TromboneChat

I rarely post images of acquisitions that I don't intend to sell, but I recently won this 1953 8H Custom in an obscure online auction, and since the condition is truly amazing (all original and about as close to mint as one could imagine), I thought I'd share a few shots.

Another bidder was almost as determined as I was to purchase this horn, so I paid more than I would have liked, but I just decided to throw caution to the wind and go for it.

No regrets!

Engraving and case:

Bloody fantastic. I'd certainly love to own it when you tire of this beauty.

Do you mean 88H? Is the slide what says 8H?

Looks beautiful!

88H wasn't a designated Conn model until 1954, the year after this horn was produced. Before 1954, these horns were simply referred to as the 8H Custom model, since the F-attachment was only available as a custom order item added to an 8H. Like all 8H Customs, it's stamped "8H" on both the slide and the receiver.

Chuck,
It looks so sweet!
How does it play?
Similar to top-end Elkhart 88Hs?
Remington shank?

Very, very nice!

Really a good looking horn! I hope you'll get lots of fantastic playing on it.

Very, very nice!

Very nice.

Beautiful!

I’ve always loved this age of these with the tuning slide bow guard.

If it plays half as good as it looks it will be fantastic.

Cheers,
Andy

Many thanks to all who have posted comments and complements.

It was a bittersweet moment when I sold my MV42G last month, but it seems that whenever I sell one great horn that's not getting played like it should, another great horn comes my way in short order.

Posaunus wrote: ↑Thu Sep 08, 2022 11:16 pm Chuck,
It looks so sweet!
How does it play?
Similar to top-end Elkhart 88Hs?
Remington shank?

Well Dave, I've been looking for a nice clean 8H Custom or mid-'50's 88H for quite some time now. I've owned over a dozen 1960's 88H's in the last decade (lost count at some point), and while they've all had their charms (and quirks), none of them have had quite the overall magic of my '55 8H.

There's just something about the thin 8.5" red brass Conn bells from the early- to mid-'50's that makes them a joy to play. The attacks are instantaneous and the feedback is palpable, inspiring real confidence, especially during pianissimo playing. I often marvel at the whisper-soft dynamics I can confidently coax out of my '55 8H. When articulating fast passages, there's absolutely no lag between what I hear in my head and what comes out of the bell, encouraging me to attempt these passages at even faster tempi.

Obviously these thin bells can't handle the kind of extreme volume that the later, heavier Elkhart bells seem to take in stride, and maybe they don't blend quite as well in a section as the later Elkharts, but hey, that's why I own an E series 88H and a Minick 8H bell.

After spending a couple of hours spent playing this '53 8H Custom, I can confidently say that it plays very much like my '55 8H, with all the same attributes that inspire me to practice and make beautiful music.

Interestingly, this '53 has none of the sympathetic ringing on F# that I've found in varying degrees (ranging from mildly irritating to highly annoying) on practically all of the '60's 88H's I've owned. And unlike quite a few of my previous '60's 88H's, 10th partial on this horn locks in very nicely.

And yes, the heavily tarnished Remington mouthpiece that came with the horn fits perfectly in the receiver, as does my preferred mouthpiece,
a Schilke 51 long shank.

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Obviously these thin bells can't handle the kind of extreme volume that the later, heavier Elkhart bells seem to take in stride, and maybe they don't blend quite as well in a section as the later Elkharts, but hey, that's why I own an E series 88H and a Minick 8H bell.


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A big reason i sold my '58 8H was the thin bell being able to handle greater volumes. It played wonderfully as a solo horn but i have other horns that can fill that role.

I dont get the "Thin bell not being able to handle Great volume" thing... Thinner bells usually get heared through big sounds by having a nice edge with a lot of higher partials in the overtone pattern... While sometimes Bach can get an "ugly complexion" when pushed over a certain level, Elkhart Conns will keep on singing.. Besides, how loud do You need to go.? I have a 1920 " Symphony" version of the 8H..Granted, a little bigger in the bell taper but very thin and responsive bell.. I am very far from needing more power, Even playing extremly loud..

Tbarh wrote: ↑Sat Sep 10, 2022 1:00 am I dont get the "Thin bell not being able to handle Great volume" thing... Thinner bells usually get heared through big sounds by having a nice edge with a lot of higher partials in the overtone pattern... While sometimes Bach can get an "ugly complexion" when pushed over a certain level, Elkhart Conns will keep on singing.. Besides, how loud do You need to go.? I have a 1920 " Symphony" version of the 8H..Granted, a little bigger in the bell taper but very thin and responsive bell.. I am very far from needing more power, Even playing extremly loud..

Don't get me wrong, my '58 8H was easy to play and sang with the lighter bell. Overall i prefer to have a bit more resistance in my bell section when i play. My setup may have not lent well to keep the horn from getting uncharacteristically bright or edgy qhen playing in a section. And i Don't need a horn for smaller chamber groups since i have a 78H for those occurrences. If given the opportunity I'd love to have an early 8H/88H again.

My 50's 8H was my orchestral horn for many years, and got a thumbs-up from all of my colleagues when I first brought it in to work. My 70's 88H was also a very good horn, but the 8H had a bigger core to the sound, and for me, the heavy slide with thicker cross braces on it made up for any extra thinness in the bell. Mine has a detachable open wrap F attachment, made by Chuck McAlexander, which played well too. I tend to prefer it in the straight horn setup, though - it just rings, and held up to loud playing.

Jim Scott