compact Holton B flat that I built. It's also remarkably good - simply due to me picking out a really good bugle and bell from which to build an instrument (along with doing a really careful assembly job) - and just as great as any of the rest, but it's probably the instrument that I use the least out of the group of instruments that I use the most. I guess I could imagine myself going back to a C instrument as my 4/4 contrabass, but that's not a goal. In my experience, the best C instruments are 4/4 size, but the inverse isn't necessarily true (ie. whereby the best 4/4 contrabass instruments are not necessarily in C).

At this point in time, the only tubas made in Asia in which I might be interested would be those made in the factory that makes JP instruments (and to JP's standards) - due to the quality of workmanship. I drool over the professional quality compensating E-flat (JP377) in their line, but - again - I already have a compensating E-flat that suits my purposes really - well due to it having a detachable recording bell, along with a 19-in upright and a 17-inch upright which I fashioned for it...and - even though the valves on that 1958 instrument aren't quite as close fitting as those on a 377 - they are remarkably good, and all of their nickel plating is intact.

I have five instruments that I use fairly regularly, and several more that I use sometimes. Even if I had kept all of the really wonderful instruments that I've owned in the past, I would own too many for me to be able to maintain the familiarity with them required for mastery of each of them, which would define that my playing would ironically suffer. Further, too many of them would end up with nearly completely overlapping uses. One thing that I think is a shame about that tuba museum - over that-a-way - is that there are some really fine instruments in perfectly good condition that aren't being used. Were it that I owned more instruments, such would be the case here.

(Over the years, there have been several people that have remarked, "I can't believe he's selling that". I don't know, but this might serve as a little bit of an explanation as to why he sold that.) ...
We all know what "You can't take it with you" means. Maybe, I have embraced the reality that "I can't drag all of the stuff that I've ever owned to the finish line"...(??)

[jtm]

Just out of curiosity (I’m not ready to give up my 188), what’s got you interested in a 188?

ooh...ooh...Call on me !!!

- an inimitable type of resonance
- very minimal intonation issues
- European workmanship

Immediately after playing the behemoth Miraphone B-flat to which I've grown accustomed, an 88 sort of feels funny to play, but after ten minutes it doesn't.

1) it does sound good with the trombones, doesn’t it?
2) sometimes 5th partial E and Eb are better with 1-2 and 2-3, but that’s most rotary Miraphones, right?
3) yep

[bloke]

In my experience (and no axe to grind) the fifth partial pitches aren't particularly low, and are pretty easy to move (even when playing at low volume levels).

[bort2.0]

I loved the 188 for orchestra, it worked perfectly with a strong set of trombones, a competent horn section, and trumpets who played with a rich timbre and not necessarily just volume. It rocked the group without burying the strings, but still laid down the law and showed who's the boss.

In band, it was not as good. Weak trombones, or too many trombones... loud trumpets... horn section are spotty, oh, and all around just a loud loud group. Director wanted more breadth and wideness of sound to put down a base (bass) layer... and all that was just too much work as the only tuba in the band. The 1291 did a much better job of that for band.

The Bruckner 291 seems like a really good compromise, but I've never played one in an ensemble. In the store though, it was pretty magical and as point and shoot as it gets.

If I had the money, I'd get a Bruckner and give that a shot.

More likely though, when I'm back in the game, I'll seek a one and done 188 and hold onto it like it's the last one on earth.

[bloke]

I like Miraphone, I like the people, I like the build quality, I like several of their models, I'm finding even more of their models that I like - from time-to-time...

...I haven't found a single model (ending in "91"...or 2 or 3) that I like. To each their own. I don't mind flippin' 'em...Others obviously like 'em.

[arpthark]

Thinking about this again. Probably a pipe dream, but would also consider a really fine older (70s) 5v Miraphone 186 or a Rudi 4/4 CC ( ). Could add a bit of cash on my end.

I would think about offering this for sale, but I don't see a 188 on the market in my price range at this time... and I really like this tuba. I just have always preferred rotary valves. I played the Gregson Concerto on this horn with my band recently, in small ensembles and in large groups... extremely versatile, the most point-and-shoot tuba I have owned.

[jtm]

I would think about offering this for sale, but I don't see a 188 on the market in my price range at this time...

I think that's what confused me about the trade offer in the first place.

[arpthark]

I would think about offering this for sale, but I don't see a 188 on the market in my price range at this time...

I think that's what confused me about the trade offer in the first place.

Well, you never know who will emerge from the woodwork.

[jtm]

I would think about offering this for sale, but I don't see a 188 on the market in my price range at this time...

I think that's what confused me about the trade offer in the first place.

Well, you never know who will emerge from the woodwork.

True.

[ScottGarbutt]

I have a miraphone cc188 9113 186 that belonged to my dad. It's in good shape. Anyone know what it could fetch in today's market?

[bloke]

I had a very early so-called 88 "anniversary model" that had been ordered by someone and rejected, and Miraphone in California made me a special price so I took it. It was probably the worst 188 ever made. Having played many other 88s since then made in the 1980s, it was truly a stinker and - having been rejected, that says a lot about that customer's sensitivity as a player.

Based on how it was set up (left hand fifth valve with left hand thumb trigger), I suspect that it was ordered for Mr Bobo.