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Author Topic: How many horns do you own?  (Read 26562 times)
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JohnL
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« Reply #20 on: Dec 26, 2014, 01:31PM »

It's not so much a collection as a private museum...

Olds trombones
Standard (TIS) Large Bore (c.1917)
Standard (TIS) Bass (c.1920)
Standard (TIS) S/SM Bore (early 1920's)
Standard (TIS) Symphony (late 1920's)
Self-Balancing LM-7 (early 1930's)
Military LM-7 (early 1930's)
Self-Balancing LLM-7½ with f-attachment (mid-1930's)
Self-Balancing LM-8 (mid-1930's)
Radio City LM-7 (mid-1930's)
Radio R-7 (mid-1930's)
Super 7½ (mid-1930's, pre-tone ring)
Standard (TIS) LM-7½ with hammered finish
Super LM-7½ (late 1930's - wide tone ring)
Super LM-7½ (late 1930's - narrow tone ring) engraved "R. B. Olds"
Super L-9 w/f-attachment (early 1940's)
Standard (post-WWII non-TIS version - mid-1940's)
Super LLM-8
Standard Bb-F-E Bass Trombone (c. 1947)
Bb-F-E Bass Trombone (c. 1949)
Single Bass (GR prototype? .553"/.565" with 10" bell)
Single Bass (GR Prototype? .553"/.565" with 9" bell)
R-20 Recording
A-20/R-20 hybrid
Super S-20
Opera O-20
Alto F-15
Super S-24G
Custom P-15
Custom P-24G (four of 'em)
Custom P-16

Other trombones
Williams and Wallace Medium Bore
Williams TIS "pre-9"(late 30's?)
Conn 4H
King 1485 Symphony Silvertone (c.1947)
Strickler

Not-quite-trombones
Olds O-20 valve trombone
Olds O-21 marching trombone
Conn 24I Connstellation Euphonium
Bohm & Meinl bass trumpet

I probably missed a few...
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hyperbolica
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« Reply #21 on: Dec 26, 2014, 01:58PM »

11 bones - 3 for sale

88h 1968
8ht GenII w/525 slide
79h 1966 silver plate
79h 1968 rose brass bell (bell pilfered from '51 78h)
78h 1951 yellow brass bell (bell from 79h above- for sale)
6h 1958
100h 1991 silver plate
Schiller (Jin Bao) alto, rose bell, Slokar leadpipe
Benge 175f (for sale)
Olds Super (war baby- for sale)
Bach 50b3 1982

Of these, I mostly play the 88h with the 525 slide, the 79hs, and the 6h with the 100h slide, in that order.
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oslide

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« Reply #22 on: Dec 26, 2014, 02:10PM »

It's not so much a collection as a private museum...

It really is. I wish I could visit it...
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marccromme

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« Reply #23 on: Dec 26, 2014, 02:21PM »

8

Jinbao alto JBSL-702L
Yamaha 356 F/Bb
Yamaha 682G F/Bb
Kurt Mönnich german trombone Bb/F
Wessex/Jinbao Bass Bb/F/Gb/D JBSL-831S
ED. KRUSPE german Bass Bb/F/Gb/D
WERIL Bass Bb/F/Gb/D (for sale)
Hirsbrunner 3V Bb Euphonium compensated

In addition, my family has:
B&H alto horn (wife)
Yamaha 448 Bb/F trombone (son)
Hoyer medium bore frensh horn (daughter)

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marccromme

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« Reply #24 on: Dec 26, 2014, 02:29PM »

Bass 1 - 1962 Holton 169 with modified inline valves from original parts (1969 by Burt Herrick); recently added new slide to long D for second valve. Valve tubing options include Bb/F/Ab/E, Bb/F/G/Eb, Bb/F/Gb/D, Bb/F/Eb/C, Bb/F/D/B, Bb/F/Db/Bb.

I am just curious: which one of all these tunings do you prefer? Which other s do you use regulary?
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JohnL
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« Reply #25 on: Dec 26, 2014, 02:38PM »

It really is. I wish I could visit it...
That's why the best parts are on the web...
www.itsabear.com
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Dukesboneman

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« Reply #26 on: Dec 26, 2014, 02:53PM »

Bach Lt12G
2 BachLt16M`s (one w/ Gold brass bell & one with yellow brass)
Lt 36
TR 156 Holton
KIng 2B slide/valve combo
Blue p-bone
Weril TIS alto trombone
Pre-WWI King Euphonium
Seman Bss TRumpet
American Statndard (looks like a french horn) Mellophone (uses  Parduba Double cup trombone mouthpiece)
1928 Conn Eb Tuba
Late 50`s Conn 12J
Gemenhardt piccolo
rmstrong 103 Flute
Artley Alto Flute
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3 trombones
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« Reply #27 on: Dec 26, 2014, 02:56PM »

1. 2005ish Conn 88HO
2. 1972 King 3B
3. 1938 King Liberty
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growlerbox
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« Reply #28 on: Dec 26, 2014, 02:57PM »

That's why the best parts are on the web...
www.itsabear.com

Great site, man.  Never tried an Olds - they rarely show up 'round these parts, aside from the occasional Ambassador.  Next trip to the US, I'd like to get my hands on a few.  A P-16 sounds right up my street.

I'm a rank amateur compared to some of the collectors here -- I have but 4 'bones:

1938 King Liberty (turns out it is a dual bore, but no "2B" markings)
1990s King Jiggs 2B
2011 (or thereabouts) King 2103/3B
1970s-ish Yamaha 252 (like a 354, Japan-only model)

I likes 'em small and valveless ...
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Alex McMahon
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« Reply #29 on: Dec 26, 2014, 04:55PM »

10 bones at the moment plus several student horns for teaching with and loaning out. Looking to add a euphonium, horn and tuba at some point.

NY Bach 6/8 +16M slide
Corp Bach 36 with Gb valve
Edwards T-350 547/562
Burbank Williams 9
Conn 72 single-valve bass
Conn 62HI bass
2 Yamaha YSL-354s
Reynolds student bone
Yellow P-Bone

Bach Mercedes marching baritone
Conn Connstelation trumpet
King Cleveland trumpet
Bundy II Alto sax
Bundy II Tenor sax
Selmer Tenor sax
Selmer flute
Gmeinhardt flute
Yamaha clarinet
Selmer clarinet

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salsabone
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« Reply #30 on: Dec 26, 2014, 06:56PM »

I tend to be a series collector...
Conn 2H(old and not very playable), 4H(1954..good player), 6H(1974 vintage), and 8h(from 1961).
Conn Constellation series - 28H, 38H(one of my most happiest finds!), and a 1961 48H with a lightweight slide.
Kings..605 - painted to U of D colors, several 2B's(these somehow never have worked for me?), "93 3BSS 100th Anniv. model, 1963 Silversonic 3B-F and A 1963 Brass Symph 9" dual bore.  An amazing 1953 Olds Studio purchased from Euphanasia!! :), and an amazingly modified King 606 that would blow your mind!!  All this among others Reynolds and Roth, etc...Oh well, it goes on and on!!!!
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deanmccarty

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« Reply #31 on: Dec 26, 2014, 06:57PM »

13...

Shires Bass - Gold Brass Bell, standard slide with Greenhoe Brace, single standard rotor, yellow C tuning slide, #3L leadpipe, Elliott W111G/M/9 mouthpiece (classical setup)

Shires Bass - Rose Brass T7 Bell, lightweight nickel slide, double stacked rotors, nickel B tuning slide, #N1L Leadpipe, Elliott 111G/K/8 mouthpiece (commercial setup)

Rath R4F .547 tenor, nickel bell, red brass tuning slide and hand slide, Hagmann valve, #5B leadpipe - Elliott 100G/G/8 mouthpiece

Rath R3 .525 Tenor, nickel bell, gold brass tuning slide, yellow brass hand slide, #31 leadpipe, Elliott 100G/D/4 mouthpiece

B.A.C. Custom Classic .500 Tenor, 7.5" gold brass lightweight bell, nickel tuning slide, nickel lightweight slide, nickel leadpipe - Elliott 95G/B/2 Mouthpiece

Rath JP236 Alto - Elliott 95G/B/2 Mouthpiece

Jupiter Soprano - Schilke 24 Mouthpiece

Jupiter XO flugelhorn

Getzen Custom Cornet

Mirafone Loimayr 4 valve oval Tenor Horn - Elliott 100G/H/4 mouthpiece

Miraphone 282 Tuba - Elliott 126G/P/PCE mouthpiece

pBones - Green/Red - great for Christmas! And white.
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Dean McCarty <><
freelance trombonist, Houston area
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samperio.marco

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« Reply #32 on: Dec 26, 2014, 07:10PM »

Just one!

Edwards T396-A

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Davey
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« Reply #33 on: Dec 26, 2014, 07:19PM »

7, 6 of which are Trombones

1947 Conn 44H
1960 Olds Special
1973 Holton 158
1998 Edwards 454
2000's Yamaha 613H
2000's Conn 88HT-O

and a 1960 Mirafone 186CC
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denny seifried

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« Reply #34 on: Dec 26, 2014, 08:04PM »

1. Earl Williams Model 6-Burbank build
2. Conn 62H-Elkhart with Minick Open Wrap and D-Slide, Minick & Jerry Callet pipes, E. Swanson triggers
3. Yamaha 611-II with split trigger by Rob Phillips--assembly  fine-tuning & slide work by E. Edwards
4. Bach 36, straight tenor, with brass bell & slide
5. Bach 42B conventional wrap with brass slide
6. Bach 50B single valve, conventional wrap & brass slide
7. Bach 50B3, with Greenhoe Conversion by Terry Phillips, Sandhagen rebuilt brass slide, Shires B2 pipe
8. Yamaha YBB-321 BBb tuba- old style model, straight 3rd valve slide and metal valve guides. Looking to replace. Top action not my favorite and horn is really big for my size. Have to use stand for horn!

Too old to buy any more horns! :cry:
« Last Edit: Dec 27, 2014, 06:08AM by denny seifried » Logged

Denny Seifried
Bass Trombone
Dayton Jazz Orchestra, Jazz Central Big Band, Mojo Brass & Springfield (OH) Symphony
BBb Tuba Ohio Valley British Brass Band (OVBBB) & Western Ohio Tuba Quartet
Adjunct Trombone-Wittenberg Univ. Dept. of Music
cb56

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« Reply #35 on: Dec 26, 2014, 08:16PM »

Two, but I wouldn't mind picking up a large bore again for the occasional times I'd need it.
Unfortunately not in the budget.
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greenbean
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« Reply #36 on: Dec 26, 2014, 09:48PM »

BRASS:

Yamaha 882GO
Late 70's Conn 88H
Yamaha 681 straight large-bore
Yamaha 647 straight large-bore (for sale)
King 3B, ropey
1966 Conn 6H
Romeo Adaci Bb/F bass
Jupiter 3-valve euphonium
Reynolds Contempora and Onxy models and another 6H awaiting repairs

WOODWIND:

Yamaha pro flute / Altus headjoint
6 other assorted flutes
diMedici alto flute
Bundy piccolo!
Selmer Paris full-Boehm clarinet (for sale)
Evette Master Model clarinet (wow!)
Selmer Paris bass clarinet (for sale)
A few recorders and a fife!

Not as bad as I thought!!
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Holton bass trombones...
Vintage88H

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« Reply #37 on: Dec 26, 2014, 10:38PM »


Getzen 4147IB
Shires 2RVE,TW47,dualbore Rotor
Frank Holton 168
Frank Holton TR150
Yamaha YSL 645
Yamaha YSL 671


Hans Krinner bass trumpet
Wessex Dolce Cantabile euphonium
Yamaha 321S
Amati baritone
Anton Dehmals valve trombone
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SilverBone
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« Reply #38 on: Dec 27, 2014, 12:28AM »

You guys ever wonder if posting your collections is an invitation for nefarious people to scour this list looking for homes to "visit?"

Or am I paranoid?
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MoominDave

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« Reply #39 on: Dec 27, 2014, 02:34AM »

I am just curious: which one of all these tunings do you prefer? Which other s do you use regulary?

I've played Bb/F/Gb/D (or Bb/F/D when I've played a dependent) since the start of my bass trombone playing years. Second valves in Ab/E or G/Eb I have played with from time to time out of curiosity, but never seriously.

My 169 (still a bit of a rush to write that - bought it in August) came with tubing suitable to create set-ups that included second valve Ab/E, G/Eb, and F/D. Naturally, I played it in the configuration I was used to - Bb/F/Gb/D. But using both valves at once creates something of a resonance dead spot on the instrument - low C and B were not of a comparable quality to the notes around them. One can always work to improve weak spots in one's playing, but I've been playing bass trombone over 20 years now and know my weak spots pretty well, and also how likely I am to be able to strengthen them by particular means. The need to muscle through the change of resonance with double valve playing is something that's been destabilising my embouchure in that register for years. Instead using G/Eb or even Ab/E improved matters a fraction - but only a fraction, and at the expense of pushing the notes further out on the slide and of giving me a new set of positions to learn.

So instead I had a repairman (Bryce Ferguson at Brass & Woodwind in Edinburgh) knock me up a slide that takes the second valve to D on its own, which is what I am accustoming myself to right now. It hasn't taken much accustomisation mentally - just remembering to lift the thumb when the previously additional finger goes down, and vice versa - of course, the slide positions are the same. It makes a physically light instrument a physically heavy instrument - but no more so than my Rath R9. And on the upside, low C and B are just notes now, not special cases requiring gurning. I've been playing like this for a month now, and it certainly does the job planned. The only question deals with whether the relatively few low Cs and Bs that find their way onto my stand are worth carrying the extra weight around for. I suspect it will depend in the future on what particular pieces I am rehearsing at the time.

As an addendum, both valves together now give a rather flat B. This is largely academic, as the double valve response with a couple of new extra curves is worse than it was before, and so I do not tend to employ both together. One can now descend to 3rd leger line G on the 2nd partial, but it's very stuffy. The pedal GG an 8ve lower I have yet to hit while using a sensible mouthpiece! This low range playing deficiency is not keeping me up at night...

So in answer to the question, Bb/F/D/B full time. But although I am liking it, I am still evaluating it.
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Dave Taylor

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