TromboneChat

I have an Olds Superstar V-20, got it about 5 years ago and I love it. The slides have a bit of rust on the stocking (came with the horn) so it is occasionally scratchy, and the bell has a few dings (my bad), but is otherwise a beaut. 

Quote from: leec on Apr 22, 2017, 01:32PMNot a lot of mention of the Studio model.  Any thoughts on this version of the old OLDS?   

I picked up an LA-era Studio on eBay a few years back. Basically, I bid on it because it was going for far less money than I thought reasonable and just wanted to see this vintage instrument get the respect it deserved. I have two Supers and a Recording also from that era and love them all. But I find myself reaching for the Studio most often. It's a really fun horn. And I too am curious about them. I assume there weren't as many made as Supers, Recordings, and Ambassadors (Specials, even), because I rarely see them listed on eBay.

I also notice that the Studio seems lighter than the Super—it's not as surprising that it's also lighter than the larger Recording.

I've noticed that the Olds Self Balancing trombone, just says the "The Olds" on the bell. From what I can tell, this is the only Olds that doesn't have the model name engraved on the bell(?). I'm wondering why....is it because the name is too blasé? It's like having a car named "The Chevrolet"

I have a flat wrap .547/.562 TIS bass trombone that also just says "The Olds"

Quote from: Arrowhead99 on May 13, 2017, 07:30PMI've noticed that the Olds Self Balancing trombone, just says the "The Olds" on the bell. From what I can tell, this is the only Olds that doesn't have the model name engraved on the bell(?). I'm wondering why....is it because the name is too blasé? It's like having a car named "The Chevrolet"

My 1925 TIS model just says "F. E. Olds and Son" on the bell.  Not even "The Olds".  But it has the engraving of the bear playing the trombone.

Olds tended not to engrave model names on trombones in the pre-WWII era. TIS Standards, Self-Balancings, and early Supers (pre-tone ring) usually just marked with the company name or "The Olds". Radio, Radio City, and Military Models, along with Supers with tone rings, have the model name engraved.
When all they made was the TIS Standard and the Self-Balancing, it was pretty obvious which was which.

Anyone have any experience with the O-25 horn? I read somewhere-maybe it was an older thread- a glowing review of the horn

Forum Member Macbone has either an O-23 or O-25 (can't remember which).  Send him a PM or E-mail.

Thanks. He said doesn't know about the O-25. Anyone have any experience with this horn?

I have an Olds O-25, made in 1974 and purchased a while ago from a Trombone Forum member (thanks Tyler) that I like very much.  As far as I can tell, this is the same instrument that was labeled "Opera" when I played one in the early 1970's.  (Nostalgia trip for me!)  Now sometimes called "Symphony" but mine is only engraved O-25. 
[Large-bore tenor trombone w/closed wrap F-attachment, 0.554" bore, 0.565" bore F-attachment, single rotor, 8.5" red brass bell]

It's a little quirky - the mouthpiece that came with the trombone (an Olds 15) is quite small with a small-diameter throat).  The larger Olds 20 mouthpiece is a much better match.  The mouthpiece receiver is not "standard" size (a little small), so other large-bore mouthpieces will not insert as far.  And the ergonomics of the rotor lever ("trigger") leave something to be desired - but I'm getting used to it.  The trombone plays very nicely, with a large full sound (as you would expect from such a large bore) with the right mouthpiece.  (I'm still experimenting.) 

Does the Olds 20 MP have a 25.65mm rim? That's what I usually play on

The rim of the Olds 20 mouthpiece is about 25.6mm inside diameter (hard to measure precisely), with a rather V-shaped cup; the throat is ~6.70mm.  Sort of the same size as a Bach 5GS - but different.  You may be accustomed to a somewhat larger throat, but otherwise may be comfortable with the Olds 20.  I think the Olds O-25 trombone would be quite happy with a larger mouthpiece.  As I said, I'm still experimenting. 

I recently purchased a beautiful Wedge Delrin plastic mouthpiece for my S-23 bass.

Using black wet/dry P400 silicon carbide waterproof abrasive paper ( AKA SANDPAPER) I was able to reduce the shank to a perfect vintage Olds large shank size. This is to replace my #20 mouthpiece that came with the S-23.

It takes awhile, but Wedge delrin mouthpieces can be adapted for less than $2 to any vintage Olds leadpipe.

The main reason for reducing the shank was to also shorten it to bring the horn up to 440, as there is nowhere to cut an S-23 to get it up to pitch.

Before cutting your instruments,You could always try pulling the Olds leadpipe and trying one of the more standard ( Morse Taper?)leadpipes which will accept a modern standard large shank mouthpiece.

John,

  For most players any stock vintage Olds mouthpiece will play very well and up to modern pitch ( 440+) on a vintage Olds bone.

All of the vintage original pre-1970 Olds bones made with pre-WWII R&D are flat with modern mouthpieces. The shanks stick out too far, and my own theory is that they were designed and made for players with smaller oral cavities.
How could there be smaller oral cavities? Adult males were significantly smaller then. Shorter and slighter in the rib cage.

To get a vintage Olds small bore horn up to pitch the use of a 12C or the like is a cheap fix. The use of a Wedge Delrin mouthpiece shimmed down is the perfect and permanent fix. Especially if you trim 2" or more off of tuning slide length and add the Olds shank mouthpiece.

My S-23 is tuning-in-the-slide. Drastic measures needed to be taken. Especially since my S-23 has a 10 1/2" bell. (stock....10 1/2").

Quote from: John McKevitt on Today at 05:40 AMBefore cutting your instruments,You could always try pulling the Olds leadpipe and trying one of the more standard ( Morse Taper?)leadpipes which will accept a modern standard large shank mouthpiece.Been there, done that. Most standard large-shank leadpipes do not seat all the way into a .554" Olds inner slide. Of course, if you like the way the Olds plays, messing with the leadpipe isn't really an option, anyway.

Best to attack it from the mouthpiece side. Most large-shank mouthpieces have enough meat on the shank that they can be turned down.

I've toyed with the idea of having some mouthpieces made up in common sizes to fit Olds, but it would entail a substantial initial investment that I would probably never recoup. I did have three "special" mouthpieces scanned by Kanstul - a custom Plimpton/Jameson bass mouthpiece, an original Olds "G", and an original Olds F alto. To the best of my knowledge, Kanstul has had no calls for further copies beyond the ones they originally made for me.

My best suggestion? Contact Doug Elliott. He has the dimensions for the common Olds large and small shanks, along with the F alto, and doesn't charge a fortune to make them. He can also help you find the combination of backbore, cup, and rim that works for you and your trombone.

Are there any Olds players on the forum who also drive an Olds?
(I'm referring to any pre-1972 cars)

I had an Olds F-85, the predecessor to the Olds Cutlass. Awesome car for a yute in his late teens.
 I just rejoined the "OLds Crowd" with the purchase of a TIS 10"bell Fullerton 297XXX  double valve all original Bass Bone. S23? Sweet and Dark... just the Way I like my Women.. Purchased for $200.00  HaHa

I had a 1970 Olds Delta 88 in the mid-90's.  Two-door, hard top, white...  What a car!

And I have owned several Olds.  But not at the same time...

Quote from: Arrowhead99 on May 21, 2017, 11:29AMAre there any Olds players on the forum who also drive an Olds?
(I'm referring to any pre-1972 cars)

My first car was a 1967 Cutlass Supreme with the large 8 cylinder engine, air conditioning, 4 Bbl carb, and automatic transmission.  Ate gas like it was candy.  And it had to run on Premium (at 40 cents per gallon).  Not quite a land yacht like my fathers later Cadillac, but close.  I also learned on my fathers F-88.  Big.  Square.  Scary to drive the West Side Highway.

My dream car would be a '55 Olds. would love to then take a picture of my horn with THAT car.
Anyways, I just pulled out an L.A. Olds Super out of the closet. Somehow I overlooked this horn. I love the efficient build and compact tone this trombone has! 

Actually I'm not new to Olds horns, having played a Recording many years ago.
Later, I also made acquaintance with Supers, a Studio, and even a P-16.

Not too long ago, a TTF thread mentioning Bill Pierce got me - once again - interested in Olds Operas. What a sound! Till then, I'd always shied away from large bore horns due to my chronic asthma, but finally I decided to have a go at it.

Okay - but where to get an Opera in good shape at a reasonable price? The answer - you guessed it - DJ Kennedy.

Not only did he have a very nice straight Opera 'at hand', he also found me an excellent case for it as well as a MV12 mouthpiece (what else?) that I had asked him for. Because at the moment he didn't have a fitting MP adapter, he himself made one for me from a sheet of sterling silver, with engravings and all it takes (that's why I call the horn my 'sterling Opera'). Kudos to DJ for his support and dedication!

So, since a few days, I'm getting to know this horn. A wonderful sound, like a bell, so clear and pure! On the other hand it couldn't feel much heavier if it really was made from sterling silver. Being used to playing lighweight .500 horns it's a challenge for my left shoulder. But certainly it's worth the effort and I don't regret my decision. What an adventure!

Hello everyone, after lurking for a while, this is my first post.
I am a member of the Olds Club now, as my LA Olds Standard arrived today! The serial number dates him to 1942. He has a 7 inch bell, dual bore and very sweet sound
"Stan" is my first real trombone, after a P-bone and then a loaner horn from the brass band I play in.
Now just to get the tuning slide unstuck (I've been reading past threads on this and I'm trying the WD-40 first).

Is it stuck fully closed or partly open?  If it's a little open you can try to tap it closed (use a light soft hammer or crab mallet).  If it's fully closed there are a few tricks you can try.  It's really a quick fix for somebody who does brass repairs as it's a very common problem, and probably won't cost much.

Welcome to the Olds club.  Mine is a 1925 with tuning in the slide and an oddity: an 8" bell.  It really plays nicely and I love it for French orchestral rep.

Sounds like a nice beast. I'm loving mine. I think I might look at getting a counter-weight for him - he's a bit front heavy.

The slide is stuck fast in the fully-in position. WD-40 applied today.

this  trombone  was recently  owned   by CLARK GAYTON [in recording sessions all week w STING]   has the  look 
aaron chandler  did  slide  and dent workup  ////i  bought  another  opera  --to get  the case
 MV 12  --theres  one  on eBay this  week @ 200  !!!!!!--they are  a  BIG  HORN esp after  2b size
 horns  !!!!!!!!!!!!!!!  //



Quote from: oslide on Jan 07, 2018, 08:57AMActually I'm not new to Olds horns, having played a Recording many years ago.
Later, I also made acquaintance with Supers, a Studio, and even a P-16.

Not too long ago, a TTF thread mentioning Bill Pierce got me - once again - interested in Olds Operas. What a sound! Till then, I'd always shied away from large bore horns due to my chronic asthma, but finally I decided to have a go at it.

Okay - but where to get an Opera in good shape at a reasonable price? The answer - you guessed it - DJ Kennedy.

Not only did he have a very nice straight Opera 'at hand', he also found me an excellent case for it as well as a MV12 mouthpiece (what else?) that I had asked him for. Because at the moment he didn't have a fitting MP adapter, he himself made one for me from a sheet of sterling silver, with engravings and all it takes (that's why I call the horn my 'sterling Opera'). Kudos to DJ for his support and dedication!

So, since a few days, I'm getting to know this horn. A wonderful sound, like a bell, so clear and pure! On the other hand it couldn't feel much heavier if it really was made from sterling silver. Being used to playing lighweight .500 horns it's a challenge for my left shoulder. But certainly it's worth the effort and I don't regret my decision. What an adventure!

SO A LONELY VERY TARNISHED   olds  appeared  with  very unusual deco engraving
 and  at  first  glance  after  opening  the very simple shaped  case
   i knew  i had  struck GOLD !!!!!!!  --yes  GOLD  plated  cloudy tarnish --duo  bore
 also  an unmarked  lightweight  GOLD PLATED  MOUTH PIECE !!!  obviously  a  custom
  slip  joint  duo bore  nickle  plated inners   serial lo 7000s
   slide excellent  -

I'm giving serious thought to biting the bullet and joining the crowd. I figure if I want to learn about an Olds horn, this is the thread to ask in. Can anyone vouch for using an L.A. Super on lead bone in a big band?

I'm looking at a 1940s L.A. Olds Super with tone ring, not too pretty but the asking price is really good. My 1934 Elkhart Cavalier is just too hard to center above F, probably due to the really leaky slide. Playing lead bone parts in big band, it is not cutting the mustard in terms of sound or ease of playing. From what I've heard, a Super might be a good replacement, but of course I've never played an Olds before.

Quote from: Tbonedude on Yesterday at 06:37 AMCan anyone vouch for using an L.A. Super on lead bone in a big band?

Super could be a good choice for lead bone if the trombone is in good playing shape with a good slide.  Just be aware that the mouthpiece receiver is undersize, so unless you get an Olds mouthpiece (the Olds 3 - roughly 12C size - was standard for the Super), your small-shank mouthpieces may not drop in as far, slightly affecting intonation, etc.  Some Olds players shave down the shank of their favorite mouthpiece to match the receiver taper.  But I've had pretty good success with some (but not all) off-the-shelf small-shank mouthpieces. 

Try it - you may love it!   

Quote from: Tbonedude on Yesterday at 06:37 AMI'm giving serious thought to biting the bullet and joining the crowd. I figure if I want to learn about an Olds horn, this is the thread to ask in. Can anyone vouch for using an L.A. Super on lead bone in a big band?

I'm looking at a 1940s L.A. Olds Super with tone ring, not too pretty but the asking price is really good.



I'm not yet good enough to answer your question, but I can pass on to you what my instructor told me...I have a gold tone ring model (no lacquer), and the sound is far superior to the silver tone ring I also have...I was told that my Super can be a great lead trombone, as well as blend in with the community band....The greatest endorsement was when he said that he wants my gold ring tone bone when I die...

Nanook

Gold tone ring Supers apparently date from right after WWII. S/N's are around 17,000-20,000.

Sure, you can play lead on a Super. As mentioned earlier, some people do have issues with finding the right mouthpiece.

Gold tone ring Supers apparently date from right after WWII. S/N's are around 17,000-20,000.

Sure, you can play lead on a Super. As mentioned earlier, some people do have issues with finding the right mouthpiece.