Original_Username

Well, I've just pitted the two greatest of Vintage trumpet manufacturers against each other.

I've come to understand that Olds created many great trumpets, including the Mendez and the Recording. I don't know which one is "better" but supposedly the Mendez is a copy of Rafeal Mendez's French Besson.

Then there is THE vintage trumpet that everyone wants. The Martin Committee. I don't think there's a single trumpet player alive who wouldn't want one of these. The slotting on these horns were supposedly loosened up, adding to its unique sound. Countless jazz greats use and still use these horns and supposedly they were used by some symphony players. The Lawler C7 is supposed to be based off this trumpet.

So, which horn do you think is better and why?

Brass crusader

Hey,
I play Olds trumpets, including the Holy Grail, a Super Recording. I love Olds horns for their looks, sound, and overall quality. I recently played my teacher's Committee against the Super recording and my Special... I would love to get a Committee, but I absolutely find the Olds a bit more unique. My Special handles somewhat like the Martin, as my Special is an early one, making it a true lightweight horn.
All in all, horns come down to personal preference... I'd assume just buy them both.
cheers~

Wulf76

Before I bought my Committee, I tried out an olds super that had been relaquered. It sounded quite lifeless. The Martin completely blew it away. This may have been down to the re laquering. I have to say the feel of the 2 horns was completely different also. The super felt very "straight" compaired with the Martin if that makes any sense.

However, the valves on my bach mercedes are better than those on the martin! Ive heard the mercedes was made out of Strad parts though

Sound wise the Martin is unbeatable

Walter

I have both... a Recording and a Committee.

Committee:
Distinctive sound with tremendous core....worth buying for this alone.
Good valves
Flexible slots...great for jazz.
Easy upper register.
Rich fat lower register.
Average to look at.
Tremendous heritage.

Recording:
Great sound dark sound....loud and clear...the sock is out!
Beautiful to look at.
Easy upper register with tighter slots.
Good valves.

I find that both horns play well and both horns command attention when they speak.....

If I were forced to choose? I would go for the Committee.....it's all about "that" sound.

Walter

Brass crusader

Hey guys
~To Wulf, I recently played a relacquered Super... nothing amazing there. Is your Mercedes a Mt. Vernon or NY Bach? I started a thread earlier on those horns, and Mercury model Bachs.

~Walter
The Committees are awesome horns, I think that they're beautiful, a kind of understated elegance. The Recordings were also awesome horns, I've never played a straight Recording. My Super Recording handles unlike the other Supers or Specials or Mendez's I've played. The Committee I played was a superb horn, I'd love to get one. They are so easy in the middle register, I couldn't even find the "break" in the horn. So smooth.

Cheers

Robert Rowe

I have several vintage Committees ... including Handcraft Committees, Cornets, Trombones, Fluegelhorns ... (can't help it ... I love 'em!).

I have one Olds Recording, a 1958. Recently traded away my other Recording, a 1968, for a couple Fender Stratocasters (I play 'em, too).

Obviously, I prefer the Martin horns. I went the better part of a year, earnestly "A / B'ing" the two brands / models against each other.

The Recording lends itself to fine "Big-Band" / orchestral playing (possibly not "blending" with the boring Stads, as per too many anal music-directors ... and I have a couple New York Bachs, so there's no prejudice here). Outstanding projection and rich tonal-palette.

The Committees are completely agreeable for my particular playing-style. The projection seems to spread nicely, and for "intimate venues" (small clubs, eateries, etc.), the ability to maintain fine tone at soft (ppp) volume-levels is a big "plus" for me. Pure and rich, even-tempered harmonic overtones. I play a lot of lip-slurs and legato-lines, and the "slippery" upper-register manipulations are a little tough to master; but, once "there", it is a real joy to play these horns.

When I need more volume and projection, in different applications (larger venues, outdoors, etc.), my "default horn" is a vintage Conn Connstellation 28A (the ones without the dreaded 3rd slide stop-rod) ... rather than the Recording, which "kinda" can do the job ... but, not as well as the 28A.

I do (occasionally) play the Recording .... Was recently asked to play in a Community Band; I suppose it may see some service in that context.


~Namaste ...
Yogi Robt