Now your horn on the other hand sounds like a larger horn, so i cannot comment on that particualr horn. Zig Kanstul was the designer also I believe. But i don't know that they really played that much beter than the Ambassadors.įullerton horns are more sought after I believe than the Los Angeles horns.
The Specials were very pretty with the Nickel and red brass bells. It all depends how fancy you wanted them to look. They used a heavier brass and they just have a great sound. A wman donated her husbands trombones to our school after he passed away and one of them was an olds special, well that horn is my demonstaration horn and i use it on rock band and big band gigs all the time.Įven their Ambassadors, which were considered student horns played great. the bells seem to be a bit heavier than Kings for example, and you can really get a great cutting bite out of them.
Especially the Specials and Recording horns. I have always liked the olds bones I have played. Some people still like to use them on lighter classical stuff like Mozart, Mendelssohn and Berlioz, etc.īack to the topic of the thread. they were considered bass bones in the big bands of the 50's.
I am sure it was made by SML.Basses in the 40s and 50s were smaller. David Benedetto said he couldn't confirm that information, but he thought it might interest me.ħAug09 Answer by PhilPedler: VintageMusic very kindly sent me her Olds Studio. One is that the Olds Studio clarinet was intended for "the advanced player", and the other was a web-site: The author of that web-page comments that both Malerne and SML (scroll up a bit to see that section) manufactured clarinets for Olds, Conn and Linton. He didn't have too much to add to what we had discussed on the phone, but he mentioned two things that might interest you. Olds and Son, about the Studio clarinet (I think my e-mail message probably finally crossed his desk). I received a message from David Benedetto, the man from F.E. So, that's about it, and I think it is back to educated guesses (more yours then mine!). I doubt if their lesser clarinets were Buffets - there would have been more talk about them. I'm wondering if he's heard some of the same discussion that Ken Shaw alluded to on our question at (which referred to the Opera clarinet being a Buffet stencil). He thought the ones made in France might have been made by Buffet. Some of their clarinets were made in Germany and some in France. Olds ranked their instruments by name - Ambassador models were always student models, the Studio line was a step-up instrument, and the Opera line was their top model.
#Olds ambassador serial numbers serial numbers#
He told me that since my Studio has a four-digit serial number it would have been one of their earlier clarinets, but he didn't know what year that would be since they don't have any specific lists of serial numbers (I'm still guessing 1950s, from the style of case, if nothing else). Apparently when the Olds company was taken over (in the 1970s, I think) the records dealing with their clarinet manufacturers were lost. He didn't have much to add to what we already know. The upper register sharpness can be lipped down. Compare with Selmer Signet and many, many others. There is nothing one can do to help the sharp chalemeau register but to shade the notes with the fingers. I always play loud, so the throat tones go flat. This is good intermediate-instrument intonation. I would have used barrel rings, but mine don't fit such a narrow bore. Second test, Portnoy and newer Legere 4 reed.
My first intonation test, pushed in all the way was with a B45 mouthpiece and an older Legere 4 reed.
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