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HornnOOb Heavyweight Member
Joined: 06 Jun 2010 Posts: 897 Location: East of the Sun & West of the Moon
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Posted: Mon Jun 24, 2019 6:52 am Post subject: Actual Difference in Over-all Sound Quality Between Olds Mod |
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I'm wondering if there is a noticeable (inherent design) difference in sound quality between models of vintage Olds trumpets and cornets. More specifically, I have a 1950 Olds "Special" cornet, and I'm wondering if there is a measurable difference between a "Special" and a "Super", or an "Ambassador" and a "Special"? And what if anything, would determine that one model was built better or designed better than the other? And what would make the "Recording" model better than the "Super" model??
Thanks in advance. _________________ I rode in on a horse and can't seem to get out of L.A.
Severinsen Destino 3*
1971 Getzen Eterna 900S Severinsen Model
1984 Getzen Eterna 896 Flugelhorn
1951 Olds Special Cornet
Denis Wick 1C Heavytop
Getzen Flugel 3C |
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Brad361 Heavyweight Member
Joined: 16 Dec 2007 Posts: 7080 Location: Houston, TX.
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Posted: Mon Jun 24, 2019 9:37 am Post subject: |
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Far from an expert on Olds here, but here’s my take.
I have a ‘61 Ambassador that’s pretty well-used, a ‘56 Recording in great condition and a ‘52 Studio enroute, purchased from a TH member.
Ambassador: typical Olds tank-like construction, plays very well, tone is a bit on the darker side for me, solid slots, good (original) valves. I use it for teaching lessons, it was recently knocked off a horn stand, zero dents or damage.
Recording: similar solid build, VERY resonant, rich sound, works well for me for “commercial” with a lead type mouthpiece, very solid slots, but not rigid at all.
Not a huge fan of the third slide trigger, though mine works well.
Studio should arrive here tomorrow.
A nice condition Super is on my radar, Super Recording as well (as soon as I win the State Lottery.😉). I’ve heard nothing but great comments on the Super Recordings, but as with many Olds horns, supposedly the vintage factors in.
Brad _________________ When asked if he always sounds great:
"I always try, but not always, because the horn is merciless, unpredictable and traitorous." - Arturo Sandoval |
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OldSchoolEuph Heavyweight Member
Joined: 07 Apr 2012 Posts: 2426
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Posted: Mon Jun 24, 2019 10:02 am Post subject: |
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An Ambassador has a solid core town, not a lot brilliance, but will definitely cut when pushed.
A Special is, in my experience, very similar, but a little more responsive.
A Super is about as responsive as a Special, but has a full rich core with a solid overtone series making for a good all-around trumpet in a mid-century context. A Super is not much of a lead horn.
A Recording is more responsive, a bit brighter, has a unique pallete of overtones that does not sound quite like anything else. It lights up with ease and projects well. Some folks use it for a lead horn.
A Studio is one of the most tonally flexible trumpets ever made. It is exceptionally demanding of the player because it will respond to every input. It's a double-edged sword in the more it can do for you if you are up to it, the more it can do to you if you are not.
Then, just finishing the progression (and ignoring another more Bach-like all-around, the Mendez), there is the Olds SuperStar which is an unabashed free blowing, lightweight, easy responding, bright and sometimes edgy commercial trumpet. _________________ Ron Berndt
www.trumpet-history.com
2017 Austin Winds Stage 466
1962 Mt. Vernon Bach 43
1954 Holton 49 Stratodyne
1927 Conn 22B
1957 Holton 27 cornet
1985 Yamaha YEP-621
1975 Yamaha YEP-321 Custom
1965 Besson Baritone
1975 Olds Recording R-20 |
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JonathanM Heavyweight Member
Joined: 25 Aug 2007 Posts: 2013 Location: Charleston, SC
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Posted: Mon Jun 24, 2019 11:11 am Post subject: |
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I've had two Olds Special trumpets; neither one did anything for me, but I've got an Olds Special cornet ('59) that is great. I had an Olds Recording cornet '52; I thought the Special sounded every bit as good. I really like the Special's nickel-silver bell with bronze tip; I think those metals mixed have real potential for a very unique sound. My personal feeling; I suspect that different metals in different bells produce wildly varied overtones. On a good horn a good bell can produce a rich, unique tone.
I've had three Olds Super trumpets; '64, '69 and '47. The '47 Super had two patches and was by far the best player. Its bell was light and its tone was clear and appealing (to me, at least). The patches were a turn off to me at the time; a mark of my (then) shallow perception of things brass and musical. Many of the best horn are the most worn horns - because they're great players.
Just my .02. _________________ Jonathan Milam
Trumpets: 18043B, 18037 SterlingSilver+, 18043*, Benge 4x, Olds: '34 Symphony, '47 Super, '52 Recording
Flugle: Strad 182
Puje: American Belle
Cornet: Olds Recording & Super |
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