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Olds Recording for lead/commercial?



 
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Brad361
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PostPosted: Sun Dec 10, 2017 4:29 pm    Post subject: Olds Recording for lead/commercial? Reply with quote

First, I know “it’s not the arrow, it’s the Indian”, and mouthpiece choice is a big factor. But I’m wondering who is using one of the Recordings for commercial/rock/pop?

I just picked up a Fullerton Ambassador, which plays quite well, thinking of trying one of the “higher end” vintage Olds.

I would especially like opinions of guys who own/play one.

Brad
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HERMOKIWI
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PostPosted: Sun Dec 10, 2017 4:49 pm    Post subject: Reply with quote

I have a 1962 Recording. It was my first trumpet (after starting on a cornet). I don't play it for anything now, it's just part of my collection. That being said, the Recording gets an absolutely beautiful sound. It has the Olds proprietary version of a red brass bell (high copper content) which I think contributes significantly to its beautiful sound. I like its sound a lot better than the sound of my 1947 Super Recording (dual leadpipe version with yellow brass bell).

There is no reason the Recording could not be an outstanding horn for the lead book especially if you're going for more of the Gozzo-type big and rich lead sound.
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amzi
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PostPosted: Sun Dec 10, 2017 5:45 pm    Post subject: Reply with quote

I've played my Recording since I got it new, and I have used it for lead, but the Super is more highly regarded as a lead horn. Today my Recording is used for little more than soloing since I don't believe it blends very well with a section.
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mike ansberry
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PostPosted: Sun Dec 10, 2017 6:30 pm    Post subject: Reply with quote

I find my Recording to be harder to play lead on than my Super or Super Recording. It has a great sound, just too much work for lead.
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nieuwguyski
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PostPosted: Sun Dec 10, 2017 11:55 pm    Post subject: Reply with quote

I bought a well-used '58 Recording around 15 years ago and it became my daily player. I used it for big band lead, small-group jazz, rock, polka, blues, pit orchestra, pretty much everything I do.

After five to ten years of hard use, the valves (which showed obvious signs of wear when I bought it) started really showing their age. That started a horn safari that has yet to end.

At this point I plan on having the valves rebuilt, at which point I suspect it will once again become my daily player.

I'm also acquainted with a fellow, at least 20 years my junior (let's just say I'm younger than *my* Recording), who's currently using a Recording on the lead book in local big bands.
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homebilly
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PostPosted: Mon Dec 11, 2017 12:15 am    Post subject: Reply with quote

if it was good enough for Uan then ...........
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Irving
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PostPosted: Mon Dec 11, 2017 5:16 am    Post subject: Reply with quote

Uan played on an Ambassador/Recording hybrid that Olds made for him since he didn't like the balanced setup of the Recording. Its humbling to know that one of the top players of the 20 th Century played on an Ambassador valve section.
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HERMOKIWI
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PostPosted: Mon Dec 11, 2017 5:22 am    Post subject: Reply with quote

homebilly wrote:
if it was good enough for Uan then ...........


I think that pretty much sums it up although Uan played a custom version of the Recording:

https://www.robbstewart.com/olds-rasey-recording-trumpet/
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Ed Kennedy
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PostPosted: Mon Dec 11, 2017 6:23 am    Post subject: Reply with quote

This was in the '70's, a couple of the top studio players in Chicago, Art Hoyle and Russ Iverson, were playing Recording models. Art was reputed to have a large collection of them. They played with guys like Johhny Howell and Bobby Lewis who were playing Bach 25L and George Bean on a Schilke X4 (or in small groups an Olds Mendez cornet which looked like a trumpet but had a cornet leadpipe and receiver.)
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kehaulani
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PostPosted: Mon Dec 11, 2017 8:02 am    Post subject: Reply with quote

Russ Iverson was my best buddy my first year at North Texas. Do you know if that was a "regular" Recording or a Super Recording? Thanks.
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homebilly
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PostPosted: Mon Dec 11, 2017 12:02 pm    Post subject: Reply with quote

I regularly rotate through my 5 Ambassadors of all ilks and just love them!

lead, jazz, salsa, taps, classical the Ambassador is a great horn!
so by extraction the Recording should be a killer

my dos centavos
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Brad361
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PostPosted: Mon Dec 11, 2017 12:50 pm    Post subject: Reply with quote

homebilly wrote:
I regularly rotate through my 5 Ambassadors of all ilks and just love them!

lead, jazz, salsa, taps, classical the Ambassador is a great horn!
so by extraction the Recording should be a killer

my dos centavos


Kind of what I thought.

I just got an Ambassador in very good shape, it’s what prompted me to look at a Recording.

Brad
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CNYTrumpet
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PostPosted: Tue Dec 12, 2017 11:22 am    Post subject: Reply with quote

I often play in a section with a really outstanding lead player who plays an Ambassador which has been tweaked. I believe the lead pipe is reversed and the braces adjusted to go along with it.

Bottom line is play what gives you the sound you are looking for.
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