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    Posts made by OldSchoolEuph

    • RE: Vernacular (of range)

      @Dale-Proctor said in Vernacular (of range):

      Well, I’d call the E and F at the bottom of the staff low E and F, since there are none lower on the trumpet (at least naturally). That would make the E and F at the top of the staff middle E and F. From there upward, the notes would be high F#, G, A, B, C, D, E, and F, with the doubles beginning with F# again. Maybe that’s arbitrary, but there’s a bit of logic to it.

      When I was in good shape (as a low brass player, and in bass clef), while I could get notes a little higher and a little lower, I basically had a controlled 4 octave range bounded by 5 Fs. By your system, there would not be a single "double-" in my controlled range. So I would have high F, F, Low F, ---something----, and then pedal F. Seems like I am missing a label.

      posted in Range
      OldSchoolEuph
      OldSchoolEuph
    • Vernacular (of range)

      Every so often a thread comes up wherein someone mentions hitting, or missing, a given note. It is almost always followed by a post asking "which one exactly?".

      In a community where a significant subset of the members determine some portion of their personal self-worth by what frequencies they can manage to squeak out without a fatal stroke or forearm tendon separation, there should be a common understanding of what "high E" for instance is.

      One school of thought is that the staff determines all. If the note is below the staff, it is "low X". If above, then "high X". But very shortly above the staff we run out of guard rails. Likewise, are both Es and Fs in contact with the lines considered neither high nor low? And as if that duplication is not enough, we then have the issue of what is the note above high C? (where does double start without a graphical anchor?)

      Another, more logical but less common approach is to take everything above C below the staff through C in the staff as simply the note name. That lower C down, until pedal C, is then "low X". From the D in the staff on up to our old friend (and the only term people seem to agree on) high C is "high X". Doubles begin above high C, triples above double C and so on. Much more logical, but not widely used.

      So what is the answer? And why, if range is so important to so many, do we not have a universally understood means of communicating that which we are so proud of? Seems hard to comprehend.

      posted in Range
      OldSchoolEuph
      OldSchoolEuph
    • RE: Bach Club

      I have a few Bachs, one of which is in my signature because it is my go-to whenever I need that standard Bach sound. The full list is:

      2009/10 180SMLV72G with the 25 pipe
      alt text

      1988 TR-300 (when I was first trying to get a sound out of a trumpet, a good friend suggested I use this, his middle-school horn, instead of a 1919 Holton I had rebuilt from lamp parts using plumbing tools)
      alt text

      1970 Early Elkhart 25
      alt text

      1964 Mt. Vernon 180-37 (despite my supplying him several alternatives including a great AW Stage 470LT, my Dad is happiest playing this old, yet still all one could ask for Bach 37)
      alt text

      1963 Mt Vernon 43 (my baby)
      alt text

      1956 Byron Autrey's customized NY-wrap Mt. Vernon 37 (more open blow, looser slotting, sweet tone - a joy to play)
      alt text

      posted in Bb & C Trumpets
      OldSchoolEuph
      OldSchoolEuph
    • RE: New Player has entered the Game - Part 2

      @Kehaulani said in New Player has entered the Game - Part 2:

      @GeorgeB said in New Player has entered the Game - Part 2:
      I practice at 5 am to 6 am mornings .

      😨 I thought 5 AM was when you were getting IN not when you're getting UP. 😁

      Some of us start work now when we used to go to sleep - "maturity" sucks!

      posted in Pedagogy
      OldSchoolEuph
      OldSchoolEuph
    • RE: PLEASE KEEP CIVIL!

      @ROWUK - I always found disagreeing with you on TM both entertaining and enlightening. (and sometimes quite a challenge as we dont necessarily disagree on much). The back & forth of differing experience and differing understandings helps root out truth - I will always support that, and found you to be one of the most valuable contributors in that regard.

      So the issue is civility. Is it not possible to moderate a forum in such manner as civil discourse, civil debate, is possible? The only challenge is for a moderator to manage to suppress his/her own bias - which some do better at than others.

      posted in Announcements
      OldSchoolEuph
      OldSchoolEuph
    • RE: Graduate school continues - value of.

      @Kehaulani said in Graduate school continues - value of.:

      I don't mean this in an uncharitable way at all, but I think you must have had a bad experience but I don't think it's universal. I've worked with all kinds of musicians and of all different kinds of backgrounds, some with little formal education to those with PhDs and I have never known one that didn't get something out of their education.

      Now, some just got an opportunity to play in some great ensembles and make some valuable relationships, while there where others who really increased their knowledge. It was really personal, depending on their level when they started school and what their goals were.

      One day during a composition lesson, I looked out the window and across the street at the main entrance to the building and said to my professor, "That's sad. There should be a sign over the entrance that says, "Caveat Emptor". He looked at me, took a pregnant pause, and said, "You have to create your own vacancy".

      Just the opposite actually - I have been very fortunate. But like you, I am no kid. I see that the path that my grandfather faced only the challenges of working hard and being skilled enough along, which for me evolved over time into ever greater, though not insurmountable with the respect of peers, political/practical hurdles, is rapidly becoming a wall of unthinking check-box filtering. Its not like it was just ten years ago - in any field from engineering to fast-food. Everyone pre-screens today - even the educational side of the arts. The performance branches of the arts are the last bastion of true meritocracy perhaps , but sooner or later the wave breaks and covers all.

      Also please do not interpret this as devaluing education in any way - professional or personal. I am, at the end of the day, a teacher and historian - I do appreciate the personal value of learning

      posted in Schools
      OldSchoolEuph
      OldSchoolEuph
    • RE: Graduate school continues - value of.

      @Kehaulani said in Graduate school continues - value of.:

      OldSchool, maybe I missed it, but does your post relate to the value of higher music education?

      Higher education in general. Music is just one more field rapidly succumbing to the impersonal and often tone-deaf, world of check-box selection.

      posted in Schools
      OldSchoolEuph
      OldSchoolEuph
    • RE: Graduate school continues - value of.

      IN the prior thread, Kehaulani represented a viewpoint with which I do not entirely agree, but which is not uncommonly held, and which is the thinking of many who might come to this thread. I would like to post my own view relative to that, but for context, here is his well expressed viewpoint worthy of consideration

      "Just to give an alternate view, I have worked as a full-time musician all my adult life. Schooling was a definite advantage. Sorry it didn't work out for you but it's hardly universal. If the expected outcome is narrow, it's possible that one's cause and effect can be disappointing. If you are versatile and flexible the outcome of your schooling can be different.

      It's not a matter of what you can't do, but what you can do. Outlook on life.
      Apply yourself, be creative, be flexible and, very important, be ready.

      I learned to not let yourself say no but to let them say no.

      Just for the record, I have never used my degrees, as is, as a requirement for work. It helped but it was not a requirement. It is what I learned, how I can use that and what contacts I made.

      But the largest thing is that I did my Graduate work for me, not for anyone else. And since it was for me, my rewards were internal and I was wiling to live with whatever standards of living and income came as a result of it. That's just how I'm wired."

      While I agree with his direction, I dont agree that the only value is intrinsic.

      My first point of contention would be that Kehaulani , as his top-tier playing days drew closer to their end (something every player who lives beyond their 30s will come to understand), expanded in to exercising his musicianship in the role of military band conductor (moving from playing one voice in the chorus to playing all). Of course, exemplary musicianship, natural leadership, and dedication are all absolute requirements. But last time I checked, so was an advanced degree.

      We live in a "check-box" age. I worked for HRStrategies, the pioneer in psych-based computer pre-screening of job applicants. Today, you cannot apply for much of anything without convincing the robot you have the right degree - and then it electronically checks against the institutions named. How long before you can't book a wedding gig without making it past the wedding planner's pre-screen ap?

      It was true in education 30 years ago, you need a post-grad degree if you want to put food on the table. In a society where the auto companies wont hire a grease-monkey without a bachelor's, do we really think that advising against at least a masters is wise?

      I think I have unique perspective from which to comment. While one of my grandfathers eschewed his love of electronics to become a pioneer in music education (piloting recording of school bands at competitions with disc-cutters, and remaining the tech guy for the American School Band Director's Association from its inception till his last report on computer aided music education shortly before his 1990 death), the other grandfather built on a high school diploma as a draftsman to be one of 4 engineers behind the DUKW being brought from concept to production in 90 days and retired as a chief engineer. I have a degree in secondary education with teaching areas of social studies and music. My career had been in building-trades, Network engineering, application development, tailpipe emissions engineering, automotive regulatory compliance, and now electrification safety in a global role for a major automaker. I know better than anyone else just how hard it is, and how badly you take a hit in compensation, without the degree checkbox.

      The global population is exploding. Even with all of the disincentives, there are plenty of new players every year competing in the market. As impersonal non-human screening takes over virtually every aspect of our interaction as a society, you are going to have to be able to check the box to get the gig. The days of practical merit are (sadly) behind us.

      posted in Schools
      OldSchoolEuph
      OldSchoolEuph
    • RE: Attracting members who are interested in things musical/trumpet

      I'm nudging this thread again in light of recent unfortunate events.

      The thread regarding the merits of investing in grad school is exactly the sort of content that this site needs to be of value to a broader community. Unfortunately, it devolved into something regrettable. I would have liked to make some counter points to the excellent first opinion that had been offered there, but another had taken a view in the opposite direction from my own and proceeded in a manner that is certainly contrary to the intent of this thread here (well, unless looking to attract Springer fans).

      Now it is locked, and thus an opportunity missed - unless, with the offending party no longer participating, perhaps it could be either unlocked or restarted ?????

      posted in Suggestion Box
      OldSchoolEuph
      OldSchoolEuph
    • RE: Seeking input on Rules

      @Dr-Mark said in Seeking input on Rules:

      @ROWUK said in Seeking input on Rules:

      Unfortunately there are a lot of people with no qualifications that are powerful posters - but with no redeeming value. Those people would not DREAM of standing up at ITG and saying the same things that they post.


      And there it is! Unfortunately the Internet is often used in a way that allows people to say anything to anyone. Instead of beer muscles (people that have played in bars know exactly what I mean) maybe there needs to be the term "Internet muscles".

      Speaking of beer muscles (or JD muscles....), I would like to coin a new term: Pizza bore!

      posted in Announcements
      OldSchoolEuph
      OldSchoolEuph
    • RE: Seeking input on Rules

      I think my past posts on forums have made my view on the value of open sharing of ideas well known. Just the same, even I will admit that there have to be some boundaries, or any forum is doomed to failure.

      The last thing I want to see is the Administrator posting less, or less involved. I know there are those who don't see it this way, but I will always recognize that the owner of the site, owns the site. I may vehemently disagree with that person, and I hope they will allow me to, but at the end of the day, if someone undertakes creating a forum, it is theirs to run as they see fit. If no-one likes how they run it, well, it will be more of a blog.

      Now, if the Administrator is open to suggestion, and the title of this thread pretty much says so, then I suggest minimal rules.

      1. Any content that crosses the line into actionable defamation, thereby placing the site owner at risk financially, has to be deleted
      2. The site owner can refuse membership to anyone for any reason
      3. Content should be topic-related
      4. Moderators should recognize their own biases and strive to be neutral in any debate - protecting not only their own point of view, but that with which they disagree (this is the hard one, and the reason for one last suggestion)
      5. When something is controversial in the world at large, particularly if morality is declared a determinant, that debate should not be welcome - it wont be resolved in a forum. (And for those who object to proscribing moral advocacy, sorry, but you are forgetting that what a society considers to be good or evil changes over time. Right and wrong, regardless of how strongly we feel them, are opinions and only become truths when universally accepted. Want to change the world? Great! Start a forum for that.)

      Notice I did not mention profanity or personal attacks. Maybe I am too much of an optimist, but I think that when people make fools of themselves in that way, maybe the world should get to see it. . . .

      posted in Announcements
      OldSchoolEuph
      OldSchoolEuph
    • RE: Rudy Muck

      @Kehaulani said in Rudy Muck:

      "I just posted this excerpt from "A Timeline of Trumpets", pages 181-182 on TH in reply to a question about a Citation, and it occurred to me it was a good fit for this new section. (Before someone objects, I'm the author. When I republish it it doesn't count as plagiarism!)"

      I watch The Daily Pigin Show by Island comic Andy Bumatai. He always says, after giving a piece of information, "But don't quote me. I might be wrong." LOL

      If you go to my website you will see the trumpet-historian's equivalent featured. I quote Roy Hempley pointing out that "just when you think you've got it figured out, a horn comes along to prove you wrong"

      posted in Historical Database
      OldSchoolEuph
      OldSchoolEuph
    • Rudy Muck

      I just posted this excerpt from "A Timeline of Trumpets", pages 181-182 on TH in reply to a question about a Citation, and it occurred to me it was a good fit for this new section. (Before someone objects, I'm the author. When I republish it it doesn't count as plagiarism!)

      Rudy’s father, J.R. Mück was an immigrant from a Moravian family that had been building brass instruments since 1875. Rudy himself had been born in Moravia in 1907, coming to the US with his family in 1911. Rudy played professionally in New York City as well as his work in the shop that opened sometime in the 1920s. The cushion-rim mouthpiece business launched around 1932, with the hand building of trumpets having already been underway as an extension of the instrument repair and customizing business. But when J.R Muck retired in 1936, Rudy set out to significantly expand as a maker.

      With knowledge of the Bach design, as well as access to some of the craftsmen and all of the parts suppliers, Muck was well situated to build his “Citation” model trumpets as New York Bach clones. What is interesting is the variety of parts sources Muck employed. The valves of most appear to be from Blessing, as Bach also used on some of his horns, and the detailing of many of the casings is a stylized abstraction of the Bach appearance. Many horns feature the Bach stop rod on third with Bach posts, which to the present day are made in the Bach factory, suggesting that Bach actually supplied Muck parts at times. In the same location however, one can find distinctive Blessing posts or a third maker’s short ball posts, without any pattern other than the horns seemed to be built with what was available that day.

      It appears that Muck assembled horns rather than making them. Blessing played a key role as a parts supplier throughout the time Rudy Muck owned the business. There are, however, also horns, particularly the “M” series models that have strong indications of being partially or completely assembled by Monke in Germany. While a few even have distinctive Monke valve casings, most still show the same stylized Bach turning. What is interesting is that Blessing valves, Blessing posts, two different styles of valve cap, and many other elements appear mixed-in randomly from horn to horn on these otherwise strongly Monke horns. It is possible that some were stencil and some were built in New York from parts – but equally plausible that Muck was shipping Blessing and Bach parts to Germany for their supplier to use, preserving both the look, and the random hand-built feel, of their product.

      Muck serial numbers have baffled all who have tried to make sense of them. Muck instruments appear with no numbers, with 4-digit numbers, with 5-digit numbers and with two groupings of 6-digit serial numbers. However, the known sale dates of many of these horns all overlap. This is particularly true after Rudy Muck sold the business to Carl Fischer around 1950. Fischer already owned JW York in Grand Rapids Michigan, and that immediately added another parts supplier to the mix. While nothing can be proven conclusively, the 4-digit sequence seems to span the duration of the Muck Company under both owners and is likely the “core” serial number sequence. The 5-digit numbers align with Blessing part numbers during the period and may have come along with the valves, or perhaps, as can be seen in a handful of obvious Artists and Super-Artist stencils, with completed horns built under contract. The first block of 6-digit numbers aligns with York serials after the Fischer sale. The second block, appear to exist primarily on some of the “M” models, which also have 4-digit numbers routinely, and may be connected to Monke, though Monke does not seem to have had a rigid numbering system for their stencil work.

      Thanks to the recollections of Niles Eldredge regarding his high school trumpet, a 4-digit 1959 Citation with the more elaborate but far rarer valve caps, we know that Fischer was procuring some Muck parts in the 50s from its York operation and Mario Marcone was assembling the finished product in New York at a Fischer facility. The York sourced valves are visually indistinguishable from Blessing sourced product, but York had a long history of making precise stencil product when contracted to do so.

      posted in Historical Database
      OldSchoolEuph
      OldSchoolEuph
    • RE: Company Timelines (Besson, Diston-Keefer, Frank Holton, Vincent Bach)

      Sorry, I overlooked the second part of the questions.

      My personal opinion is that the only advantage in the real thing, or a precise match for the average of the real thing, would be historical authenticity.

      Benge improved on forming and tempering of bells still in that French profile, adding color and depth to the sound.

      Schilke improved on the native intonation with his input to Benge and arguably his own B series - though they are not horns I consider in the same French style.

      Autrey built on the work of those two refining the leadpipe tapers and at times even the bell to further optimize the overall bore progression and thus both intonation and tonal complexity/flexibility.

      Give me a modern horn please! (at least if I'm going to be heard playing it)

      posted in Historical Database
      OldSchoolEuph
      OldSchoolEuph
    • RE: Company Timelines (Besson, Diston-Keefer, Frank Holton, Vincent Bach)

      You guys all got ahead of me on this one.

      There is no way to build a perfect pre-war Besson. The tooling and the tech were lost in the Couesnon arson if not before. Byron theorized that their annealing techniques may have been quite unique. We will never know.

      In terms of play & feel, I can only say that I have a late pre-war Brevete, and that I have put it side by side with the Kanstul version, and the sound & feel were a match in my judgement and that of others. The tricky thing is, just because 2 horns matched, does not make an equation. We are talking about a period of hand work where variability was a constant if you will excuse the humor. On average, I think Kanstul had it nailed, but in terms of matching specific iterations, its not really possible.

      That patent is for the designs that precede the classic Besson wrap by the way. Like so many others of the day, it is lacking in many respects relative to the definition of the modern trumpet Besson would establish not long after.

      posted in Historical Database
      OldSchoolEuph
      OldSchoolEuph
    • RE: The many Martin companies

      @Kehaulani said in The many Martin companies:

      @OldSchoolEuph said in The many Martin companies:
      @Kehaulani said in The many Martin companies:
      Feedback I have heard is that it holds its own tonally with the favorite second generation, but with a little more security in the slotting - more like a Handcraft. And with superior native intonation to any.

      I did not say that.

      That is a mis-quote of my post - as can be seen by scrolling up.

      posted in Historical Database
      OldSchoolEuph
      OldSchoolEuph
    • RE: The many Martin companies

      @Dr-GO said in The many Martin companies:

      @OldSchoolEuph said in The many Martin companies:

      @Kehaulani said in The many Martin companies:

      Feedback I have heard is that it holds its own tonally with the favorite second generation, but with a little more security in the slotting - more like a Handcraft. And with superior native intonation to any.

      This would suggest it is not like the original Committee. Greasy slotting was the beauty of that horn.

      It is a Committee, but its not an imitation. It stands on its own as its own generation. The "original" was the handcraft Committee, designed in 37 and which is middle of the road in slotting. The second generation came after the war and is scary-loose, but has the same amazing tone as the original. The third Generation by Ramirez is too controversial to get into. Kanstul did not build enough of theirs to really gain consensus as a generation or a copy or a clone - but I think one of the later two is most appropriate. This is, to my thinking, recognizing the brief period ahead of the Ramirez models and the Kanstul years as aberrations, this is gen 4.

      posted in Historical Database
      OldSchoolEuph
      OldSchoolEuph
    • RE: The many Martin companies

      @Kehaulani said in The many Martin companies:

      Thanks for that lineage. So the new Committee is made by Kanstul tools but supervised by people who are administrators and not instrument makers? And bottom line . . how does it play?

      That nesw BAC Committee sure looks sweet but $4700.00 - yikes!

      Feedback I have heard is that it holds its own tonally with the favorite second generation, but with a little more security in the slotting - more like a Handcraft. And with superior native intonation to any.

      And I would say supervised by instrument makers given who is actually calling the shots at BAC. Richard Martin's company is a sales channel like Fisher and Wurlitzer were back in the day - not involved in any way in fabrication.

      posted in Historical Database
      OldSchoolEuph
      OldSchoolEuph
    • The many Martin companies

      OK, here's another one:

      The many Martin companies

      1850: Johann Heinrich Martin (John Henry Martin) Apprentices to Christian Hemming in Dresden
      1852: His brother, Gottfried Robert Martin opens a brass workshop at 1 Franklin Square in New York
      1855: JH Martin joins GR in New York at a new shop at 34 Forsyth Street
      1858: The Martins move to 59 Forsyth Street in yet another expansion
      1860: (possibly 1858) JH Martin relocates to Chicago. Company lore says he opened a brass making concern there, but while Martin horns were all marked, no horn marked Chicago has ever been found. It is equally likely that he opened a distribution center for their instruments there, as Chicago was the nexus of all transportation in North America at the time.
      1864: GR Martin relocates to 43 Greene Street in New York.
      1867: GR Martin partners with Moses Slater, who specialized in wood and string instruments at 41 Greene Street. Martin and Slater offered a full line including instrument parts and materials. Concurrently, and at the same location, Martin also partners with Stephen Gordon, but the firm lasted only a year.
      1869: Martin and Slater relocates to 221 Greene Street. Martin & Co. relocates some time shortly after this to 31 Courtlandt Street (site of World Trade Center #4).
      1871: The Great Chicago Fire destroys the Martin enterprise there. The partnership with Slater becomes Slater & Martin, suggesting a change in equity on the part of Martin, and Martin & Co. has to seek out a financial partner, Henry August Pollman, from outside the music industry to infuse the firm with capital. It becomes Martin, Pollman & Co.
      1874: Slater and Martin ends with the opening of the Slater Musical Instrument Company at 41 Courtlandt across the Street from Martin Pollman & Co.
      1876: Henry Distin comes to work at MPC as superintendent, freeing JH Martin to relocate to Elkhart and participate in the early years of the C.G. Conn Company where he learned about modern brass design (MPC was still building the same Saxon style rotaries)
      1878: Distin left MPC to begin a series of brief joint ventures, most notably with Moses Slater building Distin piston valve cornets, that would lead to the creation of Henry Distin Manufacturing in 1881. This forced JH Martin to return to New York to run the shop floor.
      1879: The company name changes again to Martin Brothers when Pollman leaves the partnership and opens a store 2 blocks away on Maiden Lane, which was the Northern extension of Courtlandt Street, selling piston valve modern instruments.
      1885: Still building the same Saxon inspired out-dated designs, Martin Brothers fails. Both brothers go to work as fabricators for Michigan Musical Manufacturing in Detroit. GR remains there through at least 1887.
      1886: JH Martin relocates to Elkhart and returns to work with C.G. Conn. His sons come to work there as well over time
      1902: Strokes force JH Martin to retire.
      1904: Henry Martin and other sons of JH Martin establish the J.H. Martin Band Instrument Company. JH is unable to participate and the firm restructures as The Martin Band Instrument Company in 1905.
      1912: Plagued by sibling rivalry and general mismanagement, the company is sold to 27 year old book-keeper Francis Compton, grandson of an Elkhart pioneer and 4 year employee of the firm. Compton hires William Gronert, who had parted ways with Conn after managing the firm throughout its massive expansion between fires, to run operations. The company begins to turn around.
      1919: Gronert dies and Compton, realizing the improvement in his investment and his own lack of expertise, sells the firm in 1920 to Oliver P. Basset.
      1922: Basset completes a purge of the Martin family from company leadership with the ouster of Henry C. Martin.
      1923: Martin adds “Handcrafted” to the bell crest making a marketing advantage of the firm’s inability to afford automated production tooling.
      1928: Basset, Fred Holtz, and James State incorporate the Indiana Band Instrument Company to enter into the newly emerged student market.
      1931: Fred Holtz becomes president of Martin and remains in that role until his 1948 retirement.
      1937: Martin marketing brings together a team of celebrity trumpet consultants to advise on reshaping the Imperial as the Committee trumpet. Renold Schilke, as the only experienced brass maker in the group, becomes the driving force in the design.
      1942: Martin absorbs the Indiana Band Instrument Co. making Indiana into a brand name. The firm is not subjected to making non-musical products during WWII.
      1960: Richards Music Corporation starts buying up instrument makers. Martin is acquired by 1962.
      1963: Burdened with massive debt and an over-supplied market, RMC fails. Wurlitzer acquires Martin out of the bankruptcy, and drastically changes the product portfolio including dropping the Committee.
      1971: Wurlitzer opts out of instrument making, returning to their former business model. Leblanc acquires Martin. Shortly thereafter, the Committee is reintroduced and redesigned by Larry Ramirez.
      2003: Vito Pascucci, founder and owner of Leblanc dies and Conn-Selmer acquires all Leblanc holdings including Martin. Only a couple of instruments are continued.
      2007: Conn-Selmer shuts down the Martin brand entirely.
      2017: Great-grandson of Henry C. Martin, Richard Martin, establishes the Martin Brasswind Company out of his home on the shores of Lake Michigan. Leveraging the family name and some oft-repeated myths, and ignoring that the family was out of the company long before the horn was developed, he introduces a new Martin Committee trumpet to the market and contracts Kanstul to manufacture it.
      2019: Kanstul ceases operations and liquidates. Tooling and designs pass to BAC Musical Instruments in Kansas City. Using some of that tooling, gathering detailed specifications from all generations from Committees, and employing physics based modelling to optimize those inputs as a system, BAC develops a new, but faithful, Martin Committee to be sold by the Martin Brasswind Company.

      posted in Historical Database
      OldSchoolEuph
      OldSchoolEuph
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