Olds Recording/Super Recording and Studio

[dan_ostler]

Hi!

Anyone know where these fit in the grand scheme of things???
I can't find any specific information anywhere...

Cheers
_________________
Schilke B4L
WTF (in Blue)
LeBlanc Gozzo 770A, Al Hirt 707A
Olds Mendez, Clark Terry Flugel
Old Ambassador Cornet, Trumpet
Olds Mellophonium
(Is there a pattern emerging here??)
Hanns Hainlein 1632 Replica, MF Firebird
(I guess not......)

[B_Starry]

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do justly, love mercy, and walk humbly with God

[bgwbold]

Oh, I dunno. I would take the Olds Clark Terry flugel if it was forced upon me.

The Super Recording seems to be a predecessor to the Recording. I don't know anyone formerly connected with Olds who knows definitively why and what the reasoning was, but somewhere along the way, the SR was discontinued in favor of the Recording. Some people absolutely love the SR and feel that they are superior to the later Recording. The SR is pretty rare, but there are at least a couple of people who contribute to this forum who have them and love them. The Studio was marketed as an intermediate horn, but I think they are quite nice, like all Olds that I have played. I have a Studio and really like it. It is not my everyday horn, but it plays really well and would fit in with the type of playing I normally do.

Mike

[_Happy Canuck]

Dan, I assume you have checked here: http://rouses.net/trumpet/olds.htm

You can sort of see the evolution of Super Recording to Recording. I'm not positive but the 3rd trigger is certainly a Recording vs Sp Recording fixture. In the 1949 catalog http://rouses.net/trumpet/olds49/olds1949Recording.htm it was still the Super Recording but certainly by '57 http://rouses.net/trumpet/olds57/page13.htm it had the Re-O-Loy (Red Brass Bell), the side spit valve and no adjustable leadpipe or bell ring.

Between 62 and 66 the Studio changed from 2 tone brass-Nickle Silver bell to nickle plated with a 1st trigger.

The catalogs pretty well all show the list price too, so you can get a good idea of where horns fit in the product line.

p.s I think you posted the info on Clark Terry in Toronto with the All Star Big Band didn't you?
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Bill

Olds Mendez, Recording, Super, Special & Ambassador trumpets/GR Butcher 65.6M
Olds Opera, Ambassador Shepherds Crook cornets/Sparx 4B
Olds L-12 Flug/GR Butcher 65.6FL
Schilke MII trumpet/GR Butcher 65.6M

[dan_ostler]

Thanks for the replies.

As you can see from my collection, I have bright well covered, although I have a couple of horns that didn't make the list that are brighter still, bigtime.

I'm looking around for something darker. Complementary, as it were.

Yamaha prices are down in Canada, so a Xeno would be a good bet, but then again, there's something to be said for something of vintage....

The Ambassador I have is certainly in the right direction, and if the upper echelon horns were better than that, well that would be spectacular! When I queried Leon Merion about them (he was an Olds artist way back when), he seemed to like the Mendez the best.

I visited the Olds Central site, but there was little comparitive information.

I'm imagining that the Opera would be the darkest. True or no?

One of you guys with several Olds horns should do a little comparison, with the Ambassador as a base. Brighter, darker, free blowing upper register, lower register. Trade offs. That sort of thing.

That would be a great service to humanity.

(Yes that was me posting about the Concert in Toronto)
_________________
Schilke B4L
WTF (in Blue)
LeBlanc Gozzo 770A, Al Hirt 707A
Olds Mendez, Clark Terry Flugel
Old Ambassador Cornet, Trumpet
Olds Mellophonium
(Is there a pattern emerging here??)
Hanns Hainlein 1632 Replica, MF Firebird
(I guess not......)

[BeboppinFool]

I've compared all the Olds I've had with each other a few times, here, and Perry D'Andrea has posted a lot about them. I've had pretty much every model except an Olds Standard, the original The Oldsand a Special (we're talking trumpets here, right?).

I had a French Model The Olds, a few Supers, a Super Recording, a couple Recordings, an Opera, two or three Studios, several Ambassadors, even an Olds Clark Terrythat I regret letting go more than any other horn. A few years ago I bought a new/old stock Olds Superstar, and thought it was an excellent horn. I can't remember why I let it go. Oh, I guess I never had a Pinto. Oh, well.

The Opera is huge, and it was too much, even for me. It sounded great in the practice room, and great in a small hall . . . after the first hour I was ready to die. I tried it on several gigs, and I just couldn't develop any staying power on it.

Anyway, my point here is that if you're looking for "dark" you might not need to be focusing on the horn. It could be solved through mouthpiece choice.

The most amazing thing to me about the Olds Super and Olds Recording is this: whatever I want to achieve is achievable. If I'm going for a bright sound, I can get it. If I'm going for a dark sound, I can get it. My 1940 Olds Super (in satin-silver) is my favorite Olds trumpet that I've ever played, and ever since grooving completely into it, I have let go of nearly all my other horns. My back up is my 1950 Ambassador with a Bach 43 leadpipe . . . very close to as good as my Super.

Jesse Harbin (Still Trying) has an Olds Recording that is to die for. Just a well-cared-for horn in original condition that his dad bought him way back when. I played his horn and got pretty jealous, I remember. I've decided to stop trying horns, and I'm doing pretty good, if I do say so myself.

Rich

[Still Trying]

Go ahead and admit it, Rich. You're an Olds addict. That Recording is my backup now. After I won an Eclipse last year, it's pretty much all I've played. I've got an Olds Super too, that you ought to try some time. Oh, never mind. That one's not for sale either - yet.
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S. T.

What do we have that we did not receive, and if we received it, why do we glory, as if we received it not?