Very similar experience with my Rudy 3/4 CC. 1st line G and 4th space G was 13. D below the staff was best 13, as was D in the staff. Those notes were as resonant as any other and were not stuffy whatsoever.the elephant wrote: ↑Wed Oct 21, 2020 10:51 pm The "miracle" of the Alex was that none of the longer alternate combos blew or sounded different than the open horn (even above the staff), and the 40¢ flat bottom line G was dead-on played 13 with the 1st out where it normally was for most notes. All Ds were played 13 and were stable and in-tune, and the 4th line F was also very in-tune with 1st in that position.
Maybe it's just me, but it seems that new models, while trying to improve on flaws/issues inherent in designs of old, bring new flaws/issues to the table. (The old vs. new F tuba discussion is just one example) I don't know about you, but I'm supremely pleased with the intonation of my vintage 186 (I bet yours qualifies as top shelf also). I don't know why they thought they could improve on it - I do not like the modern 186 CC half as much. I've owned a modern 186 CC, and I don't want another (unless maybe it was BBb). Bringing it back to Cerveny, those older designs can often be real gems (there are dogs, too), and even with a few intonation woes, they can be easily played in tune if you are willing to do what it takes. 13 on G and D ain't that big a deal on many older designs. They often speak cleanly and clearly - and as long as the entire instrument isn't an intonation nightmare, the problem is solved. Now... playing an F 13 and C in the staff 13 on a Conn 20J can be wonky and warbly.The most disconcerting flaw I see a lot on newer horns is a 23 overtone series that is impossible to play well without moving the 3rd slide in or out by two inches as you pass through every other partial. Horns like this are the ones I sell first. I would rather have out of tune open notes that are predictable and lippable than a 23 series that is wonky. On horns like that it seems that the Eb below the staff is miles sharp, and to correct is ruins all of the Ab octaves. (I am sorry, but I am talking about CC tubas, specifically but I ought to be speaking in terms of partials since these issues are common to tubas of all keys.)
I do, however, REALLY like my Hagen 496 an obviously modern tuba. Intonation on it is on par with a vintage 186 BBb - it's nearly plug-n-play. The low Gb needs a pull on 3 and pedal C 5234 requiring a big pull on 4. Everything else is close enough for government work. And I don't know that it sacrifices anything to achieve big clear sound with easy intonation.
Doc (exceptions to every rule, and... YMMV)
