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Olds Super Recording 1947 w/sleeved leadpipe
Olds Super Recording 1949
Olds Recording 1970's
Olds L-12 Flugelhorn
Olds Super 1947
Olds Super 1970's
Conn 40b Vocabell 1933
Boston 3 Star cornet 1890's
Scherzer 4 valve rotary piccolo
Bach 37 (Son's)
Holton Collegiate (Son's)
Buescher mdl 15 cornet (Dad's)
I posted this over at TH but thought I'd share it here too:
I'm really happy with the progress I've made using BE. In addition to my BE routine and other stuff I've added playing real book melodies up an octave. I have been able to play tunes up to the G above high C. I don't claim to own that note. It is thin and ugly, but it is there. During my BE routine I can play exercises above the G, some days up to double C. But again they are not really usable yet. But they are there. My endurance is also way up.
I am very anxious to have a gig. I haven't played a gig since March. I hope what I have worked on in practice will translate to the job. The proof is in the pudding where the rubber meets the road.
Agreed. Big clue is Olds Pinto used a plastic valve block;)
During the late 70's I made my living as a full time repair tech at the local music store. I saw quite a few Pintos and its cousin, the Reynolds Ranger. They did not have plastic valve blocks. They were brass valve blocks coated in a thick plastic. They could be taken apart without a torch, and the valves were interchangeable. And they sucked big time. But they were nearly indestructible.
@BigDub I got an iPad a couple of weeks ago. I'm still working on getting everything into ForScore, but it helps a bunch. Now I don't have to carry 3 large books with me. Just an iPad. Okay, truth is I'm old and don't trust technology. I still keep the books in the car just in case something goes wrong with the iPad. But it is a lot easier anyway.
Hey, Kehaulani. It is an Eterna Large Bore. Have you played one? They are one of the unicorn trumpets. I had one in my shop for repair a few years ago. It was dogged out but was an incredible player.
Do I need it? No. The only horn I really need is my 1949 Super Recording. Will it get playing time? Yes. And the upturned bell will help me deal with playing over the stand into a mic during performances.
I do have a couple of horns that are great horns but don't get playing time. I would like to sell them, but no takers so far.
Cincinnati has still quite a few mom and pop music shops.
djeffers. Do you know if Buddy Rodger's Music is still around. I use to teach trumpet lessons at their North College Hill location when in college at the University of Cincinnati. I remembered they had an excellent selection of sheet music... and instructors as well!
My parents rented my first cornet from Buddy Rogers back in 1963. My dad taught at North College Hill High School from 58' until 67'
I have no idea about this, and only looked at this thread, because I am interested in hunting out an Olds Recording at some point.
With little experience of trumpets, I can only think of the basics. So, we know that if the instrument is flat, there must be too much pipe. Some have suggested that the lead pipe could be too long, but how about one of the slides? Could the tuning slide be the wrong one for this model? I can't imagine that it would have left the factory playing flat. But I suppose the idea of the wrong length lead pipe comes from it having had a new lead pipe fitted at some point right? Is there any evidence of that? New welding for example? I suppose it's possible for a good tech to have fitted a new lead pipe without there being any evidence of the weld. But to my mind, it would be easier to have had someone switch the tuning slides at some point, either by accident, or to replace a damaged slide with one that was cheaper or easier to get.
EDIT: On my 1966 Silver Flair, I noticed that the valves, and even the tuning slide have serial numbers stamped on them, to match the serial on the outer valve housing. Is this something that can be checked? Was it common to have these markings on trumpets of that era?
EDIT: Actually, it's only the 3rd valve slide that has the numbers stamped on mine, not the tuning slide.......interesting.
The upper tube on the tuning slide is the same length as the outer slide. It bottoms out exactly on the mouthpipe when fully inserted. The lower tuning slide tube is shorter than the outer tube attached to the valve section. So there is a gap there.
But as near as I can tell, the slides, mouthpipe, receiver, valves, and bell section are the same size as my Super Recording. I once heard Arthur Benade give a lecture at the ITG in the middle 1970s. He demonstrated how the smallest difference, placed at exactly the right spot, can drastically change an instrument's tuning. I wonder if there is a small dent or imperfection in just the right place.
It is a shame. The horn plays beautifully. It is the only horn that comes close to playing as well as my Super Recording.
@mike-ansberry Did it ever play in tune, or is this a new development?
I never played it as my main horn on a gig. It was just a fun horn that I bought from a friend. I don't have (anything close to) perfect pitch. I played it with some Jamey Aebersold stuff at home. But now that I am back to gigging, playing it in groups and having to hold the pitch up is cutting into my endurance.
I had an Ambassador that was hopelessly flat for some reason, and I finally resorted to shortening the tuning slide receivers and the slide legs about 1/4” so I could push in a bit more. I would have gone a bit shorter than that, but a brace pad was in the way. I don’t know if I’d do that to a Recording, though...
I have an Eclipse MR in gold plate. I had trouble with it playing flat. I talked to Leigh about it. He suggested I cut of a specific amount from the lead pipe where it attaches to the valve block. I did that and it solved the problem.
I don't have this problem on any of my other horns. I really hate to cut this 51 recording.
I've been a repair tech, full or part time, for over 40 years. But this one has me stumped. I have a 1951 Olds Recording. It is a wonderful horn. I am going to have to send my Super Recording to Dr. Valve for a valve job, so the 51 has become my gig axe. But I am finding that I have to push up on the pitch even with the tuning slide all the way in. There does not seem to be anything strange about the mouthpiece gap. I don't have any problem playing in tune with my other horns. So I have had to resort to playing my 1970's Super or my 1933 Conn 40b for my main axe. But the 51 plays so much better in every way but the intonation.
I guess it may be not the mark of a real pro player, but I am pretty up after any gig that goes well. It helps if I hang with a friend or two afterwards. Hit the Waffle House or something.
I guess if I was playing 5 nights a week it would be different.
I posted this over at TH and thought I'd post it here as well.
Yesterday I had my first rehearsal since the pandemic hit. It is a horn rock band playing Motown, Chicago, BS&T, EWF, TOP, etc. I have been working on BE for about 2 years. Last year I could make it through a 3 set gig with the group okay. I had to have them put the challenging stuff early in the set and mix it up with some of the easier stuff. Yesterday we played through 3 sets of music without taking a break. That was around 2 to 2.5 hours of playing. We finished with Diggin on James Brown and Power of Love (Huey Lewis). D's and E's no problem.
When playing jazz I used to struggle with playing the head of a tune and then going straight into my soloing after more than 1 chorus. Now I can play the head and several choruses no problem.
BE has made a big difference in my trumpet life.
I need a mouthpiece receiver for a 1951/51 Olds Recording trumpet.
@kehaulani said in How Does The Theory You've Learned Apply To Improvising?:
One doesn't so much forget what one's learned as much as learned it so well, one has internalized the material so that it comes by second nature.