If "yes". In the past, I limited the use of that effect for when
- all the brass were playing at fff
- all the percussion were playing at fff
Since that time, I've decided that - even though it sort-of requires practicing it to be able to do it - I just don't ever NEED to do that, I NEVER received compliments for doing it, and (superb recording engineer, who regularly recorded me) *Jamey Lamar ( https://www.facebook.com/jamey.lamar ) once said to me (paraphrased, but all this specific content), "You know, I record some big-budget/full-time orchestras, and most all of their tuba players seem to like to make this really ugly sound - in the low range - when things get really loud. I've always been pleased that you don't do that, because the brass chords sound so much better. Is that something that they do on purpose, or is is something that they aren't able to avoid?"
(Jamey was a baritone horn player, when in school.)
summary: I did some of that crap a couple of decades ago, but (I believe) learned, and became smarter.
exception: (yet NOT tuba)
When playing the cimbasso, EVERY ONCE IN A WHILE (on CERTAIN individual chords - certain places in "pops" orchestral arrangements, and when covering 4th trombone in a big band), I mash the gas pedal to the floor. That having been said, the sound - with the cimbasso redlining - "stays together", the music director smiles, and I actually do - occasionally - receive compliments for that.
I've ALSO noticed that - when tuba quartets/tuba ensembles do that crap, any POSSIBILITY of making those (already too low tessitura/voiced) chords resonate (as chords) is then totally out the window - whereby any potential chords come off as well-timed grunts.
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* http://artmusicrecording.com/jamey-lamar
I'm doing a recital in two days on this horn. 
