Dallas Wind Symphony to release album #16, Music of John Williams.
After trial and error with different tension straps, players often see the wisdom of my original setup. Two, THREE or four small white rubber bands. There is security in numbers. Should one fail there are two more. They have the preferred tension and response. BTW I tried clock springs and 100 players who tried both preferred the 'tension strap'. So there you have it. Q. But where do you get those little white rubber bands? A. They can be found many places. One of the easiest is horse grooming for braiding mains.
I had a busy week on the 445 - Mendelssohn Midsummer Night's Dream and Pictures at an Exhibition (Bydlo done by solo euphonium player). Although I primarily use a Perantucci PT50 mouthpiece on the 445, I found it advantageous to switch to a Perantucci PT 72S for the Mendelssohn. This allowed me to blend more transparently into the orchestra and certainly made the higher register all the more accessible. Back on the PT50, Pictures was a joy to play as the 445 responded perfectly to all of the big tuba sections, as well as the colourful solo passages.
I’ve been asked a few times if I have demo recordings of BMB tubas. I don’t. And I don’t find demo recordings useful. Jake sounded like Jake no matter what he played. Microphone placement is more important than tube on a recording. I listen to old recordings of me in the quintet and honestly can’t tell if I was playing my 184 Miraphone or my Holton/York 345. Not that the horn doesn’t matter. Just that on a recording, without defining microphone placement, the ears can be deceived. That said, there is a broadcast coming up of the Chicago Symphony. Mr.